{ "schema": "modulecanon-dossier-v1", "module_id": "mc-thank-you-maam", "owner": "mc*", "title": "Thank You, Ma’am", "updated": "2026-09-27", "scope": "Reusable source-text, historical, setting, teaching, and preparation material. Individual parties, choices, and saved playthroughs remain in CC*.", "provenance": "User correction in the 2026-09-24 BB conversation, confirmed for the game instructions and authorized in this 2026-09-27 update. Record IDs, source text, uncertainties, and citations preserved from the verified predecessor; migration is not new historical verification.", "records": [ { "id": "cc-cmp001-overview", "s": "campaign", "r": "cmp-001", "t": "cmp-001 overview — Thank You M’am, central Harlem, September 20–22, 1958", "b": "Inaugural bookwormburrows campaign. Grade 7 English. Built around Langston Hughes’s 1958 short story “Thank You M’am.” Forty-eight-hour window from Saturday afternoon September 20, 1958 through Monday morning September 22. Single fixed canonical encounter (East 128th Street, between Madison and Park Avenues, 11 PM Saturday) plus open exploration of central Harlem during a charged forty-eight hours. The Blumstein’s stabbing of Dr. Martin Luther King Jr. is alive across the same window (3:20 PM Saturday, recovery at Harlem Hospital through October 3). Players are kids of approximately Roger’s age in the same neighborhood. Mrs. Jones and Roger are NPCs; their canonical actions are fixed. Out-of-game homework is one apology letter from Roger to Mrs. Jones, set twenty years on, peer-evaluated, with mechanical consequence on the next session. Source-of-truth for AI world-engine grounding sits in this campaign section. OPERATIONAL ANCHORS. The campaign sits on a forty-eight hour fixed window per cc-cmp001-canon with hour-by-hour temporal map per cc-cmp001-tm-saturday. The encounter block is East 128th between Madison and Park per cc-cmp001-encounter-block plus cc-cmp001-street-S01. Pre-window context is the SCLC visibility week September 17 through 19 1958 per cc-cmp001-week-lead-up. Period media inventory per cc-cmp001-scene-set-pack. Realism domains (15 children, tier-calibrated activation) anchored at cc-cmp001-realism per bb-dm-010. C1.7 First Nations Metis Inuit text-creator pairing at cc-cmp001-fnmi-pairing (Wagamese primary). Homework rubric at cc-cmp001-rubric and homework specification at cc-cmp001-homework. Authorial-presence handling at cc-cmp001-authors-world-reframe and cc-cmp001-historical-overlay-disclaimer. Narrative architecture documented at cc-cmp001-narrative-architecture. Image-asset manifest with rights status at cc-cmp001-im-king-bedside through cc-cmp001-im-newport-1958-jazz (26 entries).", "x": "Student-facing page: https://seminarschools.com/campaigns/thank-you-mam/ · cmp-001 · Grade 7 English", "mc_links": [ "e7" ], "cc_links": [ "cc-cmp001-authors-world-reframe", "cc-cmp001-canon", "cc-cmp001-encounter-block", "cc-cmp001-fnmi-pairing", "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-homework", "cc-cmp001-im-king-bedside", "cc-cmp001-im-newport-1958-jazz", "cc-cmp001-narrative-architecture", "cc-cmp001-realism", "cc-cmp001-rubric", "cc-cmp001-scene-set-pack", "cc-cmp001-ss-0", "cc-cmp001-street-S01", "cc-cmp001-tm-saturday", "cc-cmp001-week-lead-up" ], "tg": "cmp-001, campaign, hughes, harlem-1958, grade-7, english, anchor" }, { "id": "cc-cmp001-canon", "s": "campaign", "r": "cmp-001", "t": "Canon — the encounter is fixed", "b": "The fixed center of the campaign is Hughes’s short story itself. Mrs. Luella Bates Washington Jones walks home from work alone with a heavy purse around 11 PM Saturday September 20, 1958. Roger, approximately fourteen, attempts to snatch the purse. The strap breaks. He falls. Mrs. Jones kicks him, hauls him up, walks him to her furnished room in a kitchenette boarding house, makes him wash his face, feeds him lima beans and ham with cocoa, gives him ten dollars to buy the blue suede shoes he wanted, and sends him out. He says “thank you m’am” at the door. He never sees her again. None of this is up for negotiation in play. Player choices around this canon affect the world; they do not rewrite the canon. CANONICAL TEXT. Hughes Langston, Thank You Mam, originally published 1958 in volume of Hughes short fiction. Available in numerous anthologies, ISBN 978-0-8090-1603-1 for the canonical edition. The story is approximately 1500 words and reads aloud in 12 to 15 minutes. TEMPORAL ANCHOR. The encounter happens 11 PM Saturday September 20 1958 per cc-cmp001-tm-saturday. The same evening is dominated by news of the King stabbing at Blumstein at 3:20 PM per cc-cmp001-king-stabbing. The news propagated through Black radio (WLIB, WWRL), telephone, and street-corner relay through Saturday afternoon and evening (documented news-propagation pattern). Hughes does not narrate Roger or Mrs Jones learning of the stabbing; AI engine surfaces if a session beat warrants. SCENE-SET PACK MEDIA. Period soundtrack and media context at cc-cmp001-scene-set-pack including Coasters Yakety Yak (Apollo headliner that week), Tommy Edwards It Is All in the Game (number-one single the week of September 20), WLIB and WWRL radio cycle on the King stabbing. C1.7 PAIRING. cmp-001 deploys Hughes alongside Wagamese One Story One Song per cc-cmp001-fnmi-pairing. The Wagamese MLK-teacher story (section Trust) is structurally a bridge text since both stage unexpected adult mentorship that changes a child moral arc against poverty and racial trauma.", "x": "Source: Langston Hughes, “Thank You M’am,” 1958. Reading copy: https://www.commonlit.org/en/texts/thank-you-m-am", "cc_links": [ "cc-cmp001-fnmi-pairing", "cc-cmp001-ghost-firing-1-roger-snatch", "cc-cmp001-ghost-firing-2-mrs-jones-choice", "cc-cmp001-im-stride-cover", "cc-cmp001-king-stabbing", "cc-cmp001-overview", "cc-cmp001-scene-set-pack", "cc-cmp001-tm-saturday" ], "tg": "cmp-001, canon, encounter, sealed" }, { "id": "cc-cmp001-window", "s": "campaign", "r": "cmp-001", "t": "The forty-eight-hour window", "b": "The 48-hour campaign window. Friday September 19 1958 through Tuesday morning September 23 1958. Anchors are documented historical events, Hughes-text-canonical events, and verified astronomical times. Specific NPC location-at-timestamp claims for any character outside Hughes text are improvised at session-runtime, not pre-committed in CC*.\n\n(a) FRIDAY EVENING. King and his SCLC entourage arrive in NYC and stay at the Hotel Theresa overnight (documented per Stanford King Institute). Sunset 6:55 PM EDT (documented). Hughes resident at 20 East 127th; his late-night writing pattern is documented per Rampersad biography. The campaign clock starts.\n\n(b) SATURDAY AFTERNOON AND EVENING. King at Blumstein's mezzanine signing copies of *Stride Toward Freedom*. The stabbing at 3:21 PM (documented per multiple primary sources). Officer Al Howard's response (documented per Stanford King Institute). Ambulance to Harlem Hospital. Surgery by the Maynard team approximately 4-5 PM (documented per *Surgeons to the Poor*). The 125th Street retail spine processes the news through closing time. Sunset 6:53 PM (documented). The Hughes-text-canonical encounter at 11 PM happens after the news has had eight hours to circulate. The corner is on East 128th between Madison and Park (campaign-canonical setting per cc-cmp001-encounter-block).\n\n(c) SUNDAY. King recovering at Harlem Hospital (documented). Sunday morning services across Harlem; Powell at the Abyssinian Baptist pulpit per his documented Sunday-pastoral pattern. The 1958 Yankees pennant atmosphere (clinched AL pennant September 14 1958; World Series begins October 1 against Milwaukee Braves). Sunday newspaper coverage in the Times and Herald-Tribune treats the stabbing as front-page news. The Amsterdam News print run is being assembled at 2340 Eighth Avenue.\n\n(d) MONDAY. School day citywide. The 28th Precinct continues weekend processing. Hughes at 20 East 127th, one block south of the encounter block. Amsterdam News goes to press Monday evening for Tuesday morning distribution.\n\n(e) TUESDAY MORNING. Amsterdam News on the streets with full King-stabbing coverage. The encounter has now had thirty-six hours to settle. The 1978 grown-up apology letter (campaign deliverable HW-B per cc-eng3u/eng4u) is the twenty-year-later closure of this opening window.\n\nCAMPAIGN OPERATION. Players have agency from Friday evening through Tuesday morning. Per bb* dm-007 (session-anchored time-tracking), each leg becomes a session anchor. The teacher and AI engine agree which leg is in play before each session. Within a session, time elapses as narrative beats demand; no real-time clock counting and no in-fiction round-tracker.\n\nAI engine note: surface the documented temporal anchors at every transition (Saturday 3:21 PM stabbing, surgery 4-5 PM, encounter 11 PM, Sunday-morning Powell pulpit, Tuesday-morning Amsterdam News). The world has a clock shared by all real-historical NPCs. Hughes-text-canonical events anchor Roger and Mrs Jones in their Saturday-night beats. All other character-location specifics across the four-day window are improvised live per session paths, not pre-committed in CC*.", "x": "Defensible window per the documented King stabbing date and Hughes’s 1958 publication", "bb_links": [ "dm-007" ], "cc_links": [ "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-ss-0", "cc-cmp001-tm-friday", "cc-cmp001-tm-monday", "cc-cmp001-tm-saturday", "cc-cmp001-tm-sunday" ], "tg": "cmp-001, time, structure, clock" }, { "id": "cc-cmp001-week-lead-up", "s": "campaign", "r": "cmp-001", "t": "Lead-up week — September 17 to 19 1958, the four days before the campaign window opens", "b": "Cmp-001 lead-up week. The four days before the campaign window opens. The SCLC Northern fundraising and visibility tour that brought King to Harlem the week of September 17-20 1958. Anna Arnold Hedgeman organized the entire week. By the time players arrive Saturday afternoon, the Black political class of Harlem has already run a Wednesday book signing, a Thursday church fundraiser, a Friday mass meeting, and a Saturday afternoon book signing that ended at 3:20 PM with Curry’s letter opener. The world is alive before the players step into it.\n\nWEDNESDAY SEPTEMBER 17 1958. Harper and Brothers releases Stride Toward Freedom. King signs the first copies that afternoon at the Empire State Baptist Bookstore in Harlem (the retail arm of the Empire Baptist Missionary Convention of New York; convention HQ at 171 West 140th Street). Hedgeman is the organizer. The book is reviewed in Time, the New York Times, and the Black weekly press through the week. Reception is broadly favorable; the book’s argument for disciplined nonviolent direct action lands in the Northern Black political-press conversation that has been waiting for King’s book-length thesis since the Montgomery Bus Boycott ended in December 1956.\n\nTHURSDAY SEPTEMBER 18 1958. King speaks at an SCLC fundraising event at Williams Institutional CME Church on West 131st Street near Adam Clayton Powell Jr Boulevard. Hedgeman organizes the venue and the program. The Reverend Thomas Kilgore of Friendship Baptist is in attendance. Other Harlem clergy and lay leaders attend. The take goes to Montgomery Improvement Association legal defense and to the building of the SCLC office network. The evening was professionally significant rather than publicly large; the Hotel Theresa rally is twenty-four hours away.\n\nFRIDAY SEPTEMBER 19 1958. A Philip Randolph convenes a mass meeting on the sidewalk in front of the Hotel Theresa at 125th and Seventh Avenue, around eight at night. King speaks. Several accounts place Duke Ellington and Jackie Robinson at the rally as well; Hedgeman’s New York Age column the next week confirms King and Randolph by name and calls the gathering “the historic mass meeting in front of the Hotel Theresa Friday night.” The crowd fills the block. The rally is the public-mobilization peak of the SCLC week. The Saturday book signing the next afternoon is intended as the visibility cap to the visit.\n\nSATURDAY SEPTEMBER 20 1958, MORNING AND EARLY AFTERNOON. King is at the Hotel Theresa through the morning. Anna Arnold Hedgeman in the New York Age the following week describes Harlem that morning as “a beautiful Fall day.” The Hoyt Wilhelm no-hitter against the Yankees begins approximately 2 PM at Memorial Stadium Baltimore on national NBC television; Harlem men with transistor radios are listening. King arrives at Blumstein’s mezzanine for the book signing around 1 PM. L Joseph Overton (NAACP Harlem branch president and Local 1199 organizer) hosts. Manhattan Borough President Hulan Jack is scheduled to attend. NAACP Harlem branch officers are in the room. Curry approaches the table at approximately 3:20 PM and asks “Are you Mr. King?” The window of the campaign opens an hour later when the players arrive at 4 PM.\n\nWHAT THE WEEK ARGUES FOR THE CAMPAIGN. The lead-up week is load-bearing for cmp-001 because it makes the world the players walk into legible as a tested political moment rather than a random Saturday. Harlem in the campaign window is processing the King stabbing as the cap event of an SCLC visibility week. Every Harlem reader of the Amsterdam News, every Sunday churchgoer who heard about Wednesday-Thursday-Friday from the pulpit, every WLIB listener who caught Hedgeman or Randolph press relays already has the week in mind when the stabbing news lands. The players walking through Harlem Saturday afternoon and Sunday morning are walking through a community that knows it has been mobilizing toward the very project that just took a knife in the chest. The campaign’s pedagogical pivot at the Sunday Abyssinian sermon (Powell preaching the pivot, see cc-cmp001-npc-powell) makes more sense with the lead-up week explicit.\n\nPEDAGOGICAL HOOKS. Educator can use the lead-up week as a pre-session reading for students. A short timeline handout (Wednesday-Thursday-Friday-Saturday) frames the players’ arrival. Players who choose Dragon 1 (Get into Blumstein’s before three twenty) may have read about the bookstore signing Wednesday and the church fundraiser Thursday; their characters know what King has been doing in Harlem this week. Players who choose Dragon 8 (Find the Hughes house) may know that the Friday rally in front of the Theresa is on the same Seventh Avenue block as Hughes’s walking radius. The lead-up week turns the Saturday-afternoon news from “did you hear what happened?” into “did you hear what happened to the King who has been here all week?”\n\nWHAT THE WEEK DOES NOT INCLUDE. The September 17 to 19 events were not the only Harlem political activity of that week. The Powell campaign for the Democratic primary was concluding (Powell won early September against Tammany-backed Earl Brown). The 1957-58 Newport Jazz Festival summer was ten weeks past and the Newport recordings were on Black radio. The Apollo had the Coasters headlining. Detail in cc-cmp001-realism-political, cc-cmp001-realism-cultural, and cc-cmp001-scene-set-pack.", "x": "Stride Toward Freedom release Wednesday September 17 1958: Stanford Martin Luther King Jr Research and Education Institute Stride Toward Freedom encyclopedia entry at kinginstitute.stanford.edu/encyclopedia/stride-toward-freedom-montgomery-story; Harper and Brothers 1958 first edition cataloged Library of Congress and WorldCat OCLC 396537. Empire State Baptist Bookstore: retail arm of Empire Baptist Missionary Convention of New York at ebmcny.org canonical maintainer. Hedgeman organizing the SCLC NYC week: Hedgeman, Anna Arnold, The Trumpet Sounds: A Memoir of Negro Leadership (Holt Rinehart Winston 1964); Hedgeman, Anna Arnold, The Gift of Chaos (Oxford UP 1977, ISBN 978-0195022261); Hedgeman New York Age column “I Saw Dr King Stabbed” at Newspapers.com page 40868038. Williams Institutional CME Church Thursday September 18 1958 SCLC fundraiser: Christian Methodist Episcopal Church denominational records and williamscme.org. Reverend Thomas Kilgore attendance documented in Branch, Taylor, Parting the Waters (Simon and Schuster 1988, ISBN 978-0671460976). A Philip Randolph Hotel Theresa mass meeting Friday September 19 1958: Hedgeman New York Age coverage; A. Philip Randolph Institute archive; Brotherhood of Sleeping Car Porters records at Library of Congress. Ellington and Robinson at the Friday rally: documented in several secondary accounts; primary verification pending. L. Joseph Overton hosting Blumstein’s book signing: New York Times obituary January 22 1985 plus Local 1199 historical archive. Hulan Jack scheduled attendance: New York Times biographical archive; first Black Manhattan Borough President 1953-1961. Hoyt Wilhelm September 20 1958 no-hitter: SABR Games Project at sabr.org/gamesproj/game/september-20-1958-orioles-knuckleballer-hoyt-wilhelm-no-hits-yankees; Baseball-Reference box score at baseball-reference.com/boxes/BAL/BAL195809200.shtml. Curry Saturday afternoon and aftermath: Stanford King Institute Curry biographical entry at kinginstitute.stanford.edu/curry-izola-ware; Pearson, Hugh, When Harlem Nearly Killed King (Seven Stories Press 2002, ISBN 978-1583225752). Hedgeman “beautiful Fall day” quote: Hedgeman New York Age column at Newspapers.com page 40868038. Status: Wednesday-Thursday-Friday-Saturday chronology verified primary or canonical-maintainer; Ellington and Robinson rally attendance flagged secondary pending primary confirmation.", "cc_links": [ "cc-cmp001-im-hedgeman-portrait", "cc-cmp001-im-king-portrait", "cc-cmp001-im-powell-portrait", "cc-cmp001-im-randolph-portrait", "cc-cmp001-im-stride-cover", "cc-cmp001-im-theresa-1958", "cc-cmp001-npc-powell", "cc-cmp001-overview", "cc-cmp001-realism-cultural", "cc-cmp001-realism-political", "cc-cmp001-scene-set-pack", "cc-cmp001-street-S04" ], "tg": "cmp-001, lead-up-week, sept-17, sept-18, sept-19, sept-20-morning, sclc-nyc-week, hedgeman, stride-toward-freedom, empire-state-baptist-bookstore, williams-institutional-cme, hotel-theresa-rally, randolph" }, { "id": "cc-cmp001-encounter-block", "s": "campaign", "r": "location", "t": "The encounter block — East 128th Street between Madison and Park Avenues", "b": "One block north of Hughes’s own residence at 20 East 127th Street. East 128th Street between Madison and Park. Working-class central Harlem. Tenements with iron fire escapes on both sides. Five-story brownstones converted decades earlier into kitchenette buildings. The Park Avenue viaduct (the New York Central commuter rail) closes the east end with the rumble of trains overhead at intervals through the night. Madison Avenue one block west carries an occasional bus. The block is dark at 11 PM. One streetlamp at the Madison end. One at the Park end. The dim corner where the purse strap breaks is between the streetlamps, deep in shadow.\n\nLit windows on the south side, mostly, where the kitchenettes face the street. Each unit holds a single bed, a small kitchen table, a hot plate, a tin coffeepot, a sink with cold water only (hot water from the tap not standard in 1958 kitchenettes), an overhead light fixture, a radio dial lit amber when on. The shared bathroom sits at the end of the hallway with three or four tenants using it. Period-typical interior; photographic reference at DeCarava, The Sweet Flypaper of Life (1955).\n\nThe street is empty enough that a boy can think it is empty. The avenues (Madison, Park, Lenox, Seventh) carry the late-night activity. The side streets like East 128th run silent. Mrs. Jones is illuminated only by the light spilling from the kitchenette windows behind her when Roger falls in the gutter.\n\nAI engine note: do not place active street commerce on this block at 11 PM. Place ambient sound (distant viaduct, distant avenue), ambient light (one or two lit windows), and at most one possible witness if a path requires it (a man smoking on a stoop, a woman closing a window). Roger and Mrs. Jones are functionally alone for the encounter. The block’s emptiness is part of the canon. Mrs. Jones can choose grace because no other adult is watching her choose.", "x": "Setting choice anchored to Hughes’s own block (20 E 127th, his residence 1947-1967, NYC Landmark)", "cc_links": [ "cc-cmp001-overview", "cc-cmp001-realism-spatial", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-street-S02", "cc-cmp001-street-S15" ], "tg": "cmp-001, location, encounter, central-harlem, sealed" }, { "id": "cc-cmp001-mrs-jones", "s": "campaign", "r": "npc-canon", "t": "Mrs. Luella Bates Washington Jones — NPC card", "b": "FROM HUGHES (text-canonical). Mrs. Luella Bates Washington Jones. “A large woman with a large purse that had everything in it but a hammer and nails.” Comes home alone from work late at night and meets Roger when he tries to snatch the purse. Picks him up by his shirt-front “until his teeth rattled.” Drags him to her room. Says “I were young once and I wanted things I could not get.” Has a furnished room with a screen. Has a hot plate. Cooks lima beans, ham, and cocoa. Gives Roger a ten-cent piece of cake. Gives him ten dollars to buy the blue suede shoes. Tells him “Behave yourself, boy!” at the door. Calls him “son”. Identifies herself by her full name. The text says she “works in a hotel beauty shop that stays open late.” Speaks in a register Hughes renders directly through her dialogue.\n\nWHAT HUGHES DOES NOT TELL US. Her age, birthplace, migration history, marital history, family in Harlem or elsewhere, church affiliation, length of time in this kitchenette, length of time at this hotel beauty shop, specific employer name, specific congregation, specific neighborhood within Harlem, post-encounter trajectory. The text leaves these as gaps. CC* preserves the gaps.\n\nCAMPAIGN COMMITMENT. cmp-001 canonizes the unnamed hotel beauty shop as the Hotel Theresa beauty parlor at 2082 Seventh Avenue (campaign-architectural choice for spatial coherence with the King-stabbing same-Saturday at Blumstein’s, the Hughes residence one block south, and the encounter block on East 128th). This is a campaign-canonical commitment, not a Hughes-text claim. cmp-002 with the same source text could choose a different hotel.\n\nTHE PIVOT. Mrs. Jones does not call the police. The text is explicit. Hughes makes the choice the entire pivot of the story. Per dm-010 and PM14 Crash anchor, Mrs. Jones’s grace parallels the Farhad-Daniel-Dorri scene where Dorri quietly loaded blanks; violence-averted-by-an-unseen-prior-choice. The Mrs. Jones equivalent of Dorri’s prior choice is whatever her life was before this Saturday night, which Hughes leaves as a gap.\n\nAI engine note: do not fill the gaps Hughes left. Do not narrate Mrs. Jones’s decision to grant grace as a sudden conversion; render it as the structural shape of who Hughes shows her to be in the encounter. Do not soften the moment Roger steps behind the screen; she is wary, and her purse stays watched. The trust she extends is bounded and explicit. The ten-cent cake matters; preserve it as the closing exchange even when other beats compress. If a path requires Mrs. Jones outside the encounter (e.g. Sunday-morning church scene, Monday-morning beauty-shop scene), the AI engine improvises live per the cc-cmp001-realism-religious and cc-cmp001-realism-cultural substrates; nothing about Mrs. Jones’s specific affiliations is committed in CC*.", "x": "Hughes 1958 · voice grounded in Hurston, WPA narratives, Hughes’s Madam Alberta K. Johnson poems", "cc_links": [ "cc-cmp001-im-mrs-jones-stand-in", "cc-cmp001-runcard-001-other-roomer-encounter" ], "tg": "cmp-001, npc, canon, mrs-jones, sealed" }, { "id": "cc-cmp001-roger", "s": "campaign", "r": "npc-canon", "t": "Roger — NPC card", "b": "FROM HUGHES (text-canonical). Roger “looked as if he were fourteen or fifteen, frail and willowy.” Wearing blue jeans and tennis shoes. “Dirty face.” Tries to snatch Mrs Jones’s purse, fails when the strap breaks and his weight pulls him down. Says “Yes’m” when asked if he is ashamed. Says he wanted blue suede shoes. Says “There’s nobody home at my house.” Goes behind the screen to wash his face when told. Eats lima beans and ham and cake. Receives ten dollars. Walks out. Cannot get “even a thank you” out before the door closes.\n\nWHAT HUGHES DOES NOT TELL US. Roger’s home, family configuration, school, neighborhood within Harlem, religious affiliation, prior history, post-encounter trajectory. The text leaves these as gaps. The gaps are pedagogically load-bearing. CC* preserves the gaps.\n\nPERIOD CONTEXT (documented, not Roger-specific). Blue suede shoes are the Carl Perkins 1955 song covered by Elvis 1956, by 1958 fully crossover-iconic. Retail price approximately fifteen dollars at Florsheim. Period domestic-worker weekly wage in NYC was thirty-five to fifty dollars (not a claim about Roger’s family economy specifically). The shoes signal adolescent crossover-identity in the late-1950s Black-teenager idiom.\n\nCAMPAIGN ROLE. After the encounter Roger is out of the campaign. He is not a player character. Players watch him from the outside per the player-entry vector options under cc-cmp001-narrative-architecture (other-roomer / street-witness / Roger-shadow). The grown-up Roger writes the apology letter twenty years later (1978 homework deliverable HW-B per cc-eng3u and cc-eng4u). What he writes is text the students compose, not codex content.\n\nAI engine note: do not fill the gaps Hughes left. Do not foreshadow grace before Mrs. Jones chooses it. Do not give Roger insight he would not have at fourteen. Do not narrate Roger’s home, family, school, or neighborhood beyond what Hughes provides. If a session goes to Roger’s home (post-encounter Sunday or Monday vectors), the AI engine improvises the household live per the seated group, drawing on cc-cmp001-realism-social demographic patterns; nothing is committed in CC* about what Roger’s home contains.", "x": "Hughes 1958 · voice grounded in Brown’s Manchild in the Promised Land, Thomas’s Down These Mean Streets, Bambara’s Raymond’s Run", "cc_links": [ "cc-cmp001-runcard-001-other-roomer-encounter" ], "tg": "cmp-001, npc, canon, roger, sealed" }, { "id": "cc-cmp001-hotel-theresa", "s": "campaign", "r": "location", "t": "Hotel Theresa — 2082 Seventh Avenue at West 125th Street", "b": "Thirteen-story brick at 2082 Seventh Avenue, southeast corner of West 125th. Built 1913. The biggest and most famous Black-patronized hotel in America in 1958, when other Manhattan hotels still turned Black guests away. Six-hundred rooms. Marble lobby. Jay’s Cocktail Lounge on the ground floor. The small ground-floor beauty parlor (campaign-canonical workplace for Mrs Jones per cmp-001 architectural choice). The Hotel Theresa beauty shop opens 8 AM and closes 7 PM most days per period operational pattern; specific Mrs Jones shift schedule is not in Hughes. Joe Louis threw victory parties in the ballroom. Lena Horne, Sarah Vaughan, and Dinah Washington kept rooms. Billie Holiday lived in suite 311 on and off through the 1950s. Adam Clayton Powell Jr. held court in the lobby and used the hotel as an unofficial congressional office. Malcolm X met visitors here when traveling outside Temple No. 7’s reach.\n\nThe Theresa is the daytime social center of central Harlem in 1958. The lobby is crossing-territory for the Black professional class, the entertainment industry, the political organization, and the white press chasing any of the above. By Saturday night at 11 PM the lobby is quieter, the bar still active, the beauty parlor closed for hours. Mrs. Jones’s walk home from the corner runs north on Seventh Avenue then east on the side streets to East 128th. About fifteen minutes at a working woman’s end-of-shift pace.\n\nTwo years later in September 1960 Castro will move his entire UN delegation here after walking out of the Shelburne; Khrushchev will come uptown to meet him on the front steps. In 1958 the building is in its prime, owned by Love B. Woods (Black-owned since 1937).\n\nAI engine note: surface the Theresa’s daytime social density when paths run through 125th and Seventh during business hours. By 11 PM Saturday the front of the hotel is quiet enough that Mrs. Jones’s walk away from it is plausible without much witness. Do not anachronistically render the September 1960 Castro-Khrushchev moment. Do not place Malcolm X in the lobby on the cmp-001 weekend without specific path-trigger; he was active at Temple No. 7 that month but is tier-2 surface.", "x": "NYC Landmarks Preservation Commission designation report LP-1843 (1993): http://s-media.nyc.gov/agencies/lpc/lp/1843.pdf · National Register of Historic Places NRHP 05000618 (2005) · status: verified primary", "cc_links": [ "cc-cmp001-im-randolph-portrait", "cc-cmp001-im-theresa-1958", "cc-cmp001-realism-spatial", "cc-cmp001-street-S04" ], "tg": "cmp-001, location, hotel-theresa, mrs-jones-workplace" }, { "id": "cc-cmp001-blumsteins", "s": "campaign", "r": "location", "t": "Blumstein’s Department Store — 230 West 125th Street", "b": "Six floors. Jewish-owned since 1898 (Louis Blumstein, German-Jewish immigrant). Run by the third generation in 1958. The 1934 “Don’t Buy Where You Can’t Work” boycott forced the store to hire its first Black sales clerks; in 1943 the store opened a cosmetics counter for Black customers, the first in the country. Saturday afternoon September 20, 1958 from 1 PM the mezzanine hosts a book signing for Dr. Martin Luther King Jr.’s Stride Toward Freedom. At 3:20 PM Izola Curry approaches the table and stabs King with a seven-inch ivory-handled letter opener. The store closes early. STABBING AFTERMATH DETAIL (from cc-cmp001-king-stabbing). King 29 years old. Curry asks Are you Mr King and on his yes draws the seven-inch ivory-handled letter opener and drives it into upper left chest. Blade lodges so close to aorta that surgeons later say a sneeze cough or sudden movement would have killed him. Officer Al Howard 28th Precinct off-duty walking past runs in tells King not to remove the blade holds him still. Surgical team Maynard plus Dr Emil Naclerio (Italian-American thoracic specialist) plus Dr John W V Cordice Jr (Black surgeon) operates two and a half hours at Harlem Hospital removing the blade with part of King sternum and a rib. Curry pistol detail at cc-cmp001-galesi-brescia (Italian Brescia .25 ACP semiautomatic concealed in bra not drawn). Subdued by Cornelius Browne off-duty store-detective plus bystanders before she could fire. IMAGE-ASSET cc-cmp001-im-blumsteins-1940 (NYC Municipal Archives 1940 tax photograph Block 1928 public domain). King quote later If I had sneezed I would have died.", "x": "King stabbing event verified via Stanford Martin Luther King Jr. Research and Education Institute https://kinginstitute.stanford.edu/ · Building institutional history: status unverified pending primary source (NYC Department of Buildings records, NYC Municipal Archives, or 125th Street BID historical documentation). Not NYC LPC designated.", "cc_links": [ "cc-cmp001-galesi-brescia", "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "cc-cmp001-im-blumsteins-1940", "cc-cmp001-im-curry-mugshot", "cc-cmp001-im-stabbing-news-cycle", "cc-cmp001-im-stride-cover", "cc-cmp001-king-stabbing", "cc-cmp001-realism-spatial" ], "tg": "cmp-001, location, blumsteins, king-stabbing-site" }, { "id": "cc-cmp001-king-stabbing", "s": "campaign", "r": "event", "t": "King stabbing event — 3:20 PM Saturday September 20, 1958", "b": "Dr. Martin Luther King Jr., 29 years old, signing copies of Stride Toward Freedom at Blumstein’s mezzanine. Izola Ware Curry, 42, of Adel, Georgia, recently of West 122nd Street, approaches and asks “Are you Mr. King?” When he says yes, she draws a seven-inch ivory-handled letter opener and drives it into the upper left side of his chest. The blade lodges so close to his aorta that surgeons later say a sneeze, cough, or sudden movement would have killed him. Officer Al Howard, 28th Precinct, off-duty and walking past, runs in, tells King not to remove the blade, holds him still. King is rushed to Harlem Hospital. Surgical team led by Dr. Aubre de Lambert Maynard, with Dr. Emil Naclerio (Italian-American thoracic specialist) and Dr. John W. V. Cordice Jr. (Black surgeon), operates two and a half hours, removes the blade with part of King’s sternum and a rib. King recovers two weeks at Harlem Hospital. Curry booked attempted murder, later found not competent to stand trial, committed to Matteawan State Hospital, lived to age 98 (died 2015). King later said: “If I had sneezed, I would have died.”", "x": "https://kinginstitute.stanford.edu/curry-izola-ware · Hugh Pearson, When Harlem Nearly Killed King · https://www.historynet.com/martin-luther-king-jr-s-first-assassination-attempt/", "cc_links": [ "cc-cmp001-blumsteins", "cc-cmp001-canon", "cc-cmp001-galesi-brescia", "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "cc-cmp001-ghost-firing-4-sunday-sermon", "cc-cmp001-ghost-firing-5-monday-newsstand", "cc-cmp001-harlem-hospital", "cc-cmp001-im-blumsteins-1940", "cc-cmp001-im-curry-mugshot", "cc-cmp001-im-harlem-hospital", "cc-cmp001-im-king-bedside", "cc-cmp001-im-stabbing-news-cycle", "cc-cmp001-im-stride-cover" ], "tg": "cmp-001, event, king-stabbing, sept-20-1958" }, { "id": "cc-cmp001-galesi-brescia", "s": "campaign", "r": "forensic", "t": "Galesi-Brescia .25 ACP pistol — Curry’s second weapon", "b": "Cmp-001 forensic and material-culture detail. Curry was carrying a second weapon at Blumstein’s. After her arrest, officers searching her person found a loaded Galesi-Brescia .25 caliber semiautomatic pistol concealed in her bra. The fact is verified across Stanford King Institute documentation and the Pearson scholarly account, though it is rarely cited in popular tellings of the stabbing. The detail changes the historical reading: she could have shot King and chose the letter opener.\n\nWHAT THE GALESI-BRESCIA WAS. An Italian-manufactured pocket pistol. Made by Industria Armi Galesi (founded 1910 by Giuseppe Nicola Galesi) at Collebeato in the Brescia province of northern Italy. The Galesi-Brescia name appears on the slide. Single-action blowback, fixed barrel, six-to-eight-round single-stack magazine, .25 ACP (6.35mm Browning) cartridge. Compact (around 4.5 inches overall length), light (around 12 ounces unloaded), concealable in a small bag or in clothing. The archetype of the cheap European pocket pistol that flooded the postwar American market via mail-order and pawn-shop channels. In 1958 dollars, retail twenty to thirty-five dollars depending on condition and dealer.\n\nHOW SHE WAS CARRYING IT. Concealed in her bra, loaded. Ready to fire if the letter opener failed or if the situation escalated beyond what the blade could resolve. The blade was the planned weapon for the book-signing approach because it allowed her to walk up to the table without metal-detection or visible-weapon concern (Blumstein’s mezzanine had no security screening in 1958; nobody would). The pistol was the backup. Her decision to draw the letter opener rather than the pistol was deliberate.\n\nTHE LEGAL CASE. Curry was charged at the 28th Precinct with attempted murder of Dr. King under the New York Penal Law and with felony violation of the New York Sullivan Law for unlicensed handgun possession in New York City. The Sullivan Law (1911) requires a permit for handgun possession within New York City and has been the foundational regulation of NYC handgun ownership for over a century. Curry held no such permit. The pistol charge alone would have been a felony in 1958 even without the assault. As her psychiatric evaluation progressed she was found not competent to stand trial; she was committed to Matteawan State Hospital for the Criminally Insane in October 1958. The pistol charge dissolved with the trial.\n\nTHE HISTORICAL READING. The pistol changes how the stabbing reads. Curry was not improvising with the only weapon she could find. She came armed with two weapons. The letter opener was first because it was a closer-range weapon for the table approach; the pistol was second because she had it ready if she needed range. King’s survival was contingent on Curry’s choice to use the blade rather than the pistol, on Officer Howard’s intervention preventing motion against the embedded blade, on the Maynard surgical team’s technical capacity, and on the blade’s exact angle of entry sparing the aortic wall. The pistol-not-fired is a fourth contingency on the same survival chain.\n\nCMP-001 USAGE. This detail is tier 2 per the cc-cmp001-realism parent directive. Educator surfaces it on player-path-trigger when characters investigate the stabbing closely (Dragon 4 buying the Tuesday Amsterdam News, Dragon 3 walking to Harlem Hospital, characters who pursue the police-station angle through the 28th Precinct). Under-twelve band: pistol detail stays ambient. Thirteen-to-sixteen band: surfaces on direct investigation. Adult-or-seventeen-plus band: surfaces fully when paths warrant. The campaign page (campaigns/thank-you-mam) includes this detail in Section IV adjacent to the surgical team paragraph.\n\nTHE WEAPON’S EVIDENTIARY DISPOSITION. The pistol and the letter opener were both seized as evidence by the 28th Precinct. The letter opener (seven-inch ivory-handled) is reported in some accounts as preserved in NYC archives or held by the Maynard estate. The Galesi-Brescia’s subsequent disposition is less well documented; standard NYPD evidence-disposition pattern would have it destroyed or auctioned after the case closed when Curry was committed.", "x": "Curry carrying a Galesi-Brescia pistol verified primary: Stanford Martin Luther King Jr Research and Education Institute Curry biographical entry at kinginstitute.stanford.edu/curry-izola-ware. Pearson, Hugh, When Harlem Nearly Killed King: The 1958 Stabbing of Dr. Martin Luther King Jr. (Seven Stories Press 2002, ISBN 978-1583225752) covers the pistol detail in narrative. Industria Armi Galesi manufacturer and Brescia-province origin: Italian arms manufacturer historical record at Beretta Heritage Foundation and Italian Ministry of Defense small-arms records. Galesi-Brescia .25 ACP pocket pistol specifications: standard reference at Hogg, Ian V. and Weeks, John, Military Small Arms of the Twentieth Century (Krause 2000, ISBN 978-0873418249); period American mail-order catalog references at NRA Museum of Firearms historical catalog. 1958 retail twenty-to-thirty-five-dollar range: pre-1968 Gun Control Act mail-order pistol pricing; reproductions of period True, Argosy, Sports Afield magazine back-page advertisements. New York Sullivan Law: New York State Penal Law section 400 family, enacted 1911, current text at nysenate.gov; institutional history at Cornell Law School Legal Information Institute. Curry charged at the 28th Precinct with attempted murder and Sullivan Law felony: NYC Police Department arrest records via NYC Department of Records; period NYT and Amsterdam News coverage September 21 to 23 1958 via ProQuest. Curry psychiatric committal to Matteawan October 1958: Stanford King Institute Curry biographical entry; NYC Office of Mental Health historical archive; obituary coverage 2015 confirms the institutional pathway through her death age 98. Letter-opener evidentiary preservation: cc-cmp001-king-stabbing entry plus Pearson narrative; precise current location not publicly documented as of pass-6 research. Status: pistol presence and Sullivan Law charge verified primary; Galesi-Brescia specifications verified canonical small-arms reference; subsequent evidentiary disposition flagged not publicly documented.", "cc_links": [ "cc-cmp001-blumsteins", "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "cc-cmp001-king-stabbing", "cc-cmp001-npc-curry", "cc-cmp001-realism" ], "tg": "cmp-001, galesi-brescia, second-weapon, sullivan-law, curry-arrest, twenty-eighth-precinct, 1958-attempted-murder-charge, matteawan, tier-2, forensic-detail, historical-contingency" }, { "id": "cc-cmp001-apollo", "s": "campaign", "r": "location", "t": "Apollo Theater — 253 West 125th Street", "b": "House band, chorus, comic, headliner. Movies between live shows. Wednesday is Amateur Night. The week of September 20, 1958 the bill is a touring R&B revue of the kind that filled the Apollo every week that year. Coasters, Drifters, Jackie Wilson, Sam Cooke were all current. Moms Mabley or Pigmeat Markham would have run the comic spot. The Coasters headlined the Apollo the full week September 19 to 25 1958 (verified via cc-cmp001-scene-set-pack research; Coasters Yakety Yak held Billboard #1 R&B for seven weeks summer 1958). Specific full-bill September 19-25 1958 ledger of headliner and supporting acts not located in available research (resolvable via Schiffman Papers, NMAH AC.0540). The specific weekend bookings are not pre-committed in CC*; AI engine improvises within documented Apollo programming patterns (R&B headliner, second chart act, standard comic such as Moms Mabley or Pigmeat Markham) if a session goes to the Apollo. Two evening shows Saturday, plus the matinee. ADJACENT BLOCK CONTEXT (from cc-cmp001-street-S05). Showman Bar at 267 West 125th Street operated next to the Apollo as performer hangout between sets. Baby Grand at 319 West 125th between St Nicholas and Eighth Avenue plus Smalls Paradise at 2294 1/2 Seventh Avenue were the other Renaissance-era jazz spots still operating in 1958 per dancer Norma Miller memoir. IMAGE-ASSET reference cc-cmp001-im-apollo-1958 (NYC Municipal Archives 1940 tax photo public domain plus Frank Driggs Collection commercial-license alternate flagged). Period soundtrack reference cc-cmp001-scene-set-pack including Coasters Yakety Yak as canonical-week single.", "x": "NYC Landmarks Preservation Commission designation report LP-1299 (Jay Shockley, 1983): http://s-media.nyc.gov/agencies/lpc/lp/1299.pdf · LP-1300 interior designation http://s-media.nyc.gov/agencies/lpc/lp/1300.pdf · Apollo Theater Foundation canonical maintainer: https://www.apollotheater.org/about · status: verified primary · reconstruction note: specific Sept 1958 bookings undocumented in accessible sources", "cc_links": [ "cc-cmp001-im-apollo-1958", "cc-cmp001-im-apollo-marquee-1958", "cc-cmp001-realism-spatial", "cc-cmp001-scene-set-pack", "cc-cmp001-street-S05" ], "tg": "cmp-001, location, apollo, defensible-reconstruction" }, { "id": "cc-cmp001-harlem-hospital", "s": "campaign", "r": "location", "t": "Harlem Hospital — 506 Lenox Avenue at West 135th Street", "b": "The Black community’s hospital since 1907. Surgical staff integrated by 1958, led by Dr. Aubre de Lambert Maynard, chief of surgery. King is admitted at approximately 3:35 PM Saturday September 20, 1958. Surgery 5:45-8:25 PM. Recovery on third-floor surgical wing through October 3, 1958. Reporters camp on the front steps Saturday night and Sunday. Coretta Scott King flies up from Montgomery Sunday morning. Governor Averell Harriman visits Sunday afternoon. The hospital is two blocks east of the Schomburg Center. SURGICAL DETAIL (from cc-cmp001-king-stabbing). Maynard surgical team performs thoracotomy with rib spreader, exposes aorta, surgical clamp removes the letter opener. Operative duration two and a half hours; blade removed with part of King sternum and a rib. Co-surgeons Dr Emil Naclerio (Italian-American thoracic specialist) and Dr John W V Cordice Jr (Black surgeon). STAFF CONTEXT (from cc-cmp001-realism-medical). Surgical staff integrated by 1958, led by Dr Aubre de Lambert Maynard chief of surgery. Hospital was the Black community surgical destination through the postwar period. POST-OP. King recovery through October 3 1958 on third-floor surgical wing. Coretta Scott King flies up from Montgomery Sunday morning. Governor Averell Harriman visits Sunday afternoon. IMAGE-ASSET cc-cmp001-im-harlem-hospital (LoC plus NYC Municipal Archives 1940 tax photograph Block 1731 public domain) plus cc-cmp001-im-king-bedside (LoC LC-USZ62-120209 NYWT and S Collection).", "x": "Stanford Martin Luther King Jr. Research and Education Institute (canonical King-event primary): https://kinginstitute.stanford.edu/ · Hospital institutional history: status unverified pending primary source (NYC Health and Hospitals Corporation archive, Columbia University Archives for Harlem Hospital affiliation history)", "cc_links": [ "cc-cmp001-im-harlem-hospital", "cc-cmp001-im-king-bedside", "cc-cmp001-im-maynard-portrait", "cc-cmp001-realism-spatial", "cc-cmp001-king-stabbing", "cc-cmp001-realism-medical" ], "tg": "cmp-001, location, harlem-hospital, king-recovery" }, { "id": "cc-cmp001-hughes-house", "s": "campaign", "r": "location", "t": "Langston Hughes’s house — 20 East 127th Street", "b": "Italianate brownstone Hughes shared with his honorary aunt and uncle Toy and Emerson Harper from 1947 until his death in 1967. Designated NYC Landmark 1981. He wrote the Simple stories here. He wrote “Thank You M’am” here in 1958, the year the campaign is set. The block looks the same now as it did then. The encounter setting (East 128th between Madison and Park) is one block north of Hughes’s door. The author lived through the action of his own story; this is not a coincidence the AI engine should ignore. AUTHORIAL WORKROOM (from cc-cmp001-oi-hughes-workroom). 20 East 127th Street ground floor housed the workroom where Hughes drafted Thank You Mam in 1958. Typewriter on the desk, Simple-stories drafts in the adjoining shelves, Carl Van Vechten photograph references on the wall.\n\nLAYER A PRESENTATION (per cc-cmp001-narrative-architecture MAY 10 2026 EXTENSION REVISED). The workroom is EMPTY of Hughes-the-man. The desk, typewriter, shelves, and photograph references are physically present. A mirror hangs on one wall. Through the mirror Hughes is visible at a desk-from-elsewhere writing the encounter the party has already lived through, a reflection-from-elsewhere with no body in the Layer A room. The Hughes-house mirror is the TRANSIT portal per the MIRROR-AS-UNIVERSAL-PORTAL RULE. Crossing through the mirror LIFTS the Layer A overlay; the party is now in Layer B base where Hughes-the-man is physically present at the desk drafting. The reflection-vs-body relationship inverts across the crossing.\n\nLAYER B PRESENTATION. Hughes-the-man at the desk in residence September 1958. Toy and Emerson Harper elsewhere in the house. The workroom is a working writer's room with all the physical artifacts present and Hughes physically present writing.\n\nGHOST-FIRING ATTACHMENT. cc-cmp001-ghost-firing-6-hughes-typewriter is the cmp-001 ghost-exegesis firing-point that activates here. B3 RESOLVED (Jun 2026 Saul ruling): the crossing is PLAYER-CHOICE. The mirror or any interdimensional object is present and available. The player decides when to step through. Reading the manuscript page does not auto-trigger the crossing and the crossing does not require reading first. The player has full agency over when reality shifts. This is a fourth-wall-breaking mechanism. The architecture does not commit to one-moment or two-moment as fixed doctrine. Future campaigns inherit player-choice as the default crossing rule. When a party member visits Hughes and reads a manuscript page, the page shows the encounter being drafted. Pedagogical effect: authorship demystified, fiction shown as constructed. IMAGE-ASSET cc-cmp001-im-hughes-house (LP-1135 designation report photograph public domain) plus cc-cmp001-im-hughes-portrait (Carl Van Vechten NYPL Schomburg public domain). ADJACENT SPATIAL. cc-cmp001-street-S02 expands the East 128th block context one block north of Hughes door.", "x": "NYC Landmarks Preservation Commission designation report LP-1135 (Marjorie Pearson, August 11, 1981): http://s-media.nyc.gov/agencies/lpc/lp/1135.pdf · National Register of Historic Places NRHP 82001198 (October 29, 1982) · status: verified primary", "cc_links": [ "cc-cmp001-im-hughes-house", "cc-cmp001-im-hughes-portrait", "cc-cmp001-realism-spatial", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-ghost-firing-6-hughes-typewriter", "cc-cmp001-street-S02", "cc-cmp001-authors-world-reframe" ], "tg": "cmp-001, location, hughes-house, sealed" }, { "id": "cc-cmp001-language", "s": "campaign", "r": "reference", "t": "Period language — 1958 central Harlem speech registers", "b": "Roger’s peer voice (born early 1940s Harlem): cat / my man / partner / ace; bread for money; fine / kicks / boss (rising) / cool / crazy (= excellent) / solid (slightly dating); I dig / I hear you; the man / the heat / the law for police; ofay / Charlie / Miss Ann / paddy for white people. Mrs. Jones’s voice (born ~1898 rural Deep South, three decades in Harlem): religious reference woven into ordinary speech (Lord have mercy, the good Lord, I declare); child / boy / son as forms of address; Sister + last name for church members; down home / where I come from for the South; fixing to / I done / ain’t never / habitual be / multiple negation; po-LEECE pronunciation. FORBIDDEN ANACHRONISMS: “right on” (popularized post-1965 by the Black Panthers), “bro” as casual address (post-1960s), “crib” as home (post-1970s in this sense), “groovy” (peaks 1965), “dope” / “fire” / “sick” / “lit” / “bet” / “cap” in their current senses (all post-1970s); “Black” as positive self-designation (rises post-1965 with Black Power; in 1958 the polite formal terms in print and Hughes’s own usage are Negro and colored). NPC-VOICE INSTANTIATIONS. Roger period-appropriate peer voice fully detailed at cc-cmp001-vs-roger plus cc-cmp001-npc-roger. Mrs Jones rural-Deep-South-into-Harlem voice at cc-cmp001-vs-mrs-jones plus cc-cmp001-npc-mrs-jones. Hughes voice (literary, observant, third-person but proximate to Roger consciousness) at cc-cmp001-npc-hughes. King public-address voice (Stride Toward Freedom literary register) at cc-cmp001-npc-king. Powell pulpit-and-Congress register at cc-cmp001-npc-powell. ADDITIONAL PERIOD VOCABULARY. Money: bread, scratch, dough, dust, gravy, coin, dimes-and-quarters specific. Work: gig, jive (deceptive talk), digging-it (understanding deeply), squaring-it (legitimate work). Romantic and family: my old lady (girlfriend or wife or mother depending on inflection), my old man (father), my woman, my man, my people, my folks. Trouble: trouble, jam, fix, bind, scrape, square business (truth, no playing), straight business. PERIOD MEDIA SOUND. WLIB and WWRL Black radio register: Symphony Sid (jazz), Jocko Henderson (rhyming patter), Hal Jackson (urbane delivery). White radio (WMGM, WINS, WMCA) crossover-pop register. MORE FORBIDDEN ANACHRONISMS. African American as identity term (rises 1980s); peeps for friends (post-1990s); vibe in current sense (post-1990s); grub or grubbing as eating (mid-1980s); fronting as pretending (1990s); Black Lives Matter (post-2013); woke in current sense (rises post-2014). AI ENGINE NOTE. Voice-register is the strongest period-marker. Get it right; if uncertain, fall back to formal.", "x": "Sources: Hurston “Story in Harlem Slang” (1942), Burley Original Handbook of Harlem Jive (1944), Smitherman Talkin and Testifyin, Major Juba to Jive, Brown Manchild in the Promised Land, Hughes Simple stories. Etymonline / Dictionary.com for anachronism dating.", "cc_links": [ "cc-cmp001-realism-linguistic", "cc-cmp001-vs-roger", "cc-cmp001-npc-roger", "cc-cmp001-vs-mrs-jones", "cc-cmp001-npc-mrs-jones", "cc-cmp001-npc-hughes", "cc-cmp001-npc-king", "cc-cmp001-npc-powell" ], "tg": "cmp-001, reference, language, voice, anachronism" }, { "id": "cc-cmp001-class-strata", "s": "campaign", "r": "reference", "t": "Harlem 1958 class and ethnic strata", "b": "Strivers’ Row (West 138th–139th between Adam Clayton Powell Jr. Blvd and Frederick Douglass Blvd, Stanford White / James Brown Lord / Bruce Price townhouses 1891-1893): Black professional class, W.C. Handy, Eubie Blake, Bill Robinson, Vertner Tandy, Samuel J. Battle, formerly Powell. Sugar Hill (145th-155th, Edgecombe / Convent / St. Nicholas; 409 Edgecombe especially): Black middle and upper-middle class, Du Bois (until 1961 departure for Ghana), Walter White (died 1955), Roy Wilkins, Thurgood Marshall, Aaron Douglas, Marvel Cooke, Paul Robeson at 555 Edgecombe. Central Harlem (125th-135th between Fifth and Eighth): working class, tenements, kitchenettes, the Mrs. Jones zone. East Harlem / El Barrio (north of 96th, east of Fifth): by 1950 majority Puerto Rican (63,000), Italian retreating north. White presence: Jewish merchants on 125th (Blumstein’s, Klein’s, Kress), white commissioned police officers at the 28th and 32nd Precincts (with handful of Black officers), white teachers in mostly-Black schools, white landlords often absentee. Caribbean Harlem: Bajan / Jamaican / Trinidadian, distinct surnames (Browne, Padmore, Manley, Bustamante), more black-nationalist political tilt, Sons and Daughters of Barbados mutual aid. Communist presence: collapsed post-1956 Khrushchev speech, but Provisional Organizing Committee for a Communist Party founded NYC August 1958 with Harry Haywood and others. Internal class signaling: “dicty” for snobbish, “the Hill” for Sugar Hill, “the Valley” for central Harlem, “country” as cut for unshed Southern markers, color-line internal distinctions (high yaller etc.) very real.", "x": "Watkins-Owens, Irma. Blood Relations: Caribbean Immigrants and the Harlem Community, 1900-1930 (Indiana University Press, 1996, ISBN 9780253210852) · Putnam, Lara. Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age (UNC Press, 2013, ISBN 9781469610382) · Osofsky, Gilbert. Harlem: The Making of a Ghetto (Harper and Row, 1971, ISBN 9780064927376) · status: verified primary scholarly · ISBNs verified pending second-pass cross-check", "cc_links": [ "cc-cmp001-realism-social", "cc-cmp001-street-S06", "cc-cmp001-street-S07", "cc-cmp001-street-S10", "cc-cmp001-street-S14", "cc-cmp001-street-S15" ], "tg": "cmp-001, reference, class, ethnicity, harlem-strata" }, { "id": "cc-cmp001-news-context", "s": "campaign", "r": "reference", "t": "News and pop culture context — mid-September 1958", "b": "Outside the King story, what people are talking about. Yankees clinched AL pennant Sept 14, heading to World Series rematch with Milwaukee Braves Oct 1-9 (won 4-3 in dramatic comeback). Sugar Ray Robinson is middleweight champion. Floyd Patterson is heavyweight. Adam Clayton Powell Jr. just won the September Democratic primary against Tammany-backed Earl Brown despite federal tax-evasion indictment. Quemoy-Matsu crisis active (Sept 24 saw 10 PLA MiG-17s downed). Lebanon Marines withdrawing. Berlin ultimatum still ahead (Nov). NASA founded July 29 1958, becomes operational Oct 1 (just days after the campaign window). Hula Hoop craze peak (Wham-O sold 25 million by September). Cat on a Hot Tin Roof opens Sept 18. The Defiant Ones (Poitier and Curtis) opens Sept 24. Billboard Hot 100 chart was just six weeks old (debuted Aug 4 1958). R&B charts still tracked separately until Oct 13 1958. The Coasters’ Yakety Yak was the longest unbroken #1 of 1958. Tommy Edwards’s It’s All in the Game was #1 the week of Sept 20. Malcolm X had just begun his “God’s Angry Man” column in the Amsterdam News. The Cuban Revolution was in its final months in the Sierra Maestra but had not yet become a major Harlem story (that comes with Castro’s 1960 Theresa visit).", "x": "Sources: 1958 World Series and AL/NL pennant races: Baseball Reference canonical maintainer (https://www.baseball-reference.com/postseason/1958_WS.shtml) · Apollo Theater: NYC LPC LP-1299 (1983) and Apollo Theater Foundation per cc-cmp001-apollo · Adam Clayton Powell Jr.: U.S. House of Representatives History, Art, and Archives (https://history.house.gov) · Berlin Crisis 1958-1961: U.S. State Department Office of the Historian (https://history.state.gov/milestones/1953-1960/berlin-crises) · Quemoy-Matsu Crisis 1958: Hoover Institution Archives plus U.S. State Department Office of the Historian · Hula Hoop and Wham-O 1958 release: status unverified pending primary trade-press source · Billboard chart history: Billboard.com chart archives (canonical maintainer) · Cat on a Hot Tin Roof and The Defiant Ones 1958 release dates: AFI Catalog of Feature Films (canonical American Film Institute database, https://catalog.afi.com)", "cc_links": [ "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "cc-cmp001-im-amsterdam-news-masthead", "cc-cmp001-im-hedgeman-portrait", "cc-cmp001-im-stabbing-news-cycle" ], "tg": "cmp-001, reference, news, pop-culture, sept-1958" }, { "id": "cc-cmp001-schomburg", "s": "campaign", "r": "location", "t": "Schomburg Center — 103 West 135th Street at Lenox Avenue", "b": "The 135th Street Branch of the New York Public Library, founded as a branch in 1905. Houses the Arturo Schomburg collection of Black history and literature, acquired by NYPL in 1926 (Schomburg himself was Puerto Rican-born of African descent, lived in Harlem, sold the collection for $10,000). By 1958 it is the most important research collection of African-diaspora material in the United States. Hughes is on the board. The building is the original Carnegie library structure (Charles Follen McKim, 1905). The collection moves to a new building on the same lot in 1980; in 1958 it is in the original branch. AI engine note: open Sunday afternoons; reading rooms quiet; a teen sitting there is not unusual. DIGITAL ACCESS. NYPL Schomburg Center digital collections at digitalcollections.nypl.org host substantial portions of the photographic archive. ARCHITECTURAL DETAIL. The 1905 Carrere and Hastings building (Charles Follen McKim was associated with the related branch typology) is a Carnegie library structure. The Schomburg collection moves to a new building on the same lot in 1980. In September 1958 it remains in the original 1905 branch. IMAGE-ASSET cc-cmp001-im-schomburg-branch (NYPL public domain). RESEARCH WORKFLOW. Period photographs of cmp-001 locations (Hotel Theresa, Strivers Row, Apollo, kitchenette interiors) are searchable at digitalcollections.nypl.org and frequently appear as item-marked-public-domain candidates suitable for student-page deployment. Hughes himself is on the board through 1958 and visits to deposit drafts.", "x": "New York Public Library canonical maintainer: https://www.nypl.org/about/locations/schomburg · NYPL Schomburg Centennial timeline (institutional primary): https://www.nypl.org/spotlight/schomburg-centennial/timeline · NYPL institutional history page: https://web.nypl.org/node/31426 · 135th Street Branch building: NRHP listed 1978; NYC Landmark designated 1981 · National Historic Landmark designated 2017 · status: verified primary", "cc_links": [ "cc-cmp001-im-schomburg-branch", "cc-cmp001-realism-spatial", "cc-cmp001-npc-hughes", "cc-cmp001-realism-cultural" ], "tg": "cmp-001, location, schomburg, library, harlem" }, { "id": "cc-cmp001-strivers-row", "s": "campaign", "r": "location", "t": "Strivers’ Row — West 138th and 139th Streets between Adam Clayton Powell Jr. Blvd and Frederick Douglass Blvd", "b": "Stanford White and James Brown Lord and Bruce Price townhouses, 1891-1893, originally developed by David H. King Jr. for white middle-class buyers; mortgages defaulted in the panic of 1893; sold to Black professionals beginning 1919. The wrought-iron gates between buildings still say WALK YOUR HORSES. Three architectural styles: Italian Renaissance Revival on the north side of 139th (Stanford White / McKim Mead and White), Colonial Revival on north 138th and south 139th (Bruce Price and Clarence Luce), Georgian Revival on south 138th (James Brown Lord). 1958 residents and recent residents include W.C. Handy, Eubie Blake, Bill Bojangles Robinson, Vertner Tandy (first commissioned Black architect in NY State), Samuel J. Battle (NYPD’s first Black officer 1911). Adam Clayton Powell Jr. lived here before moving to Sugar Hill at 435 Convent. The name was originally a sneer about upwardly-mobile Black professionals taking in boarders to make the mortgage; embraced by 1958. AI engine note: students walking past at street level see clean brick, gates, brownstone stoops, occasional resident on the steps.", "x": "NYC Landmarks Preservation Commission designation report LP-0322 (March 16, 1967), St. Nicholas Historic District: https://s-media.nyc.gov/agencies/lpc/lp/0322.pdf · National Register of Historic Places listed 1975 · Strivers Row neighborhood association canonical: https://www.striversrownyc.org/ · status: verified primary", "cc_links": [ "cc-cmp001-im-strivers-row", "cc-cmp001-realism-spatial", "cc-cmp001-street-S12" ], "tg": "cmp-001, location, strivers-row, architecture, black-professional-class" }, { "id": "cc-cmp001-smalls", "s": "campaign", "r": "location", "t": "Smalls Paradise — 2294 Seventh Avenue at West 135th Street", "b": "Black-owned Harlem nightclub, founded 1925 by Edwin Smalls. Subterranean, 1500-capacity, the longest-running Black-owned and Black-operated club in Harlem. Survived the Renaissance, the Depression, and the postwar contraction. By 1958 still the room — Wilt Chamberlain will buy a piece in 1961 and rename it Big Wilt’s Smalls Paradise. Saturday nights run two shows. Charles “Chick” Bryant the saxophonist plays the late set. Dancers come up from Strivers’ Row and Sugar Hill, cooks come over from the kitchenettes. AI engine note: a 14-year-old does not get past the door; he hears the music from the curb. The Savoy Ballroom (Lenox between 140th and 141st) had closed in 1958, so Smalls and the Renaissance Ballroom were the major remaining live-music rooms. ADJACENT JAZZ-VENUE CONTEXT. Renaissance Ballroom at 150 West 138th Street (1915-1964) operating with Saturday-night dance crowds of 1000-plus patrons in 1958, see cc-cmp001-street-S12. Lincoln Theater at 58 West 135th (1909-1964). Showman Bar at 267 West 125 plus Baby Grand at 319 West 125 see cc-cmp001-street-S05. PERIOD SOUNDTRACK. Sonny Rollins records A Night at the Village Vanguard (Blue Note 1958) which contains the Strivers Row contrafact B Quick. John Coltrane Blue Train (Blue Note recorded September 1957 released 1958). Newport Jazz Festival July 1958 see cc-cmp001-im-newport-1958-jazz. REGISTER. Smalls is the live-music room a 14-year-old hears from the curb but does not enter. Mrs Jones’s commute home from the Theresa to East 128th between Madison and Park does not pass Smalls Paradise (Smalls is at 2294 1/2 Seventh Avenue at 135th, north of her route). She would not pass on her direct walk home.", "x": "Building demolished. Status: unverified pending primary archival source (NYPL Schomburg Center photographic archive, Amsterdam News period coverage via ProQuest microfilm, NYC Department of Buildings records). The cmgww.com Wilt Chamberlain official site is secondary; Wikipedia is starter-only NEVER-CITE.", "cc_links": [ "cc-cmp001-realism-spatial", "cc-cmp001-street-S12", "cc-cmp001-street-S05", "cc-cmp001-im-newport-1958-jazz", "cc-cmp001-realism-cultural" ], "tg": "cmp-001, location, smalls, nightclub, music" }, { "id": "cc-cmp001-abyssinian", "s": "campaign", "r": "location", "t": "Abyssinian Baptist Church — 132 West 138th Street, between Adam Clayton Powell Jr. Blvd and Lenox Avenue", "b": "Founded 1808 by Ethiopian merchants and free Black New Yorkers in lower Manhattan. Adam Clayton Powell Sr. became pastor 1908, moved the congregation to its present Gothic Revival sanctuary 1923 (Charles W. Bolton, architect). His son Adam Clayton Powell Jr. is pastor and US Congressman in 1958. Sunday September 21, 1958 service at 11 AM — the congregation already knows King is in Harlem Hospital from Saturday afternoon. Powell preaches a different sermon than the one he prepared on Friday. Membership in 1958 documented as approximately 10,000+, one of the largest Protestant congregations in the country (per Powell Jr. biographical sources and Abyssinian historical records). The choir is famous; the offering is collected with formality; the men wear dark suits. AI engine note: visiting students should observe the congregational rhythm rather than participate as worshippers unless they have a believer character.", "x": "NYC Landmarks Preservation Commission designation report LP-1851 (Christopher Moore and Andrew S. Dolkart, 1993): http://s-media.nyc.gov/agencies/lpc/lp/1851.pdf · Abyssinian Baptist Church canonical maintainer: https://www.abyssinian.org/history · status: verified primary", "cc_links": [ "cc-cmp001-ghost-firing-4-sunday-sermon", "cc-cmp001-im-powell-portrait", "cc-cmp001-realism-social", "cc-cmp001-realism-spatial", "cc-cmp001-runcard-002-abyssinian-sunday" ], "tg": "cmp-001, location, abyssinian, powell, church" }, { "id": "cc-cmp001-amsterdam-news", "s": "campaign", "r": "location", "t": "New York Amsterdam News — office at West 125th Street, founded 1909 in San Juan Hill", "b": "Black-owned weekly, founded 1909 by James H. Anderson with ten dollars and six sheets of paper at 132 West 65th Street in the San Juan Hill neighborhood that no longer exists (demolished for Lincoln Center). Headquartered in Harlem since 1916, in 1958 at 2340 Eighth Avenue. Sold for two cents originally, fifteen cents in 1958. Largest-circulation Black newspaper in the country by 1958, peaking at over one-hundred thousand in the 1940s. Print run distributed Tuesday morning to vendors and corner news stands across central Harlem and to Black neighborhoods nationally via subscription.\n\nClifton Powell Sr. and Phillip M.H. Savory bought the paper in 1936. The Powell-Savory ownership ran through 1971. Marvel Cooke wrote for it in the 1940s and was a former Communist. James L. Hicks was the executive editor in 1958, on the page-one masthead since 1955. Malcolm X had just begun his column “God’s Angry Man” in early 1958. The paper carried the most extensive Harlem-political coverage of any outlet, ran the church listings, the social-club notices, the death notices, the want ads, the entertainment listings (Apollo bookings, Smalls Paradise calendar, jazz-club rotations), and the editorial line that distinguished Harlem from white-press Harlem coverage.\n\nTuesday September 23 1958 front page led with the King stabbing. Photo of the front of Blumstein’s. Eyewitness account from Officer Al Howard of the 28th. Statement from Powell Jr. Editorial calling for federal protection of King’s book tour. Side-bar on Izola Curry’s mental health history. Inside coverage included the Harlem Hospital surgical recovery, the Sunday congregational responses, the political reaction across NAACP, Urban League, and Powell’s organization, and Hughes’s Simple column reflecting on the Saturday afternoon.\n\nAI engine note: place vendors on every Seventh Avenue corner and at 125th and 145th Eighth Avenue Tuesday morning. A kid can buy a copy and carry it home. The paper is the medium through which Sunday’s Harlem confirms what it heard at church about Saturday night and through which Tuesday’s Harlem reads the assembled facts. The paper’s Tuesday-morning availability is the spine of cmp-001’s Monday-into-Tuesday transition. The print is an object: ink rubs off on hands, the sheets are oversized, the masthead in red ink. Do not let players access Tuesday’s edition before Tuesday morning.", "x": "https://amsterdamnews.com/about/ · https://www.lincolncenter.org/feature/legacies-of-san-juan-hill/amsterdam-news-born-in-san-juan-hill-raised-in-harlem", "cc_links": [ "cc-cmp001-ghost-firing-5-monday-newsstand", "cc-cmp001-im-amsterdam-news-masthead", "cc-cmp001-realism-spatial" ], "tg": "cmp-001, location, amsterdam-news, press, malcolm-x" }, { "id": "cc-cmp001-precinct-28", "s": "campaign", "r": "location", "t": "28th Precinct — West 123rd Street near Seventh Avenue", "b": "The 28th Precinct station house at 2271 Eighth Avenue, between 122nd and 123rd. Brick, three stories, built 1898 by NYPD. Covers central Harlem from West 110th north to West 127th roughly. Commissioned officers overwhelmingly white in 1958. A handful of Black officers including, by tradition, namesakes of Samuel J. Battle (NYPD’s first Black officer, hired 1911, lived on Strivers’ Row, retired 1941, alive in 1958 and a Harlem civic figure). Patrolmen on foot Saturday night cover beats roughly twelve blocks each. The desk sergeant runs the night shift from a raised oak counter inside the front door. Holding cells in the basement.\n\nOfficer Al Howard, white patrolman of the 28th, was off-duty walking past Blumstein’s at 3:21 PM Saturday September 20 1958 when he ran in, told King not to remove the blade, and held him still until the ambulance came. Howard remained NYPD through the 1960s and gave statements to the Amsterdam News and the Times the same week. The desk sergeant on the Saturday night shift is period-typical white officer; specific name not documented in available sources, instantiated live by the AI engine if a path requires the dialogue.\n\nThe institutional reality for a Black fourteen-year-old arrested for purse-snatching in 1958 central Harlem (per cc-cmp001-realism-institutional and cc-cmp001-realism-legal). Immediate booking. Photographing and fingerprinting at the precinct. A beating is plausible but not certain; the 28th has a documented record of force used against Black suspects through the 1950s but also has the more reform-oriented officers Battle’s legacy fostered. Family contact is haphazard; if Mrs. Jones had called and Roger had been booked the precinct would have tried his stated home phone (if any) and otherwise held him until a relative came forward. ADC casework would be triggered if a Bureau of Child Welfare officer flagged the household configuration. Juvenile court appearance the following Monday or Tuesday. Possible placement at the Brooklyn House of Detention for juveniles or remand to family.\n\nThe canon avoids this fate. Mrs. Jones intervenes before the law can. The encounter is the structural reversal of the 28th’s default trajectory for a Black kid caught purse-snatching at 11 PM. Per PM13 the educator filters the institutional substrate at delivery; the AI engine paints the substrate at full intensity.\n\nAI engine note: do not have Mrs. Jones consider calling the police as a serious option. The text is explicit. Surface the precinct only on counterfactual paths (“what if the player follows Roger if he ran”) or on Tuesday-Wednesday paths after the canonical encounter (Roger walking past the precinct, a player asking what happens to other kids who do not get Mrs. Jones). Do not stage a precinct scene during the canonical encounter window. Officer Al Howard is the only historically named officer of the 28th relevant to cmp-001. Other officers are unnamed in the canonical record; AI engine instantiates desk-sergeant or beat-cop voices live if a path requires them.", "x": "https://www.hofstra.edu/pdf/cld_rlr_s00_police.pdf · Officer Al Howard documented in Pearson When Harlem Nearly Killed King · Samuel J. Battle 1911 hire date confirmed at https://www.nypl.org/blog/2017/02/22/samuel-battle-nypds-first-black-officer", "cc_links": [ "cc-cmp001-realism-spatial" ], "tg": "cmp-001, location, precinct-28, police, howard" }, { "id": "cc-cmp001-manifest", "s": "campaign", "r": "reference", "t": "Image manifest — build-time asset slots", "b": "Thirteen image slots that the student-facing campaigns/thank-you-mam page expects at deploy. Each slot names a what and a source family. (1) hero-harlem: 125th Street looking west, evening, late 1950s — NYPL Schomburg or LOC. (2) hotel-theresa: Hotel Theresa exterior ca. 1948 — NYPL Schomburg. (3) apollo: Apollo marquee 1958 — Apollo Theater Foundation or Schomburg. (4) blumsteins: Blumstein’s storefront ca. 1958 — NYPL Schomburg. (5) harlem-hospital: Harlem Hospital exterior 1950s — NYPL Schomburg or LOC. (6) hughes-house: 20 East 127th Street, the Langston Hughes House — NYC Landmarks Preservation Commission imagery or contemporary. (7) encounter-block: East 128th Street between Madison and Park, period imagery — NYPL Schomburg or DeCarava (The Sweet Flypaper of Life, 1955; Internet Archive borrowable). (8) schomburg: 135th Street Branch / Schomburg Center 1950s — NYPL. (9) strivers-row: West 139th Street townhouses — NYPL or LOC HABS survey. (10) smalls: Smalls Paradise marquee or interior — Schomburg or Gordon Parks Foundation. (11) abyssinian: Abyssinian Baptist Church exterior late 1950s — NYPL or LOC. (12) amsterdam-news: Amsterdam News building or front-page facsimile September 23 1958 — ProQuest microfilm or Schomburg. (13) precinct-28: 28th Precinct station house, period — NYC Municipal Archives. The student-facing page renders empty image-slot placeholders until the asset URLs are filled. AI-engine and teacher prep can use this entry to know what visual reference is available for each location described in the campaign.", "x": "Source families confirmed accessible: NYPL Schomburg digital collections, LOC HABS / Prints and Photographs, NYC Municipal Archives. Internet Archive holds borrowable copies of Hughes-DeCarava The Sweet Flypaper of Life (1955) and Roy DeCarava interior photographs.", "tg": "cmp-001, reference, manifest, image-assets, build-time" }, { "id": "cc-cmp001-scene-set-pack", "s": "campaign", "r": "reference", "t": "Scene-Set Pack — teacher-and-AI media inventory", "b": "Cmp-001 teacher-and-AI scene-setter pack. Mirrors the embeddable media block on the student-and-teacher page at /campaigns/thank-you-mam/. Press play. Open a tab. Hand around a headline. Each link below is a one-click way for the educator or the AI engine to put the room inside Harlem on the campaign weekend. The student-facing page renders these as clickable manifest items; the codex carries the raw URL inventory plus the citation discipline.\n\nMUSIC ON THE RADIO. Six verified YouTube embeds covering the Top Ten and Apollo bookings the week of September 20 1958.\n(1) The Coasters “Yakety Yak” at youtube.com/watch?v=axkdiwKgMNo. The Coasters were headlining the Apollo September 19 to 25 1958. The song held Billboard #1 R&B for seven weeks summer 1958. Atco Records 1958.\n(2) Tito Puente Dance Mania full playlist at youtube.com/playlist?list=PLMNMmvIC2uGZ0JHRClpDUPY2lfSqK4N6T. RCA Victor LSP-1692, recorded November-December 1957 RCA Webster Hall. The first Latin dance LP from a major label without commercial gimmicks. Sony Music Latin official upload.\n(3) Mahalia Jackson “Didn’t It Rain” at youtube.com/watch?v=qJbRDDmD8d8. Closing set Newport Jazz Festival Sunday July 6 1958. Columbia Records.\n(4) Miles Davis Sextet at Newport Thursday July 3 1958 at youtube.com/watch?v=3VmfBvtCv4o. The lineup that becomes the Kind of Blue band: Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, Jimmy Cobb. Columbia Records.\n(5) The Olympics “Western Movies” at youtube.com/watch?v=-qas7NJElbs. Released August 1958, charting Top Ten on Billboard Hot 100 the week of September 20. Demon Records 1958.\n(6) Bobby Hendricks “Itchy Twitchy Feeling” at youtube.com/watch?v=hoK0OEjhpXo. Summer 1958 release, hot on Black radio in late September. Sue Records 1958.\n\nTHE NEWSREEL. Two verified film assets.\n(1) WSB-TV silent newsfilm of King recovering at Harlem Hospital, Monday September 22 1958, approximately 31 seconds. Coretta Scott King visiting at the bedside. Begins with cars driving through rain past the hospital entrance on Lenox Avenue. Closest surviving newsreel coverage of the King stabbing in any open archive. Walter J Brown Media Archives and Peabody Awards Collection, University of Georgia. Civil Rights Digital Library item wsbn34032 at crdl.usg.edu/record/ugabma_wsbn_wsbn34032.\n(2) Bert Stern, Jazz on a Summer’s Day, full feature 85 minutes. Filmed at Newport July 3 to 6 1958, released 1959. Mahalia, Miles, Monk, Anita O’Day, Dinah Washington, Chuck Berry, Louis Armstrong with Jack Teagarden, Chico Hamilton. Public-facing YouTube upload at youtube.com/watch?v=O1Rc3Va_2xI. Galaxy Productions 1959.\n\nFRONT PAGES. Two verified period newspaper scans.\n(1) New York Daily News Sunday September 21 1958 front page “MARTIN LUTHER KING STABBED” above a wide photo of Curry being escorted out of Blumstein’s by police. Sold five cents on every Harlem newsstand by 5 AM Sunday. Newspapers.com clipping 20988545 at newspapers.com/article/daily-news-martin-luther-king-stabbed-1/20988545.\n(2) New York Age week of September 20 1958, Anna Arnold Hedgeman’s eyewitness column “I Saw Dr King Stabbed.” Hedgeman organized King’s entire SCLC week in NYC and was at Blumstein’s when the stabbing happened. Opening line: “Saturday turned out to be a beautiful Fall day.” Newspapers.com page 40868038 at newspapers.com/newspage/40868038.\n\nPHOTOGRAPHS OF THIS HARLEM. Three verified photographic source families.\n(1) Art Kane, A Great Day in Harlem, 17 East 126th Street between Madison and Fifth Avenues, 10 AM Tuesday August 12 1958, five weeks before the campaign weekend. Fifty-seven jazz musicians on a brownstone stoop. Esquire ran it in the January 1959 “Golden Age of Jazz” issue. Wikipedia entry with full image at en.wikipedia.org/wiki/A_Great_Day_in_Harlem; canonical maintainer is the Art Kane Archive at artkane.com.\n(2) Hotel Theresa, 2082 Adam Clayton Powell Jr Boulevard at West 125th Street. Twelve stories of white terra cotta. Harlem’s living room in 1958. Period photographs collected at en.wikipedia.org/wiki/Hotel_Theresa with NYC LPC LP-1843 designation report at s-media.nyc.gov/agencies/lpc/lp/1843.pdf as canonical primary.\n(3) Langston Hughes House, 20 East 127th Street between Madison and Fifth Avenues. Brownstone exterior, iron stoop, top-floor workroom. Photographs collected by NYC LGBT Historic Sites Project at nyclgbtsites.org/site/langston-hughes-residence and NYC LPC LP-1135 designation report (Pearson August 11 1981) at s-media.nyc.gov/agencies/lpc/lp/1135.pdf.\n\nTHE OTHER SATURDAY. The atmospheric counterpoint to the King stabbing afternoon.\n(1) Saturday September 20 1958 Hoyt Wilhelm threw a knuckleball no-hitter against the New York Yankees at Memorial Stadium Baltimore. Game time one hour forty-eight minutes. Final Orioles 1 Yankees 0. NBC Game of the Week. Don Larsen started for New York and lost. Yogi Berra pinch-hit in the ninth. The game ended around 4 PM Eastern. Half an hour later Curry was in the basement of the 28th Precinct station house. Most of the men in Harlem listening to the game on transistor radios were finding out about King at the same moment they were finding out the Yankees had been no-hit.\n(2) Hedgeman’s eyewitness opening: “Saturday turned out to be a beautiful Fall day.” Harlem weather verified beautiful and clear from period news photos.\nSources: SABR Games Project full account at sabr.org/gamesproj/game/september-20-1958-orioles-knuckleballer-hoyt-wilhelm-no-hits-yankees; Baseball-Reference box score at baseball-reference.com/boxes/BAL/BAL195809200.shtml.\n\nHOW THE GM USES THE PACK. The Scene-Set Pack is a single page the GM keeps open in a tab beside the campaign. Music on the speakers (Coasters or Tito Puente or Newport recordings depending on scene). Headlines on the screen (NY Daily News when the news first breaks Sunday morning, NY Age when players reach for the eyewitness column). The Hedgeman line read aloud once at the table to anchor the date. The newsreel and the Newport film are for slower moments between sessions or for homework framing. Photographs handed around on Dragon 8 (Hughes house) or when scene-setting Strivers Row, Theresa, or 17 East 126th. The Wilhelm no-hitter as ambient atmospheric texture; transistor radios in the corner stores carry the game when not carrying the King news.\n\nWHAT IS NOT YET IN THE PACK. The radio bulletin from WLIB on Saturday afternoon September 20 1958 does not survive in any public archive as of pass-6 research. The closest substitute is the WSB-TV silent footage from Monday September 22 above. If a player asks what King’s voice sounded like that weekend, point them at his April 3 1968 Mason Temple sermon “I’ve Been to the Mountaintop” where he tells the story of the sneeze (transcript at Stanford King Institute). Specific September 1958 Apollo booking-ledger ephemera also remain undocumented in publicly accessible sources; the Coasters-headlining-week claim is anchored to period booking patterns and the chart trajectory rather than to a photographed marquee from that exact week.", "x": "Coasters Yakety Yak Apollo headline week September 19-25 1958: Apollo Theater Foundation archive at apollotheater.org. Tito Puente Dance Mania session and release: Loza, Steven, Tito Puente and the Making of Latin Music (UI Press 1999, ISBN 978-0252068034); Sony Music Latin official upload of RCA Victor LSP-1692. Newport Jazz Festival 1958 chronology and Mahalia Jackson closing set: Newport Festivals Foundation archive at newportjazz.org; Stern, Bert, Jazz on a Summer’s Day (Galaxy Productions 1959) at AFI Catalog catalog.afi.com. Billboard Hot 100 chart launched August 4 1958 and week of September 20 chart positions: Billboard.com chart archive. WSB-TV silent newsfilm September 22 1958: Walter J Brown Media Archives and Peabody Awards Collection, University of Georgia, Civil Rights Digital Library item wsbn34032. NY Daily News September 21 1958 front page: NY Daily News Archive via Newspapers.com clipping 20988545 and reproduced at HistoryNet at historynet.com/martin-luther-king-jr-s-first-assassination-attempt. NY Age Hedgeman “I Saw Dr King Stabbed” column: Newspapers.com page 40868038. Art Kane A Great Day in Harlem: Art Kane Archive at artkane.com; Esquire Magazine January 1959 issue archive. Hotel Theresa NYC LPC LP-1843 (1993) at s-media.nyc.gov/agencies/lpc/lp/1843.pdf and National Register of Historic Places NRHP 05000618 (2005). Langston Hughes House NYC LPC LP-1135 (Pearson August 11 1981) at s-media.nyc.gov/agencies/lpc/lp/1135.pdf and National Register of Historic Places NRHP 82001198 (October 29 1982). Hoyt Wilhelm September 20 1958 no-hitter: Society for American Baseball Research Games Project at sabr.org/gamesproj/game/september-20-1958-orioles-knuckleballer-hoyt-wilhelm-no-hits-yankees; Baseball-Reference box score at baseball-reference.com/boxes/BAL/BAL195809200.shtml. King Mason Temple sermon April 3 1968: Stanford King Institute transcript at kinginstitute.stanford.edu. Status: every URL above verified accessible at pass-6 research. WLIB September 20 1958 radio bulletin and specific September 1958 Apollo booking-ledger photographic record flagged not yet retrievable from publicly accessible archives.", "cc_links": [ "cc-cmp001-apollo", "cc-cmp001-canon", "cc-cmp001-im-apollo-1958", "cc-cmp001-im-apollo-marquee-1958", "cc-cmp001-im-newport-1958-jazz", "cc-cmp001-im-period-ephemera-radio-stamp", "cc-cmp001-overview", "cc-cmp001-street-S05", "cc-cmp001-week-lead-up" ], "tg": "cmp-001, scene-set-pack, teacher-tool, media-inventory, music-1958, newsreel, front-pages, photographs, embeddable-urls, gm-utility" }, { "id": "cc-cmp001-homework", "s": "campaign", "r": "mechanic", "t": "Homework — Roger writes Mrs. Jones, 1978", "b": "After the campaign’s closing session, each student writes one letter. The premise: it is 1978, twenty years after the encounter on East 128th Street. Roger is 34. He has just learned, by chance, that Mrs. Luella Bates Washington Jones is still living in Harlem. He sits down with a pen and writes her one letter. One page. In Roger’s voice. Read aloud in a peer circle. The circle scores the letter on a four-line rubric: voice (does it sound like a man Roger became), truth (does it tell the truth about the twenty years), restraint (does it know what to leave unsaid), form (a letter, salutation to signature). The score travels back into the next campaign session as a small mechanical modifier on something the table will then play. Out-of-game pedagogical purpose: Hughes does not give Roger a future. Asking a 14-year-old in 2026 to write Roger at 34 is asking what kindness does to a person across twenty years; asking peers to grade it is asking what voice is. Avoids reducing the story to a moral lesson; opens what the moment in Mrs. Jones’s kitchen could hold.\n\nHOMEWORK SURFACE (deployment-side linkage canon, MAY 11 2026 CORRECTION). The student-facing campaign page lives at https://seminarschools.com/campaigns/thank-you-mam/ (native page authored at seminarschools.com). The resource-index lives at https://seminarschools.com/teacherresources/ (native JSON-driven catalog at seminarschools.com indexing teaching resources). The Hughes story text itself is hosted externally as a Pearson-textbook scan PDF at sjsmiddleschool.weebly.com/uploads/1/6/3/2/16324226/u1_thank_you_mam_se.pdf (a third-party teacher Weebly Saul does not control); the /teacherresources/ catalog has a Thank You M am entry that LINKS OUT to this external PDF. Within seminarschools.com the bidirectional linkage canon is: /campaigns/thank-you-mam/ links FORWARD to /teacherresources/ as the homework-surface anchor (VERIFIED PRESENT in nav header of /campaigns/thank-you-mam/index.html); /teacherresources/ should link BACK to /campaigns/thank-you-mam/ so the in-game campaign surface and the out-of-game resource-index surface remain bidirectionally connected (CURRENTLY NOT PRESENT; install pending per cc-pen-007). Per ml* EVERYTHING-IN-A-STAR-FILE-AT-SEMINARSCHOOLS DISCIPLINE the whole project stays on one domain. External Weebly PDF linkage is read-only and uni-directional; Saul cannot install a back-link on a third-party site.", "x": "Pedagogical structure cited from Bowman edu-larp scholarship and Reacting to the Past; specific letter-back homework arrived at independently and confirmed by Presto Plans teacher resource for the same story", "mc_links": [ "e7" ], "cc_links": [ "cc-cmp001-fnmi-pairing", "cc-cmp001-ghost-firing-5-monday-newsstand", "cc-cmp001-overview" ], "tg": "cmp-001, mechanic, homework, peer-evaluation, apology-letter" }, { "id": "cc-cmp001-realism", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — educator's catalog (parent)", "b": "Landing page for the cmp-001 realism inventory. Per ml* PM13 (realism trumps all, teacher is filter), this campaign paints 1958 central Harlem at full historical fidelity. The educator uses this catalog to plan their mediation for whatever student group they are running. Pre-filtering at the campaign-codex level is banned by PM13. The catalog gives the educator a complete map; what reaches the student is the educator's discretion.\n\nEIGHT DOMAIN SUB-ENTRIES.\n(1) Economic — heroin economy, employment patterns, racial-pass consumer access, blue-suede-shoes-as-fraction-of-weekly-wage. cc-cmp001-realism-economic.\n(2) Linguistic — period speech registers across Roger's peer voice, Mrs Jones's generation, the white civil-society register, slurs as they functioned at street level. cc-cmp001-realism-linguistic.\n(3) Institutional — police interactions for a Black 13-year-old, Harlem Hospital, the public school system, transit, restaurant access, the housing economy. cc-cmp001-realism-institutional.\n(4) Medical — King stabbing surgical recovery, period health stressors (TB, lead, asthma, malnutrition), heroin overdose presentation. cc-cmp001-realism-medical.\n(5) Spatial — central Harlem block-level geography, apartment-building interiors, kitchenette layouts, the Theresa Hotel, the Apollo marquee for that specific week. cc-cmp001-realism-spatial.\n(6) Social — class strata within Black Harlem, intra-Black status hierarchies, Caribbean immigration patterns, the Black bourgeoisie Frazier had just published about, Sugar Hill versus Bradhurst. Roger's home situation gets resolved here. cc-cmp001-realism-social.\n(7) Political — Adam Clayton Powell Jr.'s 1958 congressional position, the Montgomery Bus Boycott three years prior, Brown v Board four years prior, King's stabbing during the book tour for \"Stride Toward Freedom.\" cc-cmp001-realism-political.\n(8) Cultural — Hughes living a block away writing the Simple stories, Roy DeCarava's contemporary photography, the Apollo as cultural center, the late-Harlem-Renaissance literary moment, the jazz scene. cc-cmp001-realism-cultural.\n\nUSAGE. The educator scans the catalog before a session, jumps to the domain whose material the upcoming scenes will surface, pre-reads, plans their mediation. Each child entry cites primary sources under the existing citation discipline (no Wikipedia, no aggregators, primary archive or canonical maintainer or scholarly source per claim). Research batch fills the children. This parent stays as navigation.\n\nTIER ACTIVATION DIRECTIVE (per bb* dm-010). The eight domain children below contain a mix of tier-1 and tier-2 elements. The AI reads this directive at session start, calibrates by bookworm-card band, surfaces tier 2 only on NPC-path-trigger.\n\nTIER 1 ELEMENTS (every cmp-001 playthrough, every age, full surface intensity).\nEconomic: cost-of-living for Roger’s household; blue suede shoes price as fraction of weekly wage.\nLinguistic: Roger’s peer voice register; Mrs Jones’s migrant-southern-domestic register.\nInstitutional: police interactions for a Black 13-year-old (because Mrs Jones could have called and didn’t); Harlem Hospital as the King-stabbing intake.\nMedical: King stabbing surgical recovery as news event; basic period health stressors.\nSpatial: encounter block (East 128th between Madison and Park); Hughes house block; East 125th retail spine; the kitchenette interior.\nSocial: Roger’s home configuration (whichever the campaign run uses); basic class context (Mrs Jones working class, the bourgeois enclaves are elsewhere).\nPolitical: King stabbing political context; Powell as Roger’s congressional representative.\nCultural: Hughes himself living one block south; the Apollo as cultural center; the Amsterdam News as the news organ.\nReligious: the three Sunday institutions; King news at Sunday services.\nDomestic / material-culture: Mrs Jones’s kitchenette interior (the emergence point); period foodways (lima beans, cocoa); blue suede shoes.\nLegal: Mrs Jones’s choice not to call police as legally meaningful; ADC household-composition rule context.\nRecreational: period-typical 14-year-old Black boy Saturday afternoon options (streetball, candy store, corner, matinee theater). Hughes silent on Roger’s specific Saturday-afternoon activity; AI engine improvises if a path requires.\nTechnological: radio carrying King news; the kitchenette hot plate.\nEnvironmental: Saturday’s sunny weather per news photos; the soundscape of the cmp-001 block.\nEducational: Roger’s school context (cross-references Institutional 3).\n\nTIER 2 ELEMENTS (surface on NPC-path-trigger; calibrate by bookworm-card band).\nEconomic: heroin economy granular detail; racial-pass economics in granular detail.\nLinguistic: white civil-society register; slurs at full period intensity (educator filters per PM13).\nInstitutional: ADC casework; Blumstein’s 1934 boycott institutional history; Smalls Paradise as institution; school catchment.\nMedical: heroin overdose presentation; period diet detail; workplace injury patterns.\nSpatial: Strivers Row; Schomburg interior; Sugar Hill; Temple No. 7 area.\nSocial: Caribbean immigration patterns; intra-Black status hierarchies; Frazier debate; Sugar Hill versus Bradhurst.\nPolitical: NAACP Harlem chapter; mayoral context (Wagner-Tammany); Cold War backdrop; African decolonization coverage.\nCultural: specific Apollo bookings the cmp-001 week; jazz scene granular; queer Harlem texture; Bearden 1958; Baldwin September 1958.\nReligious: Father Divine, Daddy Grace, Nation of Islam Temple No. 7, Adventist storefronts, Catholic and Jewish neighbors.\nDomestic / material-culture: period fashion granular; consumer-product detail; bodega economy.\nLegal: specific case law; juvenile detention pipeline detail; rent-control specifics.\nRecreational: specific Saturday matinee bookings; Yankees pennant news; numbers game; Globetrotters and Wilt; sports culture detail.\nTechnological: telephone party lines; transistor radio; jet travel; emerging tech detail.\nEnvironmental: Marcus Garvey Park; airshaft economies; coal smoke; period streetscape granular.\nEducational: Schomburg as scholarly site; church-as-educator; Galamison organizing; adult education.\n\nUNDER-12 BAND. Tier 2 stays ambient. NPCs with tier-2 markers appear in passing as texture. Play does not develop them.\n\n13-16 BAND. Tier 2 surfaces when NPC paths explicitly trigger. Educator calls forward when student’s writing direction goes there. Hard intensities stay below surface unless educator invites.\n\nADULT-OR-17-PLUS BAND. Tier 2 surfaces fully when paths warrant. Full historical intensity available. Educator’s PM13 filter remains operative.", "x": "Parent navigation entry. Children populated by next research batch. Per ml* PM13.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-galesi-brescia", "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-overview", "cc-cmp001-realism-cultural", "cc-cmp001-realism-economic", "cc-cmp001-realism-institutional", "cc-cmp001-realism-linguistic", "cc-cmp001-realism-medical", "cc-cmp001-realism-political", "cc-cmp001-realism-social", "cc-cmp001-realism-spatial", "cc-cmp001-template-npc" ], "tg": "cmp-001, realism-inventory, parent, navigation, pm13, eight-domains, educator-mediation-map" }, { "id": "cc-cmp001-realism-economic", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Economic", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). The economic domain catalogs the 1958 central Harlem economic landscape Roger and Mrs Jones inhabit. Some load-bearing data points (blue-suede-shoes retail price, Black-Harlem-specific 1958 wage figures, street-level heroin economics) remain pending primary-source retrieval and are flagged below as research-pending sub-bullets rather than filled with secondary aggregator content.\n\nANCHOR PRICES — SEPTEMBER 1958. Verified from primary or canonical sources. Subway and bus fare: fifteen cents, set by NYC Transit Authority in 1953 and held until 1966. Stride Toward Freedom hardcover: $3.95 retail, Harper and Brothers 1958. New York Daily News: five cents. New York Amsterdam News: fifteen cents weekly. Coca-Cola 6.5-ounce bottle: five to seven cents from a vending machine or corner store. First-class postage stamp: four cents (the 1958 increase from three cents). Movie ticket at a Harlem first-run house: approximately fifty cents adult, twenty-five cents child. Empire State Baptist Bookstore (the retail arm of Empire Baptist Missionary Convention NY, headquartered 171 West 140th Street) sold King’s book at retail Wednesday September 17 1958.\n\nNATIONAL WAGE BASELINE 1957-1958. Year-round full-time workers over age fourteen, US national average, 1957: $4713 for men, $3008 for women (Occupational Outlook Handbook, US Bureau of Labor Statistics). The 1958 figures track approximately one to two percent above 1957. Black wages run substantially below the national average. Non-white urban women earned median $928 annually in 1946 per the Women’s Bureau; the trajectory through 1958 puts non-white urban women in the $1800 to $2400 range nationally, with substantial regional variation. NYC Black female workers in domestic service, beauty trades, hotel work, and laundry typically earned at the upper end of that range or slightly above.\n\nBEAUTY-SHOP WEEKLY EARNINGS (period-typical, documented). Working a Black-owned beauty shop in the Lenox Avenue network or a Hotel Theresa parlor at sixty hours a week in 1958, a Black woman beautician took home thirty to fifty dollars per week before expenses (period range per labor surveys). Mrs Jones works in the unnamed hotel beauty shop Hughes describes; her specific weekly earnings are not in the text. Her purse on Saturday September 20 contains lima beans, ham, cocoa, the day’s tips, the week’s rent envelope, and ten dollars she chooses to give Roger. Ten dollars is approximately twenty to thirty percent of her weekly take-home. Her gift to Roger is structurally significant; it is not a pocket-change gesture.\n\nROGER’S POCKET ECONOMICS. Tier 2 detail. A central Harlem fourteen-year-old in 1958 might have one to three dollars on any given day from running errands for tips, helping at a corner store, doing odd labor for older neighbors, or his mother’s discretionary allowance when household budget allowed. The amount fluctuates week to week. Roger trying to snatch Mrs Jones’s purse Saturday night is structurally about access to a sum significantly above his daily baseline. Specific 1958 blue-suede-shoes retail price (RESEARCH-PENDING). Late-1950s mens-shoe catalog records suggest typical leather shoes retailed in the seven-to-fifteen-dollar range with branded suede footwear (Nunn-Bush, Florsheim) at the upper end. The shoes Roger wants are roughly two to four times his daily pocket-cash baseline. Pending primary-source citation from period Sears, Montgomery Ward, or Black-press shoe-store advertisement.\n\nRACIAL-PASS ECONOMICS OF CONSUMER ACCESS. Tier 2 detail per parent directive. By 1958 the major Harlem retailers (Blumstein’s, S H Kress) served Black customers across most departments. The 1934 “Don’t Buy Where You Can’t Work” boycott had broken the worst patterns at Blumstein’s; 1943 saw the first Black cosmetics counter at a major American department store at Blumstein’s. Outside Harlem, the picture varied. Stores along 34th Street, 42nd Street, and Fifth Avenue between 34th and 59th still negotiated Black customer access through informal segregation in fitting rooms, dining rooms, and certain departments. The legal protection (NYS Civil Rights Law 1895) existed; enforcement remained inconsistent.\n\nEMPLOYMENT PATTERNS. Tier 2 detail. Black workers in central Harlem 1958 concentrated in: hotel service (Theresa, Park Sheraton, midtown hotels), Pullman Porter service (BSCP membership through 1957 still significant), domestic service (live-in or day work in white households across the boroughs and Westchester or Long Island), garment piecework, transit (TWU Local 100 admitting Black members since 1934), longshoring (ILA divided racially through the 1960s), beauty trades (substantial Black-owned beauty parlor economy in central Harlem), restaurant kitchen work, and small-business retail. The Black professional and managerial layer (lawyers, doctors, undertakers, teachers, clergy, civil-service supervisors) lived primarily on Strivers Row and Sugar Hill and worked in or near Harlem.\n\nHOUSING AND RENT. Tier 2 detail. Cross-reference cc-cmp001-realism-institutional housing-economy section. NYS Emergency Housing Rent Control Law 1947 governs most central Harlem residential rents. Specific 1958 monthly rent figures for central Harlem kitchenette-furnished rooms remain pending primary-source retrieval (Amsterdam News real-estate listings via ProQuest microfilm September 1958, NYC Housing Authority archive).\n\nHEROIN ECONOMY (TIER 2, RESEARCH-PENDING). The postwar urban heroin wave reached central Harlem by the mid-1950s. Specific street-level economics for September 1958 (corner geography, bag size, dollar amounts at street level, runner-and-customer flow, the gendering of buyer roles) remain pending primary-source retrieval from Acker, Creating the American Junkie; Courtwright, Dark Paradise; period Amsterdam News and New York Times Harlem-narcotics coverage via ProQuest; NYC Department of Health narcotic surveillance reports. The educator decides whether and how this surfaces in any given run per parent tier directive.\n\nWHAT THE NUMBERS ARGUE. Mrs Jones’s ten dollars to Roger is one to two days’ work. Roger taking that same ten dollars to a 125th Street shoe store buys him the blue suede shoes (probably) with change for transit home. He does not. Hughes leaves the ending unsettled deliberately. The economic detail in this entry exists so that the educator and the AI engine know what the gift cost Mrs Jones, what it could have bought Roger, and the structural distance between her household budget and his daily pocket cash. Players walking through Harlem in this campaign are walking through the economic geography this gift sits inside.", "x": "1958 NYC Transit fare: NYC Transit Authority annual reports; Cudahy, Brian J., Under the Sidewalks of New York (Stephen Greene Press 1979, ISBN 978-0828906319). Stride Toward Freedom $3.95 retail: Harper and Brothers 1958 first edition jacket flap; cataloged at Library of Congress and at WorldCat OCLC 396537. 1958 first-class postage four cents: USPS historical rate table at about.usps.com/who/profile/history. 1958 movie ticket prices: National Association of Theatre Owners historical data; AFI Catalog of Feature Films contextual data at catalog.afi.com. Empire Baptist Missionary Convention of New York: ebmcny.org canonical maintainer. 1957 national wage averages: US Bureau of Labor Statistics, Occupational Outlook Handbook (Government Printing Office 1958-59 edition), Table 1, page 25; aggregated at University of Missouri Libraries Prices and Wages by Decade guide at libraryguides.missouri.edu/pricesandwages/1950-1959. Non-white urban women 1946 wage median: US Women’s Bureau Bulletin number 218 (Government Printing Office 1947) and 1950 Census Vol IV Occupational Characteristics. Black female 1958 NYC occupational wages: pending primary-source retrieval from US Census 1960 PUMS (Public Use Microdata Sample) for New York County; Boyd, Robert L., Black-owned business enterprises in Harlem 1958: research-pending. 1934 Don’t Buy Where You Can’t Work boycott: Greenberg, Cheryl Lynn, Or Does It Explode? Black Harlem in the Great Depression (Oxford UP 1991, ISBN 978-0195074734); Naison, Mark, Communists in Harlem during the Depression (UI Press 1983, ISBN 978-0252012136). Blumstein’s 1943 Black cosmetics counter: Walker, Susannah, Style and Status: Selling Beauty to African American Women 1920-1975 (UPK 2007, ISBN 978-0813124612). Black labor in NYC unions 1958: Biondi, Martha, To Stand and Fight: The Struggle for Civil Rights in Postwar New York City (Harvard UP 2003, ISBN 978-0674010604); BSCP records at Library of Congress; ILA racial-division historical record at NYU Tamiment Library. 1947 NYS Emergency Housing Rent Control Law: New York State Division of Housing and Community Renewal historical archive at hcr.ny.gov. Harlem heroin economy: Acker, Caroline Jean, Creating the American Junkie (Johns Hopkins UP 2002, ISBN 978-0801883095); Courtwright, David T., Dark Paradise: A History of Opiate Addiction in America (Harvard UP 2001, ISBN 978-0674005853). Status: anchor prices, national wage baseline, 1934 boycott, 1943 cosmetics counter, rent control framework verified primary or canonical-maintainer. Blue-suede-shoes specific 1958 retail price, Black-Harlem-specific 1958 wage figures, street-level heroin economics flagged pending primary-source retrieval as noted within the body.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-ghost-firing-1-roger-snatch", "cc-cmp001-im-period-ephemera-radio-stamp", "cc-cmp001-npc-roger", "cc-cmp001-oi-purse", "cc-cmp001-oi-roger", "cc-cmp001-realism", "cc-cmp001-realism-institutional", "cc-cmp001-street-S03", "cc-cmp001-street-S06", "cc-cmp001-street-S09", "cc-cmp001-street-S11", "cc-cmp001-street-S13" ], "tg": "cmp-001, realism-inventory, economic, research-filled, pm13, anchor-prices-1958, mrs-jones-wages, rogers-pocket-economics, racial-pass-economics, partial-pending" }, { "id": "cc-cmp001-realism-linguistic", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Linguistic", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). Period speech registers for the cmp-001 cast and the social field they move through. Detailed vocabulary lists, voice-rendering guidance, and forbidden-anachronism inventory live in cc-cmp001-language. This realism child carries the tier separation, the register catalog, and the slurs-at-intensity framework.\n\nREGISTER CATALOG. Four register positions operate across the campaign window. Position one: Roger and his peers (born early 1940s central Harlem, age thirteen to sixteen in 1958). Position two: Mrs Jones and her generation (born approximately 1898, rural Deep South origins, three decades of Harlem laid over Southern roots). Position three: the white NYC civil-society register (bus drivers, white merchants on 125th Street, beat cops at the 28th Precinct, white teachers in central Harlem schools, the management-tone in which Black workers are addressed at the Theresa kitchen or Harlem Hospital staffing). Position four: mixed-scene code-switching (how Roger speaks to Mrs Jones differs from how he speaks to a peer or to a bus driver; how Mrs Jones speaks at home differs from how she speaks at the beauty parlor differs from how she speaks at Sunday service).\n\nTIER 1 — EVERY CMP-001 PLAYTHROUGH, EVERY AGE. Roger’s peer voice and Mrs Jones’s generational voice are the load-bearing registers. Vocabulary detail at cc-cmp001-language. Roger says “cat,” “my man,” “bread,” “crazy” for excellent, “I dig,” “I hear you.” Says “yes m’am” to Mrs Jones because his mother taught him to. Mrs Jones weaves religious reference into ordinary speech (“Lord have mercy,” “the good Lord,” “I declare”), uses “child,” “boy,” “son” as forms of address, says “down home” for the South, exhibits Southern Black English grammar features (habitual “be,” multiple negation, “I done told you”). Both registers surface every run.\n\nTIER 2 — SURFACE ON NPC-PATH-TRIGGER. The white NYC civil-society register surfaces when players cross into that interaction. The patrolman at the 28th, the merchant on 125th outside the Black-friendly storefronts, the white teacher in front of a Black classroom, the white reporter on the Harlem Hospital steps. Period New York accent (Mid-Atlantic shading toward distinct outer-borough speech), the management-voice condescension, the institutional politeness used to strangers and the institutional briskness used in command. Calibrate intensity by bookworm-card band per parent directive.\n\nTIER 2 — RACIAL SLURS AT PERIOD INTENSITY. Per PM13 the educator filters at delivery, not the codex pre-filtering at storage. Period racial slurs functioned at street level in 1958 with full force. White toward Black (the n-word in its hardest forms), white toward Puerto Rican and Italian-American populations, Black toward white (“ofay,” “Charlie,” “Miss Ann,” “paddy”), Black-internal color-line distinctions (“high yellow,” “red bone,” “dicty” for snobbish, “country” for unshed Southern markers). The educator decides what surfaces in any given run. Under-twelve band: stays ambient, never voiced by NPCs in scene. Thirteen-to-sixteen band: surfaces when student writing direction explicitly invites; educator scaffolds the historical context. Adult-or-seventeen-plus band: surfaces at full period intensity when paths warrant, with educator’s PM13 filter remaining operative.\n\nANACHRONISM GATING. Detailed forbidden list at cc-cmp001-language. Tier 1 anachronism guards: “right on” (post-1965 Black Panthers), “bro” as casual address (post-1960s), “crib” as home (post-1970s), “groovy” (peaks 1965), “dope,” “fire,” “sick,” “lit,” “bet,” “cap” in current senses (all post-1970s). “Black” as positive self-designation rises post-1965 with Black Power; in 1958 the polite formal terms in print and Hughes’s own usage are Negro and colored. Roger and Mrs Jones do not say “Black people” in 1958 unless invoking older usages. The AI engine flags anachronism candidates at session time and the educator overrides where a deliberate anachronism serves pedagogy.\n\nWRITTEN VS SPOKEN. The Amsterdam News, Pittsburgh Courier, Chicago Defender, Jet, and Ebony in 1958 use formal written register: Negro, colored, the race. Hughes’s Defender column (Simple stories) carries Jesse B Semple’s spoken register inside formal prose framing; the contrast is the column’s structural humor. The Black church carries elevated rhetorical register (Powell Jr at Abyssinian Sunday September 21 morning, King at Williams Institutional CME Thursday September 18). Spoken kitchenette and street registers are Tier 1; church and Black-press registers are also Tier 1 because they are structurally present in the campaign world even when not directly voiced.\n\nMRS JONES’S NAME AS CAMPAIGN ANCHOR. Her full name in Hughes’s text is Mrs Luella Bates Washington Jones. Three middle markers (Bates, Washington) carry the migrant-Southern naming tradition: married name plus father’s surname plus, often, a venerable historical surname (Washington signaling Booker T or the founding-father surname as racial-uplift assertion). Mrs Jones’s usage of her own full name with all four parts is a class and dignity assertion in 1958 Harlem. AI engine note: when Mrs Jones formally introduces herself she uses all four parts; familiars call her Mrs Jones; church friends may call her Sister Jones; no one outside her own household calls her Luella.", "x": "Detailed vocabulary, voice-rendering, and forbidden-anachronism content lives at cc-cmp001-language with full citations. Roger peer voice sources: Brown, Claude, Manchild in the Promised Land (Macmillan 1965); Thomas, Piri, Down These Mean Streets (Knopf 1967, ISBN 978-0679781424); Bambara, Toni Cade, Raymond’s Run (Random House 1971); Hurston, Zora Neale, Story in Harlem Slang (American Mercury 1942). Mrs Jones voice sources: Hurston, Their Eyes Were Watching God (Lippincott 1937); WPA Federal Writers’ Project Negro Slave Narratives at the Library of Congress (loc.gov/collections/slave-narratives-from-the-federal-writers-project-1936-to-1938); Hughes’s Madam Alberta K Johnson poems in One-Way Ticket (Knopf 1949); Smitherman, Geneva, Talkin and Testifyin: The Language of Black America (Wayne State UP 1986, ISBN 978-0814318058). White NYC civil-society register and period New York accent: Labov, William, The Social Stratification of English in New York City (Cambridge UP 2nd ed 2006, ISBN 978-0521527057), the canonical sociolinguistic study of 1960s NYC speech that documents 1950s baseline. Anachronism dating: Etymonline (etymonline.com) and Dictionary.com etymology tracking; Major, Clarence, Juba to Jive: A Dictionary of African-American Slang (Penguin 1994, ISBN 978-0140513066) for first-attestation dating of Black slang; Dictionary of American Regional English (Harvard UP, multi-volume, dare.wisc.edu) for regional verification. Black Power era “Black” as self-designation: Marable, Manning, Race, Reform, and Rebellion (Mississippi UP 3rd ed 2007, ISBN 978-1604732290); contemporary New York Times and Amsterdam News usage shift documented mid-1960s. Hughes Simple stories: Hughes, Langston, The Best of Simple (Hill and Wang 1961) compiles the Defender columns; original Defender columns at the Chicago Defender archive. Status: register catalog, tier separation, anachronism gating verified canonical scholarly; specific 1958 New York white civil-society accent texture verified through Labov’s 1966 baseline study; racial slur usage at street level documented through Brown, Thomas, and the period oral-history collections at Schomburg.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-language", "cc-cmp001-realism", "cc-cmp001-vs-mrs-jones", "cc-cmp001-vs-roger" ], "tg": "cmp-001, realism-inventory, linguistic, research-filled, pm13, register-catalog, tier-separation, slurs-handling, anachronism-gating" }, { "id": "cc-cmp001-realism-institutional", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Institutional", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). The institutional domain catalogs the institutions a Black fourteen-year-old encounters across the cmp-001 forty-eight-hour window. Police, hospital, school, transit, retail, church, welfare, and the host institutions of King’s Northern fundraising week.\n\nPOLICE — 28TH PRECINCT. The 28th Precinct station house at West 123rd Street near Seventh Avenue covers central Harlem from West 110th Street up to West 127th roughly. Commissioned officers in 1958 are overwhelmingly white. A handful of Black officers serve, in the tradition of NYPD’s first Black officer Samuel J. Battle (hired 1911, lived on Strivers’ Row, retired 1941). The 32nd Precinct (West 135th and Eighth Avenue) covers the upper part of central Harlem. Officer Al Howard, a white patrolman of the 28th, was off-duty walking past Blumstein’s at 3:21 PM Saturday September 20 1958 when he ran in, told King not to remove the blade, and held him still until the ambulance arrived. Howard remained in the NYPD through the 1960s. The white desk-sergeant type who ran the night shift is period-typical and instantiated live by the AI engine if a path requires dialogue. Curry was booked at the 28th Precinct basement around 4 PM Saturday on charges of attempted murder (NY Penal Law) plus felony violation of the Sullivan Law (unlicensed handgun possession in NYC).\n\nWHAT WOULD HAVE HAPPENED TO ROGER. Tier 1 institutional context for the campaign’s anchor moment. A Black fourteen-year-old caught attempting purse-snatching in 1958 Harlem faces immediate booking at the 28th Precinct. Family Court referral is one path; informal release with parental contact is another; physical mistreatment in the booking room is documented as plausible in period accounts. The Bureau of Child Welfare (BCW), not yet renamed ACS, would receive a referral for any kid arrested without a parent reachable. The Wiltwyck School for Boys, the Lincolndale Catholic Protectory, or the New York State Training School for Boys at Warwick are plausible institutional placements depending on charge severity, household configuration, and the casework officer’s discretion. Mrs. Jones’s decision not to call the police is, structurally, the decision that protects Roger from an institutional pipeline that will not return him as Roger.\n\nHOSPITAL — HARLEM HOSPITAL. 506 Lenox Avenue at West 135th Street, NYC public hospital. The Black community’s hospital since 1907. Surgical staff substantially integrated by 1958, led by Aubre de Lambert Maynard (chief of surgery 1952, succeeded Louis T. Wright). King is operated on Saturday September 20 5:45 to 8:25 PM. Detail in cc-cmp001-realism-medical.\n\nTHE SCLC NORTHERN FUNDRAISING WEEK — INSTITUTIONAL VENUES. Three Harlem institutions hosted King across September 17 to 19 1958. The Empire State Baptist Bookstore on Wednesday September 17. The bookstore was the retail arm of the Empire Baptist Missionary Convention of New York; the convention’s headquarters address is 171 West 140th Street, Harlem. Williams Institutional CME Church on Thursday September 18, on West 131st Street near Adam Clayton Powell Jr Boulevard, hosted an SCLC fundraising event. The Hotel Theresa sidewalk on Friday September 19 evening hosted a mass meeting convened by A Philip Randolph and co-organized by Anna Arnold Hedgeman, with King speaking. Blumstein’s Department Store mezzanine Saturday September 20 was the book-signing venue (institutional detail in next subsection). Each of these venues sits within walking distance of every other within central Harlem.\n\nRETAIL AND COMMERCE — BLUMSTEIN’S. 230 West 125th Street. Six floors. Founded 1898 by Louis Blumstein, German-Jewish immigrant; run by the third generation of the family in 1958. The 1934 “Don’t Buy Where You Can’t Work” boycott, organized by Reverend John H. Johnson, NAACP Harlem branch, and the Citizens’ League for Fair Play, forced the store to hire its first Black sales clerks. By 1943, Blumstein’s opened the first cosmetics counter for Black customers in any major American department store. By 1958 the store is integrated in clientele but the racial-pass economics of consumer access (which counters served whom, which fitting rooms were available to whom) remained negotiated rather than abolished. Other major 125th Street retailers in 1958: S H Kress (5 and 10 cent store at 256 W 125th, Black-friendly through the 1934 wave), Frank’s Restaurant (sit-down service for Black customers since the 1930s), the Loew’s Victoria movie palace, and various smaller Jewish-owned dry goods and clothing stores along the corridor.\n\nSCHOOLS. Tier 2 detail. Hughes silent on Roger’s schooling. Central Harlem JHS catchments serving the East 128th Street block in 1958 remain pending primary-source retrieval from NYC Department of Education historical archives. Plausible candidates by general central-Harlem geography: J.H.S. 139 “Samuel Tilden” at 122nd Street between Seventh Avenue and Eighth Avenue, J.H.S. 43 “Adam Clayton Powell”, or P.S. 184 / J.H.S. 88 area schools depending on the year. The 1958 NYC public school system was de facto segregated in central Harlem through residential patterns; the Galamison-led parents’ movement organized through 1959-1964 toward formal desegregation. Roger’s school would have served a majority-Black student body with majority-white commissioned faculty.\n\nTRANSIT. Subway service in 1958 Harlem: the IRT Lenox Avenue line (today the 2 and 3 trains) at 125th and 135th stations; the IND Eighth Avenue line (today the A, B, C, D) at 125th, 135th, 145th, 155th; the IRT Broadway-Seventh line (today the 1) at 137th-City College and 145th. Bus service: Fifth Avenue Coach, Madison Avenue Coach, and Third Avenue Transit operated the major Manhattan routes; the Madison Avenue line ran through East Harlem and the 125th Street crosstown was a central spine. The fare in September 1958 was fifteen cents, set by the 1953 fare hike from ten cents and held until 1966. A token bought a single ride. Transfers between subway and bus required separate fares. Roger taking a bus or subway from anywhere in Harlem to anywhere else cost fifteen cents or, with a transfer, thirty cents. Mrs. Jones walking home from the Theresa to East 128th and Park is a roughly seven-block walk on her own feet in roughly fifteen minutes.\n\nRESTAURANT AND COUNTER ACCESS. New York State Civil Rights Law (1895, amended 1913 and 1945) prohibited racial discrimination in places of public accommodation. Enforcement remained inconsistent and informal segregation persisted. In central Harlem 1958 the question was less Black-or-served than which establishment served whom in what configuration. Frank’s Restaurant on 125th Street served Black sit-down customers since the 1930s. Most lunch counters along 125th Street served Black customers by the 1950s. Outside Harlem the picture varied; Roger or Mrs Jones taking the bus to Macy’s on 34th Street would find the dining room contested through the early 1960s.\n\nHOUSING ECONOMY. Tier 2 detail per parent directive. The 1947 New York State Emergency Housing Rent Control Law remained in effect in 1958 and would extend, in modified form, through 1971. Most central Harlem residential buildings were rent-controlled. Kitchenette subdivision (a single original apartment broken into multiple single-room-occupancy units sharing one bathroom) was a structural feature of the postwar Harlem housing stock. The pattern was not a code violation in itself; it was the economic adaptation to housing scarcity, absentee-landlord neglect, and the racial-rent differential by which Black tenants paid more per square foot than white tenants for inferior space. Mrs Jones rents one such furnished room in such a kitchenette boarding house. Specific 1958 rent figures for central Harlem kitchenettes pending primary-source retrieval from NYC Housing Authority records and period Amsterdam News real-estate listings.\n\nADC AND WELFARE. Tier 2 detail per parent directive. Aid to Dependent Children (federal 1935, NYS-administered) supported households with absent or deceased fathers. The “man in the house” rule, controversial and ultimately struck down by the US Supreme Court in 1968 (King v Smith), required that no adult man could be reliably present in an ADC household. Casework included unannounced home visits. Period-typical household configurations for a 14-year-old Black boy in 1958 central Harlem (mother working a domestic position, father absent, grandmother as primary caregiver, kinship-foster placement) all sit inside this casework framework. The Bureau of Child Welfare had referral authority for abuse and neglect; a kid arrested without reachable parents would generate a BCW casefile within hours.", "x": "28th Precinct: NYC Police Department Historical Society; Hofstra University study on NYPD Black officers in the 28th and 32nd at hofstra.edu. Officer Al Howard documented in Pearson, Hugh, When Harlem Nearly Killed King (Seven Stories Press 2002, ISBN 978-1583225752). Samuel J Battle 1911 hire date: NYPL blog at nypl.org/blog/2017/02/22/samuel-battle-nypds-first-black-officer plus Watson, Bruce, biographical scholarship. Sullivan Law: New York State Penal Law section 400 family, enacted 1911, current text at nysenate.gov. Bureau of Child Welfare and Family Court history: Polier, Justine Wise, A View from the Bench (judge’s memoir, NCCD 1964); New York City Family Court historical records via NYC Department of Records. Wiltwyck School for Boys, Lincolndale Catholic Protectory, NYS Training School for Boys at Warwick: institutional histories at NYC Municipal Archives and Wiltwyck records at the Schomburg Center. Harlem Hospital: NYC Health and Hospitals Corporation archive; Maynard, Aubre de Lambert, Surgeons to the Poor (Appleton-Century-Crofts 1978). Empire Baptist Missionary Convention of New York: ebmcny.org canonical maintainer. Williams Institutional CME Church: Christian Methodist Episcopal Church denominational records and williamscme.org. Hotel Theresa Friday September 19 1958 mass meeting: Hedgeman New York Age column at Newspapers.com page 40868038; A. Philip Randolph Institute archive; Brotherhood of Sleeping Car Porters records at Library of Congress. Blumstein’s 1934 boycott: Greenberg, Cheryl Lynn, Or Does It Explode? Black Harlem in the Great Depression (Oxford UP 1991, ISBN 978-0195074734); Naison, Mark, Communists in Harlem during the Depression (UI Press 1983, ISBN 978-0252012136). Blumstein’s 1943 cosmetics counter: Walker, Susannah, Style and Status: Selling Beauty to African American Women, 1920-1975 (UPK 2007, ISBN 978-0813124612). S H Kress, Frank’s Restaurant, Loew’s Victoria, period 125th Street retail: Schomburg Center photographic archive and Amsterdam News business listings via ProQuest. NYC public schools 1958: NYC Department of Education historical archive; Galamison-led desegregation campaign: Taylor, Clarence, Knocking at Our Own Door: Milton A Galamison and the Struggle to Integrate New York City Schools (Columbia UP 1997, ISBN 978-0231104098). 1958 NYC subway and bus: New York Transit Museum at nytransitmuseum.org; Fischler, Stan, Uptown, Downtown: A Trip Through Time on New York’s Subways (Hawthorn 1976) for fare history. Fifteen-cent fare 1953-1966: NYC Transit Authority annual reports plus Cudahy, Brian J., Under the Sidewalks of New York (Stephen Greene Press 1979, ISBN 978-0828906319). NY State Civil Rights Law 1895: New York Consolidated Laws Civil Rights Article 4 sections 40 to 41, current at nysenate.gov. 1947 NYS Emergency Housing Rent Control Law: New York State Division of Housing and Community Renewal historical archive. Kitchenette housing pattern: Hirsch, Arnold R., Making the Second Ghetto: Race and Housing in Chicago 1940-1960 (Cambridge UP 1983, ISBN 978-0226342443) for the comparative methodology; Osofsky, Gilbert, Harlem: The Making of a Ghetto (Harper and Row 1971, ISBN 978-0064927376) for Harlem-specific structural analysis. ADC and the man-in-the-house rule: King v Smith 392 US 309 (1968), full opinion at supreme.justia.com; Bell, Winifred, Aid to Dependent Children (Columbia UP 1965). Status: police, hospital, SCLC venues, Blumstein’s, transit fares verified primary or canonical-maintainer; specific 1958 school catchment, kitchenette rent figures, ADC casework specifics pending primary-source retrieval as flagged.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-npc-maynard", "cc-cmp001-realism", "cc-cmp001-realism-economic", "cc-cmp001-realism-medical", "cc-cmp001-realism-social" ], "tg": "cmp-001, realism-inventory, institutional, research-filled, pm13, precinct-28, harlem-hospital, sclc-venues, blumsteins-institutional, transit-1958, housing, adc" }, { "id": "cc-cmp001-realism-medical", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Medical", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). Medical realism for the cmp-001 window centers on the King stabbing as the public clinical event and the Harlem Hospital institutional setting around it. Period health stressors and overdose presentation are tier-2 per the parent directive and surface only on NPC-path-trigger.\n\nTHE STAB. Saturday September 20 1958, between 3:20 and 3:30 PM, on the mezzanine of Blumstein’s Department Store at 230 West 125th Street. Izola Ware Curry, 42, drove a seven-inch ivory-handled letter opener into the upper left side of King’s chest. The blade entered approximately six centimeters and lodged against the wall of the ascending aorta. The handle remained protruding. Officer Al Howard of the 28th Precinct, off-duty and walking past the store, ran inside and instructed King not to remove or move against the blade. King remained conscious, seated upright in the chair where he had been signing books, until the ambulance arrived. The clinical significance of Howard’s intervention is documented: motion against an embedded blade lodged near the aorta would have torn the vessel and produced uncontrollable hemorrhage in seconds.\n\nTRANSPORT. NYC Department of Hospitals ambulance, approximately 3:35 PM. Six blocks east on 125th Street, then north on Lenox to 506 Lenox Avenue at West 135th Street. Approximately three minutes by ambulance. Surgical assessment immediate.\n\nTHE SURGICAL TEAM. Dr. Aubre de Lambert Maynard, chief of surgery at Harlem Hospital, led the operation. He was assisted by Dr. Emil Naclerio (thoracic surgeon) and Dr. John W. V. Cordice Jr. (chief surgical resident, Black). Some accounts add Dr. Farrow R. Allen. Maynard was the Harlem Hospital surgical leader of the era, born in British Guiana in 1901, trained at Howard University and New York University, the first Black surgeon to head the department at Harlem Hospital (appointed 1952).\n\nTHE SURGERY. Approximately 5:45 PM to 8:25 PM Saturday. Two hours and forty minutes. Median sternotomy approach, opening the chest along the breastbone. Removal of the letter opener required excision of part of King’s sternum and a portion of one rib (the second or third on the left side) to extract the blade without lateral motion against the aorta. The aortic wall was abraded but not punctured; King’s description in later years that “a sneeze, a cough, or any sudden motion would have killed me” is consistent with the surgical record. The removed instrument was preserved as evidence and is held by the Maynard estate or NYC archives.\n\nRECOVERY TIMELINE. King regained consciousness Saturday evening. By Sunday morning his condition was reported stable. Coretta Scott King flew up from Montgomery Sunday and remained at the bedside through discharge. Governor Averell Harriman visited Sunday afternoon. King remained in Harlem Hospital through Friday October 3 1958, approximately two weeks. He was discharged to a private residence, then returned to Atlanta in late October. The full physical recovery took approximately three months. Within the cmp-001 window (through Monday September 22 morning), King is in the third-floor surgical wing, post-operative day two.\n\nHARLEM HOSPITAL 1958. The Black community’s hospital since 1907, a NYC public hospital. Surgical staff substantially integrated by 1958, led by Maynard. The institution had historic significance as one of the first major American hospitals to give Black physicians and surgeons admitting privileges and faculty appointments. Wright, Louis T. (chief of surgery 1942 to 1952, the first Black chief at any NYC public hospital), preceded Maynard. The third-floor surgical wing of 1958 was the operating site; the building of 1958 has been substantially modified since, with the current Mural Pavilion built later.\n\nPERIOD HEALTH STRESSORS (tier 2, educator discretion). Working-class central Harlem 1958 carried elevated rates of tuberculosis, asthma, and childhood lead exposure relative to the city as a whole. Specific 1958 NYC Department of Health statistics for central Harlem are pending primary-source retrieval from the NYC Department of Health historical archives. Infant mortality differentials between Harlem and white NYC neighborhoods were documented in NYC Health Department annual reports of the period.\n\nHEROIN OVERDOSE PRESENTATION (tier 2, educator discretion). Postwar urban heroin reached central Harlem by the mid-1950s. Clinical presentation: respiratory depression, cyanosis, miosis (pinpoint pupils), unresponsiveness. Naloxone (the modern reversal agent) was synthesized in 1961 and not in clinical use until later in the 1960s; in 1958 the response to a stoop overdose was informal aid, sometimes a call to police, often nothing. The educator decides whether this surfaces in any given run.", "x": "King stabbing clinical detail: Stanford Martin Luther King Jr Research and Education Institute at kinginstitute.stanford.edu and the Curry biographical entry at kinginstitute.stanford.edu/curry-izola-ware. Hugh Pearson, When Harlem Nearly Killed King: The 1958 Stabbing of Dr. Martin Luther King Jr. (Seven Stories Press 2002, ISBN 978-1583225752). HistoryNet article at historynet.com/martin-luther-king-jr-s-first-assassination-attempt. Officer Al Howard documented in Pearson and in 28th Precinct historical records. Aubre Maynard biographical detail: Maynard, Aubre de Lambert, Surgeons to the Poor: The Harlem Hospital Story (Appleton-Century-Crofts 1978, the surgeon’s memoir covering the King operation directly). Harlem Hospital institutional history: NYC Health and Hospitals Corporation archive; Columbia University Health Sciences Library Harlem Hospital affiliation records. Louis T. Wright surgical leadership: Beardsley, A History of Neglect: Health Care for Blacks and Mill Workers in the Twentieth-Century South (University of Tennessee Press 1990, ISBN 978-0870496783) covers Wright; New York Times obituary October 9 1952. King’s later account of the stabbing in his April 3 1968 Mason Temple sermon “I’ve Been to the Mountaintop”, transcript at Stanford King Institute. Coretta Scott King visit and Harriman visit: contemporary New York Times and New York Amsterdam News coverage September 21 to 23 1958, ProQuest Historical Newspapers. Heroin overdose clinical detail and naloxone history: Acker, Caroline Jean, Creating the American Junkie: Addiction Research in the Classic Era of Narcotic Control (Johns Hopkins UP 2002, ISBN 978-0801883095); Courtwright, David T., Dark Paradise: A History of Opiate Addiction in America (Harvard UP 2001, ISBN 978-0674005853). Period Harlem health statistics: NYC Department of Health Annual Reports; Drake and Cayton, Black Metropolis (1945, comparative Chicago) provides demographic methodology baseline. Status: King stabbing clinical detail verified primary; Harlem Hospital institutional history verified primary; period health stressor specific 1958 statistics pending primary-source retrieval.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-harlem-hospital", "cc-cmp001-im-harlem-hospital", "cc-cmp001-im-king-bedside", "cc-cmp001-im-maynard-portrait", "cc-cmp001-npc-curry", "cc-cmp001-npc-king", "cc-cmp001-npc-maynard", "cc-cmp001-realism", "cc-cmp001-realism-institutional", "cc-cmp001-tm-saturday", "cc-cmp001-tm-sunday" ], "tg": "cmp-001, realism-inventory, medical, research-filled, pm13, king-stabbing-surgical, harlem-hospital, maynard, period-health" }, { "id": "cc-cmp001-realism-spatial", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Spatial", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). The spatial domain catalogs central Harlem 1958 at block level. Individual landmark entries (cc-cmp001-hotel-theresa, cc-cmp001-blumsteins, cc-cmp001-apollo, cc-cmp001-harlem-hospital, cc-cmp001-hughes-house, cc-cmp001-encounter-block, cc-cmp001-schomburg, cc-cmp001-strivers-row, cc-cmp001-smalls, cc-cmp001-abyssinian, cc-cmp001-precinct-28, cc-cmp001-amsterdam-news) carry the load-bearing primary documentation. This realism child synthesizes the avenue grid, the kitchenette interior, the encounter-block lighting, and Mrs Jones’s walk home.\n\nTHE FOUR-AVENUE GRID. Central Harlem in 1958 runs roughly from 110th Street north to 155th Street, between Fifth Avenue on the east and Eighth Avenue (later Frederick Douglass Boulevard) on the west. Four north-south avenues do most of the work. Fifth Avenue is the eastern wall, with Mount Morris Park (renamed Marcus Garvey Park 1973) at its southern end. Lenox Avenue (Sixth Avenue, later Malcolm X Boulevard) carries the Harlem Hospital and Schomburg corridor at 135th. Seventh Avenue (later Adam Clayton Powell Jr Boulevard) carries the Apollo, Hotel Theresa, Smalls Paradise, and Abyssinian. Eighth Avenue (later Frederick Douglass) carries the IND subway and the western edge. Park Avenue runs north-south one block east of Madison and one block west of Lexington; in central Harlem it is elevated. East of Fifth Avenue is the Mount Morris Park area transitioning to East Harlem (El Barrio, majority Puerto Rican by 1950). The 125th Street commercial spine runs east-west across all four north-south avenues and is the busiest retail block in Black America.\n\nTHE TWO CORE BLOCKS. The campaign moves between two blocks one block apart. 20 East 127th Street between Madison and Fifth, where Hughes lives (Italianate brownstone, NYC Landmark, see cc-cmp001-hughes-house). One block north, East 128th Street between Madison and Park, where the canonical encounter happens at 11 PM Saturday (see cc-cmp001-encounter-block). Both blocks are working-class central Harlem in 1958, tenement-and-brownstone mix. The walk between them is one minute. Hughes’s top-floor workroom faces north, looking out over the 128th Street block from one block away.\n\nTHE PARK AVENUE VIADUCT. The New York Central commuter rail (today the Metro-North Park Avenue line) runs elevated above Park Avenue from East 97th Street north through Harlem. It closes the east end of the encounter block. Trains rumble overhead at intervals through the night. The viaduct’s steel structure casts shadows on the cross streets in afternoon light. The soundscape of the encounter block at 11 PM includes the periodic train passing, the steam-radiator hum from kitchenette windows, the occasional bus on Madison Avenue one block west, and not much else. The block is dark enough that a fourteen-year-old can think it is empty.\n\nTHE 125TH STREET RETAIL SPINE. The block of West 125th Street between Lenox and Eighth Avenue carries the major Black-patronized commercial corridor. Blumstein’s Department Store at 230 West 125th (six floors, see cc-cmp001-blumsteins) is the anchor, with the King book signing on the mezzanine the campaign’s pivotal Saturday afternoon event. S H Kress five-and-dime at 256 West 125th. Frank’s Restaurant for sit-down dining. The Loew’s Victoria movie palace. The Apollo Theater at 253 West 125th between Seventh and Eighth (see cc-cmp001-apollo) carries the live-entertainment weight. Various smaller dry-goods, jewelry, and clothing stores fill the storefronts. Saturday afternoon September 20 1958 the corridor is bright commerce until the King news breaks, after which the corridor is bright commerce processing terrible news.\n\nMRS JONES’S BEAUTY SHOP TO EAST 128TH. The campaign locates Mrs Jones’s workplace at the Hotel Theresa beauty parlor (corner of 125th and Seventh Avenue, 2082 Seventh, see cc-cmp001-hotel-theresa) or in the documented Black-owned-beauty-shop network on Lenox Avenue (Madame C J Walker’s legacy). From the Theresa, her walk home Saturday night runs east on 125th through the still-lit retail corridor (lights cooling as stores close), north on Madison Avenue through quieter blocks, and onto East 128th between Madison and Park under sparse streetlamps. Roughly seven blocks total. Roughly fifteen minutes at a working woman’s end-of-shift pace. The encounter happens just before she reaches her boarding-house door.\n\nTHE KITCHENETTE INTERIOR. The story’s emergence point. A single original Harlem apartment subdivided into multiple single-room-occupancy units sharing one bathroom down the hall. Mrs Jones’s room contains a single bed, a small kitchen table, two chairs, a chest of drawers, a sink with cold water (hot water from the tap not standard in 1958 kitchenettes), a one-burner or two-burner gas hot plate or small gas stove, a tin coffeepot or kettle, a wooden ironing board, a single overhead light fixture, an electric clock, a radio (RCA or Philco table model on the chest of drawers, dial lit amber when on), a calendar from the corner church, and her purse on a hook by the door. The window faces the street or the airshaft. The shared bathroom is at the end of the hallway with three or four other tenants using it. The smell is steam-radiator dust mixed with whatever Mrs Jones is cooking on the hot plate. Period-typical; specific 1958 photographic reference at DeCarava, The Sweet Flypaper of Life (1955).\n\nSATURDAY NIGHT LIGHT AND DARK ON THE ENCOUNTER BLOCK. East 128th Street between Madison and Park at 11 PM Saturday September 20 1958 has one streetlamp at the Madison end and one at the Park end. Lit windows on the south side of the block, mostly, where the kitchenettes face the street. Few or no pedestrians. The Park Avenue viaduct trains pass periodically. Madison Avenue one block west carries an occasional bus. The dim corner where the strap breaks is between the streetlamps, deep in shadow. Roger steps out from a stoop, miscalculates the purse weight, falls in the gutter. Mrs Jones is illuminated only by the light spilling from the kitchenette windows behind her.\n\nSTRIVERS ROW AND SUGAR HILL — THE BOURGEOIS ENCLAVES (TIER 2). West 138th and 139th between Adam Clayton Powell Jr Boulevard and Frederick Douglass Boulevard (Strivers Row, see cc-cmp001-strivers-row) and the 145th to 155th area along Edgecombe Avenue, Convent Avenue, and St Nicholas Avenue (Sugar Hill) carry the Black professional and upper-middle class housing stock. 409 Edgecombe Avenue alone has held W E B Du Bois, Walter White, Roy Wilkins, Thurgood Marshall, and Aaron Douglas at various points. Paul Robeson lives at 555 Edgecombe Avenue. These blocks are visually distinct from the encounter zone: cleaner brick, intact stoops, occasional doorman service. Roger walking past at street level sees the difference without being able to enter it.\n\nEAST HARLEM AND THE NORTH BOUNDARY. East of Fifth Avenue, north of 96th Street, the neighborhood becomes El Barrio: by 1950 majority Puerto Rican (population approximately 63,000), Italian retreating north toward East Harlem’s eastern edge. The crosstown traffic on 116th Street and 125th Street connects Black central Harlem to Latin East Harlem; the Spanish-language radio of WHOM-AM 1480 carries across both. North of 155th Street the neighborhood becomes Washington Heights with a different demographic profile. The cmp-001 campaign stays within the central Harlem rectangle from 110th Street to 155th Street, Fifth Avenue to Eighth Avenue.\n\nTHE GREAT DAY IN HARLEM ADDRESS. 17 East 126th Street, between Madison and Fifth Avenues, two blocks south of Hughes’s house. Art Kane photographed fifty-seven jazz musicians on the brownstone stoop at 10 AM Tuesday August 12 1958, five weeks before the campaign weekend. The same Italianate row Hughes’s building belongs to. Block-typical brownstone exteriors are the building stock the players walk past throughout the campaign. The Esquire publication (January 1959) gives the campaign’s teachers a single canonical photograph that documents the architectural texture of the cmp-001 setting at street level five weeks earlier.", "x": "Avenue grid and central Harlem boundaries: Osofsky, Gilbert, Harlem: The Making of a Ghetto (Harper and Row 1971, ISBN 978-0064927376) for the historical neighborhood definition. Avenue renamings: Lenox to Malcolm X Boulevard 1987 NYC Council; Seventh to ACP Jr Boulevard 1974 NYC Council; Eighth to Frederick Douglass Boulevard 1977 NYC Council; Mount Morris Park to Marcus Garvey Park 1973 NYC Parks. NYC Department of Transportation street-naming records. 20 East 127th Street Hughes house: NYC Landmarks Preservation Commission designation report LP-1135 (Pearson, August 11 1981) at s-media.nyc.gov/agencies/lpc/lp/1135.pdf; National Register of Historic Places NRHP 82001198 (October 29 1982). East 128th Street encounter-block setting: defensible reading per cc-cmp001-encounter-block, anchored to Hughes’s residence one block south. Park Avenue viaduct: New York Central Railroad and Metro-North Park Avenue line historical record at metro-north.org and Library of Congress HABS NY-0166. 125th Street retail corridor 1958: Schomburg Center photographic archive; Amsterdam News business listings via ProQuest; Greenberg, Cheryl Lynn, Or Does It Explode? (Oxford UP 1991, ISBN 978-0195074734). Hotel Theresa: NYC LPC LP-1843 (1993) at s-media.nyc.gov/agencies/lpc/lp/1843.pdf; National Register of Historic Places NRHP 05000618 (2005). Apollo Theater: NYC LPC LP-1299 (Shockley 1983) at s-media.nyc.gov/agencies/lpc/lp/1299.pdf; LP-1300 interior designation. Strivers Row: NYC LPC LP-0322 (St Nicholas Historic District designation March 16 1967) at s-media.nyc.gov/agencies/lpc/lp/0322.pdf. Kitchenette interior: DeCarava, Roy and Hughes, Langston, The Sweet Flypaper of Life (Simon and Schuster 1955), NYPL Schomburg call number 779.973 D294, single canonical photographic record of central Harlem kitchenette interiors of the period; Hirsch, Arnold R., Making the Second Ghetto (Cambridge UP 1983, ISBN 978-0226342443) for the structural-economic context. El Barrio Puerto Rican demographic 1950: U.S. Census 1950 Population by Census Tract for New York County tracts 158 to 240, available via NHGIS at nhgis.org. A Great Day in Harlem 17 East 126th Street: Art Kane Archive at artkane.com; Esquire Magazine January 1959 issue. 409 Edgecombe Avenue resident roster: Bond, Julian, ed., Lift Every Voice and Sing: A Celebration of the Negro National Anthem 100 Years 100 Voices (Random House 2000) plus 409 Edgecombe Tenants Association historical materials at the Schomburg Center. Status: avenue grid, named landmarks, viaduct, kitchenette typology, Great Day in Harlem address verified primary or canonical-maintainer; specific corner-by-corner business listings for the encounter block pending Sanborn fire insurance maps and 1939-41 / 1980s NYC tax photo cross-check at NYC Municipal Archives.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-abyssinian", "cc-cmp001-amsterdam-news", "cc-cmp001-apollo", "cc-cmp001-blumsteins", "cc-cmp001-emergence-point", "cc-cmp001-encounter-block", "cc-cmp001-harlem-hospital", "cc-cmp001-hotel-theresa", "cc-cmp001-hughes-house", "cc-cmp001-im-subway-map-1958", "cc-cmp001-narrative-architecture", "cc-cmp001-npc-hughes", "cc-cmp001-npc-mrs-jones", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-oi-kitchenette", "cc-cmp001-precinct-28", "cc-cmp001-realism", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-schomburg", "cc-cmp001-smalls", "cc-cmp001-street-S01", "cc-cmp001-street-S02", "cc-cmp001-street-S03", "cc-cmp001-street-S04", "cc-cmp001-street-S05", "cc-cmp001-street-S06", "cc-cmp001-street-S07", "cc-cmp001-street-S08", "cc-cmp001-street-S09", "cc-cmp001-street-S10", "cc-cmp001-street-S11", "cc-cmp001-street-S12", "cc-cmp001-street-S13", "cc-cmp001-street-S14", "cc-cmp001-street-S15", "cc-cmp001-strivers-row", "cc-cmp001-template-street" ], "tg": "cmp-001, realism-inventory, spatial, research-filled, pm13, avenue-grid, encounter-block-lighting, kitchenette-interior, mrs-jones-walk, park-avenue-viaduct, retail-spine" }, { "id": "cc-cmp001-realism-social", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Social", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). Social structure within Black Harlem 1958 and the cmp-001 household configurations of period-typical 14-year-old Black boys (Hughes silent on Roger’s specific configuration). CC* documents the demographic-pattern possibility space; AI engine improvises a configuration at session-runtime per the seated group if a session-path goes home with Roger.\n\nCLASS STRATA — PRE-1965 BLACK HARLEM. Cross-reference cc-cmp001-class-strata for spatial and source detail. Four broad layers operate. The Talented Tenth descendants and contemporary Black professional class (lawyers, doctors, undertakers, dentists, clergy, college faculty, civil-service supervisors) live primarily on Strivers Row and Sugar Hill, perform their bourgeois identity through institutional memberships (Alpha Phi Alpha, Alpha Kappa Alpha, the church board, the National Council of Negro Women, the Links), and are the layer Frazier dissected in Black Bourgeoisie (Free Press 1957) one year before this campaign weekend. The skilled working class (postal workers, transit operators, beauty parlor owners, Pullman porters with seniority, longshoremen with steady berths, schoolteachers) anchors central Harlem’s residential stability. The unskilled working class (domestic day workers, hotel kitchens, garment piecework, occasional labor) lives in the kitchenette-subdivided central Harlem buildings. The chronically poor and unemployed cohort, including the heroin-addicted and the institutionally unstable, occupies the worst housing stock and intersects with the criminal-legal system at the highest rates.\n\nINTRA-BLACK STATUS HIERARCHIES — TIER 2. The brown-paper-bag test (the apocryphal admission criterion at certain elite Black social organizations: skin lighter than a brown paper bag) is a real folk-memory of the color-line politics inside Black professional society through the 1950s. “Good hair” (looser curl pattern) and “bad hair” (tighter curl pattern) carry parallel weight. “High yellow” and “red bone” describe lighter-skinned women in Black-internal vernacular. The fraternity and sorority distinctions (Alphas vs Kappas, AKAs vs Deltas) carry class signals across Black college-educated Harlem. “Dicty” names the bourgeoisie’s snobbery from below; “country” names recently-migrated Southern markers from Harlem-born vantage. Educator surfaces these on NPC-path-trigger per parent directive.\n\nCARIBBEAN IMMIGRATION PATTERNS. The first major Caribbean immigration wave to Harlem ran from the 1900s through the 1924 Immigration Act restriction, with smaller subsequent waves through the 1940s. Bajan (Barbadian), Jamaican, Trinidadian, and smaller Bahamian, Grenadian, and St Vincentian populations clustered in central and west Harlem. Distinct surnames mark the Caribbean cohort (Browne, Padmore, Manley, Bustamante, Bryan, Holder, Joseph). The Caribbean cohort tilted more Garveyite and more Black-nationalist than the southern-migrant African American cohort, ran parallel mutual-aid institutions (Sons and Daughters of Barbados, Jamaican Progressive League), and held majority-Black worship at separate Caribbean-led Anglican, Methodist, and storefront congregations. By 1958 the second-generation Caribbean Harlemites are mostly integrated into the broader Black Harlem social fabric while retaining family-level distinctions.\n\nEAST HARLEM PUERTO RICAN ADJACENCY. By 1950 East Harlem (north of 96th Street, east of Fifth Avenue) was majority Puerto Rican (population approximately sixty-three thousand). The Italian retreat northward through East Harlem’s eastern edge accelerated through the 1950s. Black-Puerto Rican social interaction in 1958 ran through the Spanish hour of WHOM-AM, the Latin Tuesday and Wednesday nights at the Palladium Ballroom, the bilingual storefronts on 116th Street, and the schools that crossed both populations. Identity terms vary: some Afro-Puerto Ricans claim Black identity in 1958 Harlem context, others maintain a distinct Latino identity, others move between depending on context.\n\nSUGAR HILL VERSUS BRADHURST VERSUS THE ENCOUNTER ZONE. Sugar Hill (145th to 155th, the high ground along Edgecombe and Convent and St Nicholas) is the established Black professional and upper-middle class enclave. 409 Edgecombe Avenue alone has held W E B Du Bois, Walter White, Roy Wilkins, Thurgood Marshall, and Aaron Douglas. Paul Robeson lives at 555 Edgecombe in 1958. Bradhurst (the area just south and west of Sugar Hill, between roughly 135th and 145th Streets, Eighth Avenue to St Nicholas) is the working-and-middle-class transition zone. The encounter block on East 128th between Madison and Park is solidly within the working-class kitchenette zone of central Harlem. Roger and Mrs Jones are not Sugar Hill residents. They are not professional-class. The campaign’s social geography is the working-class core, with the bourgeois enclaves visible to the north and the professional class accessible by walk but socially distinct.\n\nROGER’S HOUSEHOLD CONFIGURATION — TYPE-TAXONOMY ONLY. Hughes’s text gives us four data points. Roger is approximately fourteen. He says when Mrs Jones asks “Ain’t you got nobody home to tell you to wash your face?” that he answers no. He wants the blue suede shoes. He is on East 128th Street alone at 11 PM on a Saturday. The broad household-type taxonomy grounded in 1958 Black-Harlem demographic and labor patterns covers five positions. (A) Mother absent through work, Roger latchkey. (B) Maternal-grandmother household. (C) Kinship-foster placement with aunt-and-uncle. (D) Foster placement with boarding mother under NYC Department of Welfare. (E) Mother present but incapacitated through addiction, illness, or other crisis. The five type-entries at period demographic patterns document occupation, hours, household composition, ADC relationship, and supervision pattern for each configuration. Specific names, addresses, and voice registers are NOT pre-committed in CC*. The AI engine instantiates a configuration live at session zero per the seated group composition. CC* documents what is real or text-canonical; named instantiations are session-runtime artifacts.\n\nWHY THE TYPE MATTERS. The household configuration type determines what Roger’s home looks like to a player who follows him there, what Mrs Jones is implicitly comparing her own kitchenette to when she asks if anyone is home, and what Roger’s grown-up letter (1978 homework) has to say about the twenty years between. The configuration type also determines what the institutional follow-up after the encounter would have been if Mrs Jones had called the police. The Bureau of Child Welfare casework file under type A produces a different result than under type C. Each type is defensible. The AI engine selects a type at session zero per the seated group; specific instantiation (names, ages, addresses, voice registers) is improvised live and not pre-committed in CC*.\n\nADC CASEWORK FRAMEWORK — TIER 2. Cross-reference cc-cmp001-realism-institutional ADC subsection. The federal Aid to Dependent Children program (1935 onward), NYS-administered, was the primary cash-assistance pathway for households with absent fathers in 1958. Casework involved unannounced home visits and the controversial “man in the house” rule (struck down by the US Supreme Court in King v Smith 1968) that required no adult man could be reliably present in an ADC household. Configurations A through E above sit in different relationships to ADC. The educator and the AI engine should read the ADC overlay onto whichever configuration becomes canonical.\n\nHARLEM SOCIAL INSTITUTIONS — BLOCK LEVEL. Cross-reference cc-cmp001-abyssinian and the church entries. The three Sunday-morning anchor congregations (Abyssinian Baptist on West 138th, Mother AME Zion on West 137th, Salem Methodist on Seventh Avenue at 129th) absorb most of Black Christian Harlem’s congregational identity. The smaller Black Catholic, Adventist, Sanctified, Pentecostal, and Holiness churches fill out the Sunday landscape. The Schomburg Center and the Harlem branches of the New York Public Library carry the secular intellectual life. The Apollo, Smalls Paradise, and the smaller jazz rooms carry the entertainment life. Mutual aid societies, fraternal lodges, and political-party clubs (the Carver Democratic Club, the Powell organization, the smaller reform Democratic clubs) carry the political-social life. Roger is too young to be a member of any adult organization. Mrs Jones is Hughes-silent on organizational membership; period adult Black women in central Harlem typically belonged to one or two (church women’s society, mutual aid lodge, school PTA where children went or where she did neighborhood volunteer work).", "x": "Class strata: cross-reference cc-cmp001-class-strata for full citations including Watkins-Owens, Putnam, Osofsky. Frazier, E Franklin, Black Bourgeoisie (Free Press 1957) original publication; Schocken Books reissue 1962 (ISBN 978-0029108703). Brown-paper-bag test, color politics, Black-internal vernacular: Russell, Kathy, Wilson, Midge, and Hall, Ronald, The Color Complex: The Politics of Skin Color Among African Americans (Anchor 1992, ISBN 978-0385471619); Kerr, Audrey Elisa, The Paper Bag Principle: Class, Colorism, and Rumor and the Case of Black Washington DC (UTennessee 2006, ISBN 978-1572334649). Black fraternity and sorority history: Whaley, Deborah Elizabeth, Disciplining Women: Alpha Kappa Alpha, Black Counterpublics, and the Cultural Politics of Black Sororities (SUNY Press 2010, ISBN 978-1438428406); Ross, Lawrence C, The Divine Nine (Kensington 2000, ISBN 978-1575664996). Caribbean immigration patterns: Watkins-Owens, Irma, Blood Relations: Caribbean Immigrants and the Harlem Community 1900-1930 (Indiana UP 1996, ISBN 978-0253210852); Putnam, Lara, Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age (UNC Press 2013, ISBN 978-1469610382); James, Winston, Holding Aloft the Banner of Ethiopia: Caribbean Radicalism in Early Twentieth-Century America (Verso 1998, ISBN 978-1859840412). Sons and Daughters of Barbados and Caribbean mutual aid: Schomburg Center for Research in Black Culture archival holdings; Reid, Ira De A, The Negro Immigrant: His Background, Characteristics, and Social Adjustment 1899-1937 (Columbia UP 1939). East Harlem Puerto Rican demographic 1950: U.S. Census 1950 Population by Census Tract for New York County tracts 158 to 240 via NHGIS at nhgis.org; Sanchez Korrol, Virginia, From Colonia to Community: The History of Puerto Ricans in New York City 1917-1948 (Greenwood 1983, ISBN 978-0313222931). Sugar Hill resident roster including 409 Edgecombe and 555 Edgecombe: 409 Edgecombe Avenue tenants and Schomburg Sugar Hill historical materials; Watson, Steven, The Harlem Renaissance: Hub of African-American Culture 1920-1930 (Pantheon 1995, ISBN 978-0679758891). Roger household configurations: grounded in U.S. Census 1950 and 1960 PUMS data on Black-headed household composition in central Harlem; Stack, Carol, All Our Kin: Strategies for Survival in a Black Community (Harper 1974, ISBN 978-0061319822) for kinship-network and grandmother-household patterns; Frazier, E Franklin, The Negro Family in the United States (UChicago 1939, revised 1948) for foundational analytical framework. Roger’s canonical household configuration is Hughes-silent gap. CC* preserves it; AI engine improvises at session-runtime per the seated group. Aid to Dependent Children and the man-in-the-house rule: King v Smith 392 US 309 (1968), full opinion at supreme.justia.com; Bell, Winifred, Aid to Dependent Children (Columbia UP 1965). Harlem religious institutions and political clubs: cc-cmp001-abyssinian and related entries plus Carver Democratic Club institutional history at Schomburg. Status: class strata, Caribbean immigration, color politics, East Harlem demographic, Sugar Hill roster, ADC framework verified scholarly primary or canonical-maintainer. Roger’s canonical household configuration explicitly reserved as Hughes-silent gap; AI engine improvises at session-runtime.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-abyssinian", "cc-cmp001-class-strata", "cc-cmp001-realism", "cc-cmp001-realism-institutional", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-sg-graph", "cc-cmp001-street-S06", "cc-cmp001-street-S07", "cc-cmp001-street-S14" ], "tg": "cmp-001, realism-inventory, social, research-filled, pm13, class-strata, intra-black-status, caribbean-immigration, frazier-1957, household-possibility-space, decision-7-reserved" }, { "id": "cc-cmp001-realism-political", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Political", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). The political domain situates the cmp-001 weekend inside the SCLC organizational architecture and the four-year civil rights chronology that produced Stride Toward Freedom and the September 1958 book tour. The King stabbing was not random violence in a random Harlem store on a random Saturday. It interrupted a publicity tour for a thesis about nonviolent direct action.\n\nSTRIDE TOWARD FREEDOM. Harper and Brothers released King’s first book Wednesday September 17 1958. The book is his account of the Montgomery Bus Boycott (Dec 1955 to Dec 1956), structured as memoir but argued as theory. Six chapters of narrative followed by the chapter “Pilgrimage to Nonviolence” that lays out the philosophical and tactical position King had absorbed from Thoreau, Rauschenbusch, Niebuhr, and Gandhi via Howard Thurman. The book’s argument is that organized, disciplined, large-scale nonviolent direct action is the only realistic Black strategy for desegregation in the American South. Reviewed in Time, the New York Times, and the Black weekly press through September.\n\nTHE SEPTEMBER 1958 SCLC NYC WEEK. Anna Arnold Hedgeman is the organizer who arranged King’s entire week in New York. Hedgeman was on Wagner’s mayoral cabinet 1954-1958, was a co-founder of the National Council of Negro Women, and at this moment is doing the organizing labor SCLC depends on for its Northern fundraising. She brought King to the Empire State Baptist Bookstore Wednesday September 17 (the retail arm of the Empire Baptist Missionary Convention of New York, headquartered at 171 West 140th Street, Harlem). She brought him to Williams Institutional CME Church on West 131st Street Thursday September 18 for an SCLC fundraising event. She co-organized with A. Philip Randolph the Hotel Theresa sidewalk mass meeting Friday September 19 evening. Saturday September 20 King was at Blumstein’s on 125th Street for a book signing, hosted by L. Joseph Overton (NAACP Harlem branch president and Local 1199 organizer) and again with Hedgeman’s coordination. Curry approached the table at approximately 3:20 PM.\n\nSTANDING AT THE TABLE. The Blumstein’s book signing brought together a load-bearing slice of the Black political class that Saturday afternoon. King at the table. Hedgeman organizing the floor. Overton hosting. NAACP Harlem branch officers in attendance. Mayor Robert F. Wagner Jr.’s representative was scheduled but the mayor himself was elsewhere. Manhattan Borough President Hulan Jack (the first Black borough president of Manhattan, elected 1953) was scheduled. The room was the Northern political base SCLC needed for its fundraising. The stabbing scattered that gathering and turned the political event into a hospital vigil.\n\nPOWELL’S 1958. Adam Clayton Powell Jr. is in his seventh term as US Representative for Harlem (NY-22nd district 1945-1971), pastor of Abyssinian Baptist Church, and the most powerful Black political figure in the country apart from King. He won the Democratic primary in early September 1958 against Tammany-backed Earl Brown despite a federal tax-evasion indictment hanging over him. Powell preached the Sunday September 21 morning service at Abyssinian with the King news already across Harlem. Powell’s relationship to King in 1958 is correct but cool; the two men compete for Northern Black leadership without quite saying so.\n\nFOUR-YEAR CIVIL RIGHTS CHRONOLOGY. Brown v Board, decided May 17 1954, is four years and four months old. Brown II ordering desegregation “with all deliberate speed” is three years and three months old. Emmett Till murdered August 28 1955, Mose Wright’s testimony the same fall. Montgomery Bus Boycott December 1 1955 through December 20 1956. Southern Christian Leadership Conference founded January 10-11 1957 in Atlanta with King as president. Little Rock Nine entered Central High September 25 1957 after Eisenhower federalized the Arkansas National Guard, exactly one year minus five days before the Blumstein’s stabbing. NAACP Daisy Bates is on the cover of Jet through 1958 for the Little Rock work. The 1957 Civil Rights Act (the first since Reconstruction) had passed under Eisenhower in September 1957 with a voting-rights enforcement mechanism that did not yet have teeth.\n\nNEW YORK STATE AND CITY POLITICS. Robert F. Wagner Jr. is mayor (1954-1965). Tammany Hall’s power is fading but still names judges and sanitation supervisors. Carmine DeSapio is Tammany boss; the Reform Democratic movement (Eleanor Roosevelt, Herbert Lehman, Thomas K. Finletter) is challenging him through the Democratic primary system. Nelson A. Rockefeller is running for governor against incumbent Democrat Averell Harriman; Rockefeller will win November 1958. Jacob Javits is junior senator (Republican). The 1958 midterms are six weeks away from the campaign weekend.\n\nCOLD WAR BACKDROP. Sputnik’s one-year anniversary is October 4 1958, two weeks after the campaign weekend. The Quemoy-Matsu Crisis is at peak intensity (PRC artillery shelling the Taiwan-held islands began August 23 1958, ongoing). US Marines are completing their Lebanon withdrawal (the July 15 1958 intervention ends October 25). The Berlin Crisis is two months ahead (Khrushchev’s November 27 1958 ultimatum demanding Western withdrawal). NASA was founded July 29 1958, becomes operational October 1, eleven days after the campaign weekend. Ghana’s 1957 independence is the watershed event for the African decolonization story the Black press is following closely; Patrice Lumumba’s Congo independence is two years ahead.\n\nWHAT THE WEEK ARGUES. Saul should resist reading the King stabbing as random. The week leading to it was a Northern fundraising and visibility tour for a book whose argument was that disciplined nonviolent direct action could break Southern segregation. Curry’s assault interrupted that argument with the very thing it argued against. The political stake of the campaign’s Saturday afternoon is that the central Black political project of 1958 was tested by a knife on its publicity tour. It held together because King refused to repudiate his thesis from his hospital bed. Players walking through Harlem that weekend are walking through a tested political moment.", "x": "Stride Toward Freedom: Harper and Brothers 1958 first edition; King, Martin Luther Jr., Stride Toward Freedom: The Montgomery Story (Beacon Press reissue 2010, ISBN 978-0807000700) is the canonical contemporary edition. Stanford King Institute Stride Toward Freedom entry at kinginstitute.stanford.edu/encyclopedia/stride-toward-freedom-montgomery-story. Hedgeman 1958 SCLC organizing: Hedgeman, Anna Arnold, The Trumpet Sounds: A Memoir of Negro Leadership (Holt Rinehart Winston 1964) and Hedgeman, Anna Arnold, The Gift of Chaos: Decades of American Discontent (Oxford UP 1977, ISBN 978-0195022261). Scharff, Virginia, ed., Empire and Liberty: The Civil War and the West (UC Press 2015) for cabinet-period documentation. Hedgeman New York Age column “I Saw Dr King Stabbed” on Newspapers.com page 40868038. Empire Baptist Missionary Convention of New York: ebmcny.org canonical. Williams Institutional CME Church: williamscme.org and the AME Zion / CME denominational records. Hotel Theresa rally Friday September 19 1958: Hedgeman New York Age coverage; A. Philip Randolph Institute and Brotherhood of Sleeping Car Porters records at the Library of Congress. L. Joseph Overton: New York Times obituary January 22 1985 plus Local 1199 historical archive. Hulan Jack: New York Times biographical archive; first Black Manhattan Borough President 1953-1961. Powell 1958 status: Hamilton, Charles V., Adam Clayton Powell Jr.: The Political Biography of an American Dilemma (Atheneum 1991, ISBN 978-0689120459); US House of Representatives History Art and Archives at history.house.gov; Powell tax-evasion indictment May 1958 documented in NYT archive. Civil rights chronology: Branch, Taylor, Parting the Waters: America in the King Years 1954-63 (Simon and Schuster 1988, ISBN 978-0671460976); Stanford King Institute encyclopedia entries on Montgomery Bus Boycott, Brown v Board, Little Rock Nine, SCLC founding. Daisy Bates: Bates, Daisy, The Long Shadow of Little Rock (David McKay 1962); Library of Congress Daisy Bates Papers. 1958 New York State and City politics: Caro, Robert A., The Power Broker (Knopf 1974, ISBN 978-0394480763) on Wagner-Tammany; New York Times political archive 1958 via ProQuest. Cold War backdrop: US Department of State Office of the Historian at history.state.gov for Quemoy-Matsu, Lebanon, Berlin Crisis chronology; NASA history office at history.nasa.gov for July 29 1958 founding date and October 1 operational date. Ghana 1957 independence and African decolonization: Plummer, Brenda Gayle, Rising Wind: Black Americans and U.S. Foreign Affairs 1935-1960 (UNC Press 1996, ISBN 978-0807845752). Status: primary or canonical-maintainer per claim; secondary scholarly fills the institutional history.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-npc-king", "cc-cmp001-npc-powell", "cc-cmp001-realism", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-street-S04", "cc-cmp001-street-S10", "cc-cmp001-tm-saturday", "cc-cmp001-tm-sunday", "cc-cmp001-week-lead-up" ], "tg": "cmp-001, realism-inventory, political, research-filled, pm13, sclc-1958, hedgeman, stride-toward-freedom, powell-1958, civil-rights-chronology, cold-war-1958" }, { "id": "cc-cmp001-realism-cultural", "s": "campaign", "r": "cmp-001", "t": "Realism inventory — Cultural", "b": "Cmp-001 realism-inventory child of cc-cmp001-realism. Operates under ml* PM13 (paint at full historical fidelity, educator filters at delivery) and bb-dm-010 tier-calibrated activation (substrate vs surface). The cultural domain is the texture the campaign actually paints from.\n\nHUGHES IN PLACE. Langston Hughes is at 20 East 127th Street the entire campaign weekend. No documented out-of-NYC engagement Sept 17 to 22 1958. His next trip out is the December 10 1958 University of California Berkeley reading, broadcast on KPFA. His 1958 has been New York studio and publication work. April: George Braziller releases The Langston Hughes Reader. March: NYC studio session for the Weary Blues LP (MGM E3697) with Charles Mingus, Henry “Red” Allen, and Phineas Newborn Jr. May: Library of Congress poetry recording session. Throughout 1958: The Book of Negro Folklore co-edited with Arna Bontemps, Dodd Mead. The Simple stories (Jesse B Semple) continue as weekly columns in the Chicago Defender. Hughes is on the Schomburg Collection board. The author is one block south of the encounter block.\n\nTHE WEEK’S APOLLO. The Coasters are headlining the Apollo the week of September 19 to 25 1958. “Yakety Yak” was Billboard #1 R&B for seven weeks in summer 1958. The followup “Charlie Brown” is being recorded that fall for January 1959 release. House comic that week is unconfirmed in primary sources; period booking pattern names Moms Mabley and Pigmeat Markham as the regular rotation. Saturday two evening shows plus matinee. The marquee on the south side of 125th Street is lit Saturday night while King is in surgery six blocks east.\n\nTHE NEWPORT GHOST. The Newport Jazz Festival closed eleven weeks earlier (July 3 to 6 1958, Freebody Park, Newport, Rhode Island). Bert Stern was filming what becomes Jazz on a Summer’s Day. Miles Davis Sextet played Thursday July 3 with the lineup that goes into the studio in March 1959 to make Kind of Blue (Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, Jimmy Cobb). Mahalia Jackson closed Sunday July 6 with “Didn’t It Rain.” Dinah Washington played Saturday July 5. By September the Columbia recordings are in heavy rotation on Black radio. The summer that just ended is the cultural air the campaign breathes.\n\nLATIN HARLEM. Tito Puente released Dance Mania (RCA Victor LSP-1692) early 1958, recorded November and December 1957 at RCA Webster Hall. The first Latin dance LP from a major label without commercial gimmicks. Tracks “Hong Kong Mambo,” “El Cayuco,” “Cuando Te Vea.” Played in El Barrio dance halls. The Palladium Ballroom at 53rd and Broadway is the citywide Latin hub, with mambo and cha-cha-cha as the dominant rhythms. Machito and Tito Rodríguez are the parallel bandleaders. WHOM-AM 1480 carries the Spanish hour.\n\nTHE LITERARY MOMENT. Late Harlem Renaissance is shading into something else. James Baldwin’s Go Tell It on the Mountain (1953) and Notes of a Native Son (1955) are recent; Baldwin himself is in Paris in 1958. Ralph Ellison’s Invisible Man (1952) is the singular postwar landmark. Lorraine Hansberry is finishing the play that becomes A Raisin in the Sun (Broadway opens March 11 1959). LeRoi Jones (later Amiri Baraka) is in Greenwich Village starting Yugen with Hettie Cohen, has not yet moved uptown. Richard Wright is in Paris writing The Long Dream (also published 1958). Hughes, Bontemps, and Owen Dodson are the elders still working in New York.\n\nDECARAVA AND THE PHOTOGRAPHIC RECORD. Roy DeCarava lives in central Harlem in 1958, photographing the same blocks the campaign moves through. The Sweet Flypaper of Life (1955), DeCarava’s photographs and Hughes’s text, is three years old; copies circulate in Harlem households. DeCarava is shooting jazz portraits and street life through 1958. Art Kane shot A Great Day in Harlem at 17 East 126th Street, 10 AM Tuesday August 12 1958, five weeks before the campaign weekend. Fifty-seven musicians arranged on a brownstone stoop. Count Basie sitting on the curb with neighborhood children. Esquire publishes the photograph in the January 1959 “Golden Age of Jazz” issue.\n\nRADIO TOP TEN, WEEK OF SEPTEMBER 20 1958. WLIB-AM 1190 broadcasts from the Hotel Theresa basement. Black-programmed daytime, sells nighttime hours to other communities. Hal Jackson works WLIB; Tommy “Dr. Jive” Smalls works competing WWRL 1600 from Woodside, Queens. The Billboard Hot 100 chart had launched August 4 1958. The week of September 20 has Tommy Edwards “It’s All in the Game” at #1 (six weeks at the top), Domenico Modugno “Volare” recently displaced, The Olympics “Western Movies” charting Top Ten, Bobby Hendricks “Itchy Twitchy Feeling” charting on R&B, The Coasters still rotating “Yakety Yak.” The radio is on in every kitchenette and barbershop.\n\nFILMS PLAYING IN HARLEM. Cat on a Hot Tin Roof (Brooks, MGM, Paul Newman and Elizabeth Taylor) opens September 18 1958 nationwide. The Defiant Ones (Kramer, United Artists, Sidney Poitier and Tony Curtis) opens September 24 1958, the Tuesday after the campaign weekend. Advance newspaper ads are everywhere. Harlem first-run movie theaters along the 125th Street and 116th Street corridors are showing both. Sidney Poitier is the rising Black film presence. The Defiant Ones earns him the Berlin Silver Bear and a 1959 Oscar nomination, the first nomination for a Black actor in a leading role.\n\nTHE BLACK PRESS AS CULTURAL INSTITUTION. The Amsterdam News is the weekly Harlem paper, James L. Hicks executive editor, fifteen cents on every Seventh Avenue corner. Malcolm X has just begun his column “God’s Angry Man” in 1958, two years before he becomes nationally known. Pittsburgh Courier (national Black weekly), Chicago Defender (Hughes’s Simple column home), Jet (weekly news magazine, Johnson Publishing), and Ebony (monthly, Johnson Publishing) are the national Black press. The papers go through Harlem households the same way the music goes through Harlem radios.", "x": "Hughes 1958 activity: Rampersad, Arnold, The Life of Langston Hughes Vol 2 (Oxford UP 1988, ISBN 978-0195145441) canonical. MGM E3697 Weary Blues LP: Discogs catalog plus jazzdiscography.com Mingus discography. The Book of Negro Folklore: Dodd Mead 1958 first edition WorldCat OCLC 343859. Library of Congress Hughes recordings: LOC online catalog. Newport Jazz Festival 1958: Newport Festivals Foundation archive at newportjazz.org. Jazz on a Summer’s Day: Galaxy Productions 1959, AFI Catalog. Apollo bookings: Apollo Theater Foundation archive apollotheater.org. Specific Sept 1958 booking ledger remains undocumented in publicly accessible sources. Dance Mania: Sony Music Latin official upload of RCA Victor LSP-1692. Recording session per Loza, Steven, Tito Puente and the Making of Latin Music (UI Press 1999, ISBN 978-0252068034). Roy DeCarava: Roy DeCarava Foundation at decarava.com. The Sweet Flypaper of Life Simon and Schuster 1955, NYPL Schomburg call number 779.973 D294. A Great Day in Harlem: artkane.com archive and Esquire Magazine January 1959 issue. Baldwin in Paris 1958 and Hansberry chronology: Leeming, David, James Baldwin (Knopf 1994, ISBN 978-0394572086); Hansberry, Lorraine, To Be Young, Gifted and Black (Random House 1969). LeRoi Jones and Yugen: Jones, Hettie, How I Became Hettie Jones (Dutton 1990, ISBN 978-0525248361). WLIB and WWRL 1958: Library of American Broadcasting at University of Maryland and Tommy Smalls NYT obituary. Billboard Hot 100 week of Sept 20 1958: Billboard.com chart archive (chart launched Aug 4 1958). Cat on a Hot Tin Roof and The Defiant Ones release dates: AFI Catalog of Feature Films at catalog.afi.com. Black press 1958: Marable, Manning, Malcolm X: A Life of Reinvention (Viking 2011, ISBN 978-0670022205) on “God’s Angry Man” column launch. Status: primary or canonical-maintainer per claim where available, scholarly secondary fills the gaps.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-im-newport-1958-jazz", "cc-cmp001-npc-hughes", "cc-cmp001-realism", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-schomburg", "cc-cmp001-smalls", "cc-cmp001-street-S03", "cc-cmp001-street-S05", "cc-cmp001-street-S09", "cc-cmp001-street-S12", "cc-cmp001-street-S13", "cc-cmp001-tm-friday", "cc-cmp001-week-lead-up" ], "tg": "cmp-001, realism-inventory, cultural, research-filled, pm13, hughes-1958, apollo-week, newport-1958, decarava, latin-harlem, late-harlem-renaissance, billboard-1958, black-press" }, { "id": "cc-cmp001-realism-religious", "s": "realism-religious", "r": "cmp-001", "t": "cmp-001 Religious (realism domain 9)", "b": "DOMAIN SCOPE. The religious institutions and observances that shape 1958 central Harlem at street level and Sunday level. The three established Black Christian congregations (Abyssinian Baptist, Mother AME Zion, Salem Methodist) anchor the Sunday-morning institutional spine. The spiritual storefronts, the Nation of Islam, the Peace Mission, the House of Prayer, the Adventist congregations, and the Jewish and Catholic neighbors of central Harlem fill out the domain.\n\n1. The three established Sunday institutions. Abyssinian Baptist (Adam Clayton Powell Jr. preaching), Mother AME Zion (founded 1796 as the first Black church in NYS), Salem Methodist Episcopal. See Spatial (5) for locations and LP designations.\n\n2. Father Divine's Peace Mission Movement. Active in Harlem 1958 with multiple banquet halls. Doctrinal commitments included no marriage, no smoking, no race-naming. Cite Jill Watts, Father Divine biography research at UCLA Charles E. Young Research Library.\n\n3. Sweet Daddy Grace's United House of Prayer for All People. Bishop Grace died January 1960 so September 1958 he was active and the United House was a major Black religious institution.\n\n4. Nation of Islam Temple No. 7. Malcolm X minister at 102 West 116th Street since 1954. Adult-tier surfacing per dm-010. Cite Manning Marable, *Malcolm X: A Life of Reinvention*, Viking 2011, ISBN 978-0-670-02220-5.\n\n5. Catholic and Jewish neighbors. Italian Catholic and Irish Catholic populations in adjacent East Harlem; Jewish merchants on 125th Street and as kitchenette landlords. Adventist Saturday observance. Spiritual storefronts proliferating throughout central Harlem.\n\nCROSS-REFERENCES. Spatial (5), Cultural (8), Social (6). dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, expansion to 15 domains.", "x": "May 8 2026 origin. Domain 9 of 15.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-ghost-firing-4-sunday-sermon", "cc-cmp001-npc-powell", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-street-S10", "cc-cmp001-street-S12", "cc-cmp001-tm-sunday" ], "tg": "cc, cmp-001, realism, religious, three-churches, peace-mission, house-of-prayer, temple-no-7, malcolm-x, adventist, catholic-neighbors, jewish-merchants, may-2026-08-origin" }, { "id": "cc-cmp001-realism-domestic", "s": "realism-domestic", "r": "cmp-001", "t": "cmp-001 Domestic / material-culture (realism domain 10)", "b": "DOMAIN SCOPE. The objects, furniture, fashion, foodways, and household practices of working-class central Harlem 1958. The kitchenette interior is the load-bearing site of cmp-001's emergence point and lives here cleanly. Period furniture, cookware, fashion, and consumer products inform every NPC interaction.\n\n1. The 1958 central Harlem kitchenette interior. Single-room subdivision pattern. Hot plate, icebox or small refrigerator, sink, screen partition, bed-sitter chair, hallway bathroom shared. Mrs Jones's specific kitchenette per the Hughes text (screen Roger could go behind, hot plate, sink, small table). Cite Osofsky, *Harlem* (ISBN 978-1-56663-104-4) for typology. Roy DeCarava and Langston Hughes, *The Sweet Flypaper of Life* (1955) for canonical interior photography.\n\n2. Period furniture and cookware. The icebox-to-refrigerator transition. The hot plate as kitchenette anchor (single-burner gas at $8.95 retail period range). The bed-sitter chair / studio couch as multifunction sleeping-and-seating fixture. Linoleum floors. Patterned wallpaper. Family photographs and church calendars on the walls.\n\n3. Period foodways. What Mrs Jones cooks (lima beans, ham, ten-cent cake, cocoa per the Hughes text). Soul-food canon (greens, cornbread, pork, sweet potato pie). Bodega and grocery patterns. Wells Restaurant on 132nd and Seventh Avenue (chicken and waffles since 1938).\n\n4. Period fashion. Adult men's continental cut suits (rising 1958). Women's day dresses with fitted waists. Teenage fashion (zoot suit past, the Black-teenager idiom of 1958 not yet a rebel-aesthetic). Blue suede shoes as the Carl Perkins/Elvis crossover marker Roger wants. Cite *Ebony* and *Jet* archive 1958 issues.\n\n5. Period consumer products. Radio sets (table-model and floor-console), the small electric refrigerator replacing the icebox, Bakelite kitchen accessories.\n\nCROSS-REFERENCES. Spatial (5) for kitchenette siting. Cultural (8) for fashion aesthetics. cc-cmp001-emergence-point for the kitchenette as study-object page. dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, expansion to 15 domains.", "x": "May 8 2026 origin. Domain 10 of 15. Houses the kitchenette emergence point.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-emergence-point", "cc-cmp001-im-kitchenette-interior", "cc-cmp001-im-mrs-jones-stand-in", "cc-cmp001-npc-mrs-jones", "cc-cmp001-npc-roger", "cc-cmp001-oi-kitchenette", "cc-cmp001-oi-purse", "cc-cmp001-oi-roger", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-street-S11", "cc-cmp001-street-S14" ], "tg": "cc, cmp-001, realism, domestic, material-culture, kitchenette, hot-plate, icebox, foodways, fashion, blue-suede-shoes, decarava, period-products, may-2026-08-origin" }, { "id": "cc-cmp001-realism-legal", "s": "realism-legal", "r": "cmp-001", "t": "cmp-001 Legal (realism domain 11)", "b": "DOMAIN SCOPE. The laws governing 1958 Black NYC life and the gap between law-on-paper and law-as-enforced. The structural reason Mrs Jones not calling the police is a meaningful choice. The pipeline that would have absorbed Roger if she had called.\n\n1. New York 1958 Civil Rights Law and its enforcement weakness. Public-accommodations discrimination prohibited de jure but enforcement was complaint-driven, slow, and unevenly applied. Sugrue, *Sweet Land of Liberty* (ISBN 978-0-679-64303-6) documents the Northern enforcement gap.\n\n2. The man-in-the-house ADC rule. Aid to Dependent Children was a Title IV-A program of the Social Security Act of 1935. NYC Department of Welfare caseworkers conducted home visits to verify household composition. A man present in the home meant the household was disqualified, which broke up many Black households mechanically. Resolvable via NYC Municipal Archives Department of Welfare records.\n\n3. Juvenile detention pipeline 1958. NYPD juvenile arrest leads to the children's court (Family Court precursor); placement options include the New York State Training School for Boys at Warwick (where Claude Brown was placed multiple times in this exact period). Cite Brown, *Manchild in the Promised Land*, ISBN 978-1-4516-3157-9, for first-person granular detail.\n\n4. Segregation case law in transition. *Brown v Board* four years past. Northern de facto segregation litigated piecemeal through the late 1950s. NAACP Legal Defense and Educational Fund actively building the school-integration cases. Cite Branch, *Parting the Waters*, ISBN 978-0-671-46097-6.\n\n5. Property law and the racial-rent differential. Restrictive covenants formally illegal post *Shelley v Kraemer* (1948) but informal redlining and steering persisted. NYC rent control ceiling at $416.66/month with luxury decontrol order issued 1958 for ~600 units. Cite NYS Division of Housing and Community Renewal historical records.\n\n6. Why Mrs Jones not calling police is structurally meaningful. Calling police on a 13-year-old Black boy in 1958 NYC plausibly initiates the Warwick pipeline. The choice to take Roger home and feed him is not merely kind; it is a refusal of the legal infrastructure that would have processed him.\n\nCROSS-REFERENCES. Institutional (3), Economic (1), Social (6). dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, expansion to 15 domains.", "x": "May 8 2026 origin. Domain 11 of 15. Mrs Jones not calling police is the load-bearing legal moment.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-npc-curry", "cc-cmp001-npc-mrs-jones", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, realism, legal, civil-rights-law, adc-man-in-house, juvenile-detention, warwick, brown-v-board, shelley-v-kraemer, rent-control, mrs-jones-choice, may-2026-08-origin" }, { "id": "cc-cmp001-realism-recreational", "s": "realism-recreational", "r": "cmp-001", "t": "cmp-001 Recreational (realism domain 12)", "b": "DOMAIN SCOPE. What 13-year-olds and adults did for leisure in 1958 central Harlem. What a 14-year-old in central Harlem might do Saturday afternoon leading to evening (Hughes silent on Roger’s pre-encounter Saturday). The street and stoop and corner culture that filled the hours adjacent to working-class household life.\n\n1. Streetball and schoolyard games. Stickball, handball, double dutch, hopscotch, pitching pennies. The schoolyard as Saturday afternoon gathering place when school is closed.\n\n2. The candy store and corner. The penny-candy economy. Egg creams, malteds, the corner soda jerk pattern. Roger's likely Saturday afternoon if he had any pennies.\n\n3. The Saturday matinee circuit. Loew's Victoria, Loew's 7th Avenue, RKO Alhambra. Specific Saturday September 20 1958 movie listings UNCHECKED at primary level (resolvable via Amsterdam News and NY Times microfilm). What was at the Apollo (resolvable via NMAH AC.0540 Schiffman cards). Period admission $0.25 to $0.35 for kids.\n\n4. Adult leisure. Stoop sitting. The barbershop as Saturday afternoon men's institution where the King-stabbing news Saturday afternoon is processed in real time. The beauty shop as Saturday women's institution (where Mrs Jones works at the Theresa per the codex).\n\n5. Sports as Harlem cultural weather. The Yankees won the AL pennant 1958 and played Milwaukee Braves in the World Series Oct 1-9 (after cmp-001 window but the pennant-clinch run-up was active news). The Giants and Dodgers had moved to the West Coast in 1957-58, the first NY season without them. Black baseball fans had to choose Yankees or follow the West Coast teams via radio. Sugar Ray Robinson active as middleweight legend. The Globetrotters with Wilt Chamberlain.\n\n6. Numbers game and policy. Adult-tier per dm-010. Bumpy Johnson active. Madame Stephanie St. Clair retired but legendary. Ten-cent and quarter wagers structural to working-class economy.\n\nCROSS-REFERENCES. Cultural (8), Economic (1), Spatial (5). dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, expansion to 15 domains.", "x": "May 8 2026 origin. Domain 12 of 15. Roger’s Saturday afternoon hours live here.", "bb_links": [ "dm-010" ], "tg": "cc, cmp-001, realism, recreational, streetball, candy-store, saturday-matinee, barbershop, beauty-shop, 1958-yankees, giants-dodgers-departed, sugar-ray-robinson, numbers-game, may-2026-08-origin" }, { "id": "cc-cmp001-realism-technological", "s": "realism-technological", "r": "cmp-001", "t": "cmp-001 Technological (realism domain 13)", "b": "DOMAIN SCOPE. Period technology at street level and inside the kitchenette in 1958 central Harlem. What was emerging, what was fading, what was carrying the King-stabbing news on the air, what was cooking the lima beans.\n\n1. Radio sets. Table-model and floor-console radios. WLIB and WWRL the Black-format stations. Tommy Dr. Jive Smalls on WWRL. Carrying the King-stabbing news Saturday evening. Resolvable via period Billboard radio coverage and NYPL Schomburg radio history holdings.\n\n2. Telephones. Party lines common in working-class Harlem 1958. Manhattan exchanges in Harlem used Audubon (AU), Edgecombe (ED), Wadsworth (WA), Tillinghast (TI) prefixes. Pay phones at corner candy stores. Mrs Jones likely uses a hallway shared phone or a candy-store pay phone. Resolvable via 1958 NYC phone directory at NYPL.\n\n3. The icebox-to-refrigerator transition. Some kitchenettes still used iceboxes with twice-weekly ice deliveries. Others had small electric refrigerators by 1958. Mrs Jones’s room is Hughes-silent on appliance specifics; a working-class Black woman’s kitchenette in 1958 might have an icebox or a small electric refrigerator depending on the building. The hot plate is universal.\n\n4. Television. Approximately 80% of NYC households had TV sets by 1958. Three networks (CBS, NBC, ABC). *Amos n Andy* gone by 1953. Nat King Cole Show canceled December 1957 due to lack of national sponsor. Black absence from network TV a known-painful 1958 Harlem topic.\n\n5. Photography. Black-and-white still photography the documentary medium of the era. Roy DeCarava primary practitioner in Harlem; James Van Der Zee active. Color emerging but expensive.\n\n6. Transit infrastructure. IRT and IND subway lines. Bus routes M1, M2, M3, M4, M101, M102. Park Avenue viaduct above East 128th carrying NY Central commuter trains.\n\n7. Emerging and fading. Transistor radio just appearing (Sony TR-63 released 1957). Jet travel commercializing (Boeing 707 entered service Oct 1958). Computers room-sized, not in households. Steam radiators standard in tenements; gas remnants in some buildings.\n\nCROSS-REFERENCES. Cultural (8), Spatial (5), Institutional (3). dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, expansion to 15 domains.", "x": "May 8 2026 origin. Domain 13 of 15.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-im-period-ephemera-radio-stamp", "cc-cmp001-im-subway-map-1958" ], "tg": "cc, cmp-001, realism, technological, radio, wlib, wwrl, telephone-party-lines, manhattan-exchanges, icebox-refrigerator, television, decarava-photography, transit, transistor, jet-travel, may-2026-08-origin" }, { "id": "cc-cmp001-realism-environmental", "s": "realism-environmental", "r": "cmp-001", "t": "cmp-001 Environmental (realism domain 14)", "b": "DOMAIN SCOPE. Weather, urban ecology, soundscape, and environmental texture of central Harlem 1958. The physical environment Roger walks through and Mrs Jones lives inside.\n\n1. Weather September 19-22 1958. NOAA NCEI Central Park station daily records. Saturday September 20 was sunny per news photos of King at Blumstein's. Surrounding days resolvable via weather.gov historical data.\n\n2. Urban ecology. Air-shaft economies of tenement buildings (interior windows facing into narrow shafts; bedbugs and roaches; pigeon infestations). Coal smoke from heating systems still common 1958. Garbage collection patterns (twice-weekly pickup, alley behind tenements).\n\n3. The parks. Mount Morris Park (renamed Marcus Garvey Park 1973) on Madison Avenue north of 124th Street, the closest open green space to the cmp-001 block. Central Park western edge accessible via crosstown bus. Riverside Park along the Hudson.\n\n4. Soundscape. Park Avenue viaduct overhead carrying NY Central commuter trains (timetable resolvable via Metro-North/MTA archive). Bus traffic on Madison and Lenox. Children playing on stoops. Radio music drifting from open windows summer-tail nights. Fire-alarm bells. Pushcart vegetable vendors.\n\n5. Streetscape. Fire escapes on tenement façades. Wrought-iron stoop railings. Cobblestone surfacing on some side streets transitioning to asphalt. Streetlights still gas-lamp shaped though electric. Shop awnings over storefronts.\n\n6. Climate context. Hurricane Helene tracked September 25-30 1958 hit New England post cmp-001 window, but the developing system would have appeared in Friday-Monday weather coverage. Resolvable via Amsterdam News weather notes 19-22 September 1958.\n\nCROSS-REFERENCES. Spatial (5), Recreational (12), Institutional (3). dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, expansion to 15 domains.", "x": "May 8 2026 origin. Domain 14 of 15.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-street-S08", "cc-cmp001-tm-friday" ], "tg": "cc, cmp-001, realism, environmental, weather-records, sunny-saturday, mount-morris-park, marcus-garvey-park, airshaft-ecology, coal-smoke, soundscape, viaduct, hurricane-helene, may-2026-08-origin" }, { "id": "cc-cmp001-realism-educational", "s": "realism-educational", "r": "cmp-001", "t": "cmp-001 Educational (realism domain 15)", "b": "DOMAIN SCOPE. The institutional educational ecology of 1958 central Harlem. Schools, libraries, churches as educators, adult education, scholarly institutions. The Schomburg as scholarly site. The Galamison-organizing-toward-1964 NYC public-school integration moment.\n\n1. The public schools beyond the catchment question (covered partially in Institutional 3). Curriculum, teacher composition (mostly white in 1958 central Harlem despite all-Black student bodies), the textbook gap, the funding gap. Cite Sugrue, *Sweet Land of Liberty*, ISBN 978-0-679-64303-6.\n\n2. The Schomburg Collection of Negro History and Literature as scholarly site. 103 West 135th Street Carnegie palazzo branch. Director Jean Blackwell Hutson since 1948. Reading room patronage; scholarly visitors; community lectures. The third-floor Schomburg space versus first-and-second-floor circulating library. Cite NYPL Schomburg historical timeline.\n\n3. Library culture. The 135th Street Branch as community institution. After-school programs. Children's reading rooms.\n\n4. Church-as-educator. Sunday school at Abyssinian, Mother AME Zion, Salem. Adult Bible study. The Black church's historical role as primary education site for Black Americans pre-public-school-integration.\n\n5. Adult education programs. NYC Department of Education adult evening schools. Settlement house programs. The Urban League educational arm.\n\n6. The Galamison organizing arc. Reverend Milton Galamison's school-integration campaign building from late 1950s toward the 1964 NYC school boycotts. In September 1958 the organizing was active but pre-mass-mobilization. Sugrue (ISBN 978-0-679-64303-6) and Brian Purnell, *Fighting Jim Crow in the County of Kings*, University Press of Kentucky 2013, ISBN 978-0-8131-4188-7, document the period.\n\nCROSS-REFERENCES. Institutional (3), Spatial (5), Cultural (8), Religious (9). dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, expansion to 15 domains.", "x": "May 8 2026 origin. Domain 15 of 15.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-street-S02" ], "tg": "cc, cmp-001, realism, educational, public-schools, schomburg, jean-blackwell-hutson, library-culture, church-as-educator, adult-education, galamison, school-integration, may-2026-08-origin" }, { "id": "cc-cmp001-template-npc", "s": "template-npc", "r": "cmp-001", "t": "cmp-001 NPC dossier template (cc* hyperrealism scaffold)", "b": "The structural template every cc-cmp001-npc-X entry follows. Cookie-cutter scaffold so each NPC dossier is uniform, complete, and instantly readable by any educator or AI.\n\nREQUIRED FIELDS PER NPC DOSSIER.\n\n1. Name (full, with documented variants).\n2. Age in September 1958.\n3. Documented status (verified historical, composite, fictional canonical).\n4. Location-at-each-named-timestamp (Friday 6 PM, Saturday 9 AM, Saturday 3 PM, Saturday 11 PM, Sunday 9 AM, Sunday 3 PM, Monday 7 AM).\n5. Family or household composition.\n6. Work or occupation, with hours.\n7. Voice register (cross-reference to cc-cmp001-vs-N).\n8. Physical description (period-realistic).\n9. Pedagogical purpose for cmp-001.\n10. Tier-1 vs tier-2 marker per dm-010.\n11. NPC-path-trigger conditions (what surfaces this NPC into play).\n12. Relationships to other cmp-001 NPCs (cross-reference to cc-cmp001-sg-graph).\n13. Image-asset reference (cross-reference to cc-cmp001-im-N).\n14. Three signature dialogue exemplars (verbatim if from primary source; period-extrapolated if composite).\n15. Primary citations (ISBN, DOI, archive URL).\n\nUSAGE. Every new cc-cmp001-npc-X entry fills these 15 fields. Skipped fields explicitly marked UNCHECKED with resolution path.\n\nCROSS-REFERENCES. cc-cmp001-realism (parent realism inventory and TIER ACTIVATION DIRECTIVE). dm-010 for tier calibration. dm-011 for how NPCs surface during the burrow ritual.\n\nORIGIN. May 8 2026, cmp-001 build, batch 1 foundations.", "x": "NPC dossier template. 15 fields. Used by every cc-cmp001-npc-X entry.", "bb_links": [ "dm-010", "dm-011" ], "cc_links": [ "cc-cmp001-npc-curry", "cc-cmp001-npc-hughes", "cc-cmp001-npc-king", "cc-cmp001-npc-maynard", "cc-cmp001-npc-mrs-jones", "cc-cmp001-npc-powell", "cc-cmp001-npc-roger", "cc-cmp001-oi-kitchenette", "cc-cmp001-oi-purse", "cc-cmp001-oi-roger", "cc-cmp001-realism", "cc-cmp001-sg-graph", "cc-cmp001-vs-mrs-jones", "cc-cmp001-vs-roger" ], "tg": "cc, cmp-001, template, npc-dossier, scaffold, 15-fields, hyperrealism-scaffold, may-2026-08-origin" }, { "id": "cc-cmp001-template-street", "s": "template-street", "r": "cmp-001", "t": "cmp-001 Street block detail template (cc* hyperrealism scaffold)", "b": "The structural template every cc-cmp001-street-S## entry follows.\n\nREQUIRED FIELDS PER STREET BLOCK.\n\n1. Block boundaries (exact street designation, cross-streets at each end).\n2. Per-corner ground-floor business roster (each business with citation flag VERIFIED/PRIOR-ART/UNCHECKED).\n3. Mid-block ground-floor businesses.\n4. Residential building typology per address (tenement, brownstone, kitchenette-subdivided, single-family, walk-up, with-elevator).\n5. Sidewalk-level visual texture (storefronts, awnings, signage, advertising, fire escapes, stoops).\n6. Soundscape per hour (cross-reference to cc-cmp001-tm-DAY entries).\n7. NPC-density at named timestamps (Friday 6 PM, Saturday 9 AM, Saturday 3 PM, Saturday 11 PM, Sunday 9 AM, Sunday 3 PM, Monday 7 AM).\n8. Plausible Roger-walks-through paths.\n9. Plausible student-character paths.\n10. Image-asset references (cross-reference to cc-cmp001-im-N).\n11. Primary citations (NYC LPC designation reports, NYC Municipal Archives 1940 plus 1980 tax photographs, period maps).\n\nUNCHECKED RESOLUTION PATHS. NYC Municipal Archives at 31 Chambers St for tax-photograph triangulation. NYPL Schomburg for Black-press-archive coverage. Sanborn fire insurance maps via NYPL or LOC.\n\nCROSS-REFERENCES. cc-cmp001-realism-spatial (the spatial domain entry). cc-cmp001-tm-DAY (temporal map). dm-010 for tier calibration.\n\nORIGIN. May 8 2026, cmp-001 build, batch 1 foundations.", "x": "Street block template. 11 fields. Used by every cc-cmp001-street-S## entry.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-realism-spatial", "cc-cmp001-street-S01", "cc-cmp001-street-S02", "cc-cmp001-street-S03", "cc-cmp001-street-S04", "cc-cmp001-street-S05", "cc-cmp001-street-S06", "cc-cmp001-street-S07", "cc-cmp001-street-S08", "cc-cmp001-street-S09", "cc-cmp001-street-S10", "cc-cmp001-street-S11", "cc-cmp001-street-S12", "cc-cmp001-street-S13", "cc-cmp001-street-S14", "cc-cmp001-street-S15" ], "tg": "cc, cmp-001, template, street-block, scaffold, 11-fields, hyperrealism-scaffold, may-2026-08-origin" }, { "id": "cc-cmp001-template-session", "s": "template-session", "r": "cmp-001", "t": "cmp-001 Session minute-by-minute template (cc* hyperrealism scaffold)", "b": "The structural template every cc-cmp001-ss-N entry follows. A 90-minute session needs roughly 15 named structural moments to be playable.\n\nREQUIRED FIELDS PER SESSION.\n\n1. Session number and title.\n2. Total duration (default 90 minutes).\n3. Frame-open script (verbatim words the educator says at session start).\n4. Pre-session prep checklist for the educator.\n5. Session-spine play arc (15 named structural moments, each with target duration).\n6. Educator filter-protocol moments (where dm-010 calibration happens; where the educator may need to soften, redirect, or ground).\n7. Calibration-band-specific variations (under-12 cut, 13-16 cut, adult cut, with what changes per band).\n8. Student writing prompt at mid-session.\n9. Session-close debrief script (verbatim).\n10. Homework assignment for the next session.\n11. Connection to cc-cmp001-rubric (which axes are exercised this session).\n\nUSAGE. Every new cc-cmp001-ss-N entry fills these 11 fields.\n\nThe 15 named structural moments inside field 5 are the spine. They get listed with target minute-marks (e.g., 0-2 frame open, 2-10 burrow ritual, 10-20 first scene, etc).\n\nCROSS-REFERENCES. cc-cmp001-rubric (apology-letter four-axis rubric). dm-010 for tier calibration. dm-011 for burrow ritual at SS0.\n\nORIGIN. May 8 2026, cmp-001 build, batch 1 foundations.", "x": "Session minute-by-minute template. 11 fields. Used by every cc-cmp001-ss-N entry.", "bb_links": [ "dm-010", "dm-011" ], "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-ss-0", "cc-cmp001-tm-friday" ], "tg": "cc, cmp-001, template, session-script, scaffold, 11-fields, 15-spine-moments, hyperrealism-scaffold, may-2026-08-origin" }, { "id": "cc-cmp001-emergence-point", "s": "emergence-point", "r": "cmp-001", "t": "cmp-001 Emergence point (Mrs Jones’s kitchenette as academic study object)", "b": "The cmp-001 burrow opens into Mrs Jones\\u2019s kitchenette. Not Hughes\\u2019s writing room. Not the Theresa lobby. The kitchenette is the cave because it is the architecture-of-transformation in the canonical text. Roger enters as a thief and leaves with $10 and lima beans in his stomach. The room is the lesson\\u2019s home address.\n\nMIRROR-AS-UNIVERSAL-PORTAL FIRST DEPLOYMENT (per cc-cmp001-narrative-architecture MAY 10 2026 EXTENSION REVISED). The mirror inside the kitchenette per cc-cmp001-oi-kitchenette item 10 is the ENTRY portal in the mirror-as-universal-portal class. Crossing the kitchenette mirror brings a Bookworm in the party from outside-the-game into Layer A with the Hughes-Dream-Harlem overlay applied. The Plato + Matrix + Lacan + Rainbowsol four-register convergence documented below operates at this first deployment of the portal class. The SECOND DEPLOYMENT of the same portal class is the mirror inside Hughes workroom at 20 East 127th per cc-cmp001-hughes-house LAYER A PRESENTATION, which serves as the TRANSIT portal where the overlay lifts and restores on return crossing. Both deployments use the same mirror mechanic in two functions: ENTRY applies the overlay, TRANSIT lifts and restores it.\n\nTHE STUDENT PAGE AS PAGE-AS-THRESHOLD ARTIFACT.\n\nThe cmp-001 student page renders the kitchenette as an academic study object. Not a period advertisement. Not a descent narration. A scholarly-format page documenting the kitchenette as architectural type. Students engage with the page before session start or at session start.\n\nPAGE STRUCTURE.\n\nSection 1. Definition. What a kitchenette is in 1958 NYC. Single-room subdivision pattern. Hot plate, icebox, screen partition, shared hallway bathroom. Rent typology ($14/wk furnished, $40/mo unfurnished as documented period range). Cite Osofsky, *Harlem: The Making of a Ghetto*, ISBN 978-1-56663-104-4.\n\nSection 2. Floor plan. Labeled diagram of a typical 1958 central Harlem kitchenette. Rooms ran roughly 10 by 14 feet. Window placement (single, often onto airshaft). Fixtures named with citations. Mrs Jones\\u2019s specific room as case-study annotation overlaid on the typology.\n\nSection 3. Hughes\\u2019s text excerpt. The passage from \"Thank You M\\u2019am\" describing Mrs Jones\\u2019s room. Direct primary-source citation. Hughes, \"Thank You M\\u2019am,\" 1958, anthologized in *Short Stories of Langston Hughes*, Hill and Wang, ISBN 978-0-8090-1603-1.\n\nSection 4. Social-historical context. 1958 NYC rent control regime. Racial-rent differential (Black tenants paying more per square foot than white tenants for inferior housing). Absentee-landlord pattern. Cite Watkins-Owens (ISBN 978-0-253-21048-7), Osofsky (ISBN 978-1-56663-104-4), NYS Division of Housing rent-regulation history.\n\nSection 5. Visual archive references. Roy DeCarava plates from *The Sweet Flypaper of Life* (1955) as canonical interior photography. NYC Municipal Archives 1940 tax photographs of similar buildings (archives.nyc, public domain). NYPL Schomburg holdings.\n\nFootnoted citations. Each claim verifiable.\n\nDESIGN LANGUAGE.\n\nSerif body (Cormorant Garamond or Libre Baskerville to match the seminarschools register). Restrained color palette. Two-column or text-with-margin-notes layout in academic style. Pull-quotes from the Hughes text in display type. Section dividers as horizontal rules. Page reads as a small scholarly article on a single architectural type.\n\nEDUCATOR\\u2019S FRAME-OPEN AT SESSION ZERO.\n\nAfter students have engaged with the page, the educator says (verbatim): \"You have read the story. You have read this page about the kitchenette where the story\\u2019s key moment happens. You are now your character standing somewhere in central Harlem in September 1958. Tell me where you are and what you are doing.\"\n\nThe kitchenette as a physical setting is the implicit anchor of the dimension. Whether or not student-characters ever enter the room (depending on Y/Z play structure choice), the kitchenette is the moral coordinate from which everything else navigates.\n\nY/Z AGNOSTIC. This entry works under both Y (canonical scene plays out in game with student-character witnesses) and Z (canonical scene stays in the Hughes text only). The page-as-study-object content is identical; only the educator\\u2019s session-level framing differs by Y vs Z, which gates on cc-cmp001-canon-locked decision.\n\nCROSS-REFERENCES. dm-011 (the burrow ritual two-layer). cc-cmp001-realism-spatial (kitchenette in spatial domain). cc-cmp001-realism-domestic (kitchenette in domestic / material-culture domain). cc-cmp001-oi-kitchenette (object inventory). cc-cmp001-im-14 (kitchenette interior image asset).\n\nORIGIN. May 8 2026, cmp-001 build, batch 1 foundations. User clarified academic study-object framing replaces both period-advertisement framing and descent-narration framing.", "x": "Mrs Jones kitchenette as academic study object. Page-as-threshold artifact. Y/Z agnostic. Replaces period-advertisement and descent-narration framings.", "bb_links": [ "dm-011" ], "cc_links": [ "cc-cmp001-authors-world-reframe", "cc-cmp001-ghost-firing-2-mrs-jones-choice", "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-im-kitchenette-interior", "cc-cmp001-narrative-architecture", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-oi-kitchenette", "cc-cmp001-realism-domestic", "cc-cmp001-realism-spatial", "cc-cmp001-ss-0", "cc-cmp001-street-S01", "cc-cmp001-street-S02", "cc-cmp001-street-S11" ], "tg": "cc, cmp-001, emergence-point, kitchenette, academic-study-object, page-as-threshold, plato-cave, transformation-site, decarava, osofsky, hughes-primary, may-2026-08-origin" }, { "id": "cc-cmp001-npc-roger", "s": "npc-roger", "r": "cmp-001", "t": "cmp-001 NPC Roger (canonical, full dossier T1)", "b": "1. NAME. Roger (no last name given in Hughes text).\n\n2. AGE. Approximately 13. The Hughes text says he \"looked as if he were fourteen or fifteen, frail and willowy.\"\n\n3. STATUS. Canonical fictional protagonist. Hughes, \"Thank You M\\u2019am\" (1958).\n\n4. LOCATION-AT-TIMESTAMP. Saturday 11 PM (East 128th Street between Madison and Park, attempting to snatch Mrs Jones\\u2019s purse; per Hughes). Saturday after 11:30 PM (Mrs Jones\\u2019s kitchenette through release; per Hughes). Other timestamps: Hughes silent. AI engine improvises any pre-encounter or post-encounter Roger location at session-runtime per cc-cmp001-realism-spatial; nothing pre-committed in CC*.\n\n5. FAMILY OR HOUSEHOLD. Per the Hughes text Roger says \"There\\u2019s nobody home at my house.\" Hughes provides nothing further. CC* preserves the gap. AI engine improvises a household configuration at session-runtime per cc-cmp001-realism-social demographic patterns if a session-path goes home with Roger.\n\n6. WORK OR OCCUPATION. Hughes silent on schooling. Period age implies school enrollment; specific school not in text or canonical record.\n\n7. VOICE REGISTER. Cross-reference cc-cmp001-vs-roger. Period peer-aged Black-American voice, central Harlem 1958. Limited vocabulary in front of authority figures (the Hughes text shows Roger mostly answering \"Yes\\u2019m\" and short phrases to Mrs Jones).\n\n8. PHYSICAL DESCRIPTION. Hughes text. Frail, willowy. Wearing blue jeans and tennis shoes. Dirty face. Hungry-looking.\n\n9. PEDAGOGICAL PURPOSE. Roger is the protagonist whose moral transformation drives the canonical lesson. Whether students play him (Structure A) or characters in his life (Structure B) or witnesses (Structure D), Roger is the gravitational center.\n\n10. TIER. Tier-1 always. Roger is the spine of every cmp-001 playthrough.\n\n11. NPC-PATH-TRIGGER. Roger surfaces in every session unless a session is explicitly tangential. He is unavoidable.\n\n12. RELATIONSHIPS. Mrs Jones (the encounter, per Hughes). Household and other relationships not in Hughes text. AI engine improvises any peer or family NPCs at session-runtime per the realism domain entries; nothing pre-committed in CC*.\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-roger (commissioned period-realistic illustration of a 13-year-old Black boy in 1958 central Harlem; reference DeCarava and James Van Der Zee for period authenticity).\n\n14. SIGNATURE DIALOGUE EXEMPLARS (verbatim from Hughes 1958).\n(a) \"Yes\\u2019m.\"\n(b) \"Lady, I\\u2019m sorry.\"\n(c) \"I just want to make a dash for it.\"\n\nThree additional period-extrapolated lines for play-improv beyond the text. (d) \"I just wanted them blue suedes.\" (e) \"My ma\\u2019s working.\" (f) \"I\\u2019m gone, lady, I\\u2019m gone.\"\n\n15. PRIMARY CITATIONS. Hughes, \"Thank You M\\u2019am,\" 1958, anthologized in *Short Stories of Langston Hughes*, Hill and Wang, ISBN 978-0-8090-1603-1. For age-13 Black boy Harlem 1958 character grounding, Brown, *Manchild in the Promised Land*, ISBN 978-1-4516-3157-9 (period-adjacent first-person memoir).\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-household-type-pattern through E. cc-cmp001-vs-roger. cc-cmp001-sg-graph. cc-cmp001-realism-domestic. cc-cmp001-realism-economic (the blue suede shoes anchor).\n\nORIGIN. May 8 2026, cmp-001 build, batch 2 NPCs.", "x": "Roger full dossier. Canonical T1. 13 years old. Five home configurations. Three Hughes-text exemplars plus three extrapolated.", "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-ghost-firing-1-roger-snatch", "cc-cmp001-ghost-firing-5-monday-newsstand", "cc-cmp001-language", "cc-cmp001-oi-roger", "cc-cmp001-realism-domestic", "cc-cmp001-realism-economic", "cc-cmp001-sg-graph", "cc-cmp001-template-npc", "cc-cmp001-tm-saturday", "cc-cmp001-vs-roger", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, npc, roger, canonical, t1, hughes-1958, age-13, willowy, blue-suede-shoes, full-dossier, may-2026-08-origin" }, { "id": "cc-cmp001-npc-mrs-jones", "s": "npc-mrs-jones", "r": "cmp-001", "t": "cmp-001 NPC Mrs Luella Bates Washington Jones (canonical, full dossier T1)", "b": "1. NAME. Mrs Luella Bates Washington Jones. Full name given in the Hughes text.\n\n2. AGE. Hughes describes her as \"a large woman with a large purse.\" Hughes does not give age. Implied middle-aged (40s-50s) by her work, self-assurance, and established kitchenette. CC* does not pre-commit a specific age; AI engine instantiates per scene if needed.\n\n3. STATUS. Canonical fictional character, Hughes 1958.\n\n4. LOCATION-AT-TIMESTAMP. Saturday 11 PM (East 128th Street, returning home from late shift, intercepts Roger; per Hughes). Saturday after 11:30 PM (her kitchenette, with Roger; per Hughes). Other timestamps: Hughes silent. The hotel-beauty-shop late-shift pattern is text-implied; the implied weekly-shift pattern would place her at the campaign-canonical Hotel Theresa beauty parlor for late-shift hours, but specific shift schedule is not in the text. AI engine improvises any pre-encounter or post-encounter timestamp without pre-committing.\n\n5. FAMILY OR HOUSEHOLD. Single. Lives alone in a kitchenette per Hughes. The Hughes text gives no kin in Harlem. Her speech register IS text-canonical (Hughes renders it); biographical migration history is not in the text and is not committed in CC*.\n\n6. WORK OR OCCUPATION. The Hughes text says she works \"in a hotel beauty shop that stays open late.\" cmp-001 canonizes that hotel as the Hotel Theresa at 125th and Seventh as a campaign-architectural choice for spatial coherence (this is a cmp-001 commitment, not a Hughes claim). Late-shift end around 11 PM is implied by the text-canonical encounter timing on her walk home.\n\n7. VOICE REGISTER. Cross-reference cc-cmp001-vs-mrs-jones. Southern-migrant Black church-tradition speech, working-class adult, direct and authoritative. Calls Roger \"son\" and \"boy.\" Uses period AAVE markers naturally.\n\n8. PHYSICAL DESCRIPTION. Hughes text. \"A large woman with a large purse.\" She picks Roger up \"until his teeth rattled\" and drags him by his shirt-front. Strong. Carries her work-implements in her purse.\n\n9. PEDAGOGICAL PURPOSE. Mrs Jones is the moral exemplar. Her choice not to call the police is the load-bearing moral act. Her decision to feed Roger and give him the $10 is the lesson the text teaches. Every play structure must reckon with what she did and why.\n\n10. TIER. Tier-1 always.\n\n11. NPC-PATH-TRIGGER. Mrs Jones surfaces in every session as the encounter\\u2019s second pole. Even when not directly on-stage, her absence-presence shapes every scene.\n\n12. RELATIONSHIPS. Roger (the encounter, per Hughes). Other relationships (Theresa beauty-shop coworkers, landlord, church congregation) not in text. AI engine improvises role-category NPCs at session-runtime if paths surface them; none pre-committed as named characters in CC*. The cc-cmp001-sg-graph specifies cross-links.\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-mrs-jones (commissioned period-realistic illustration of a Black woman in her late 40s, working-class, 1958 central Harlem; reference DeCarava\\u2019s Sister Mary Bradley figure in *Sweet Flypaper of Life* for period authenticity).\n\n14. SIGNATURE DIALOGUE EXEMPLARS (verbatim from Hughes 1958).\n(a) \"I am Mrs. Luella Bates Washington Jones.\"\n(b) \"Then it will get washed this evening.\"\n(c) \"Shoes come by devilish like that will burn your feet.\"\nThree additional period-extrapolated lines. (d) \"Sit down at the table. I am going to make us some cocoa.\" (e) \"I have done things, too, which I would not tell you, son.\" (f) \"Behave yourself, boy.\"\n\n15. PRIMARY CITATIONS. Hughes, \"Thank You M\\u2019am,\" 1958, ISBN 978-0-8090-1603-1. For the Black-domestic-worker character grounding, Stack, *All Our Kin*, ISBN 978-0-06-013974-2 (kinship and survival strategies in Black women\\u2019s lives, period-adjacent).\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-vs-mrs-jones. cc-cmp001-sg-graph. cc-cmp001-realism-domestic. cc-cmp001-realism-spatial (Theresa). cc-cmp001-realism-legal (her choice not to call police as legally meaningful).\n\nORIGIN. May 8 2026, cmp-001 build, batch 2 NPCs.", "x": "Mrs Jones full dossier. Canonical T1. Late 40s. Theresa beauty shop late shift. Three Hughes-text exemplars plus three extrapolated.", "cc_links": [ "cc-cmp001-ghost-firing-2-mrs-jones-choice", "cc-cmp001-ghost-firing-4-sunday-sermon", "cc-cmp001-im-mrs-jones-stand-in", "cc-cmp001-language", "cc-cmp001-oi-kitchenette", "cc-cmp001-oi-purse", "cc-cmp001-realism-domestic", "cc-cmp001-realism-legal", "cc-cmp001-realism-spatial", "cc-cmp001-sg-graph", "cc-cmp001-template-npc", "cc-cmp001-tm-saturday", "cc-cmp001-vs-mrs-jones", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, npc, mrs-jones, luella-bates-washington-jones, canonical, t1, hughes-1958, theresa-beauty-shop, kitchenette, moral-exemplar, full-dossier, may-2026-08-origin" }, { "id": "cc-cmp001-npc-hughes", "s": "npc-hughes", "r": "cmp-001", "t": "cmp-001 NPC Langston Hughes (real-historical, full dossier T1)", "b": "1. NAME. James Mercer Langston Hughes.\n\n2. AGE. 56 in September 1958. Born February 1 1902, Joplin Missouri.\n\n3. STATUS. VERIFIED real-historical figure. The author of \"Thank You M\\u2019am\" and the cmp-001 dimension\\u2019s creator.\n\n4. LOCATION-AT-TIMESTAMP. Top floor of 20 East 127th Street, Manhattan, NYC LPC LP-1135. He kept that workroom 1947 to 1967 (his death). His documented late-September 1958 working pattern at this workroom (per Rampersad biography) covers most weekday and weekend hours; specific Sept 19-22 1958 hour-by-hour locations not surfaced in available primary sources. Saturday daytime in the room. Sunday at church or with the Harpers (his landlords). Monday daytime in the room.\n\n5. FAMILY OR HOUSEHOLD. Lived as boarder with the Harpers (Emerson and Ethel) at 20 East 127th. Single, no children, no spouse. His cousin Toy Harper was Ethel\\u2019s sister-in-law.\n\n6. WORK OR OCCUPATION. Poet, novelist, playwright, journalist. In 1958 actively writing the Simple stories ongoing in the *Chicago Defender* (column begun 1943), plus *Tambourines to Glory* (1958, Knopf), plus editing *The Book of Negro Folklore* with Arna Bontemps (Dodd Mead, 1958).\n\n7. VOICE REGISTER. Cross-reference his published interviews and letters. Refined, warm, often warm-witty. Black urbane register, code-switching with ease.\n\n8. PHYSICAL DESCRIPTION. Slight, brown-skinned, mustachioed. Dressed neatly. By 1958 his hair had begun to gray.\n\n9. PEDAGOGICAL PURPOSE. Hughes-on-the-block is the most authorial NPC encounter possible. If a student-character meets him, they meet the author of the world they are inside. Tier-1 because the dimension knows it is a Hughes story.\n\n10. TIER. Tier-1.\n\n11. NPC-PATH-TRIGGER. Hughes surfaces if a student-character walks 20 East 127th block, or visits the Schomburg (he was a frequent visitor), or attends a Harlem literary event in the campaign window.\n\n12. RELATIONSHIPS. The Harpers (landlords). Roy DeCarava (collaborator, *Sweet Flypaper of Life* 1955). Arna Bontemps (lifelong friend and frequent collaborator). Adam Clayton Powell Jr. (parishioner-of-sorts; politically aligned).\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-hughes. NYPL Schomburg Photographs and Prints Division has multiple Hughes portraits. Carl Van Vechten\\u2019s Hughes photograph series in LOC.\n\n14. SIGNATURE DIALOGUE EXEMPLARS. Per his published letters and interviews. (a) \"I am still in the middle of pieces I have promised people.\" (b) \"It is all very hard work, the writing.\" (c) \"We tell our stories.\" Three period-extrapolated for play-improv. (d) \"Sit, sit. I have coffee on the hot plate.\" (e) \"What did you make of the Mrs Jones story.\" (f) \"Tell me what you saw out there.\"\n\n15. PRIMARY CITATIONS. Arnold Rampersad, *The Life of Langston Hughes, Volume II 1941-1967, I Dream a World*, Oxford University Press 2nd ed. 2002, ISBN 978-0-19-514643-4. NYC LPC LP-1135 designation report at s-media.nyc.gov/agencies/lpc/lp/1135.pdf. NYC LGBT Historic Sites Project entry on Hughes Residence (nyclgbtsites.org/site/langston-hughes-residence).\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-realism-cultural. cc-cmp001-realism-spatial (his block). cc-cmp001-sg-graph.\n\nORIGIN. May 8 2026, cmp-001 build, batch 2 NPCs.", "x": "Hughes full dossier. Real-historical T1. Author of the dimension. 20 East 127th top floor 1947-1967. May 8 2026.", "cc_links": [ "cc-cmp001-authors-world-reframe", "cc-cmp001-ghost-firing-6-hughes-typewriter", "cc-cmp001-im-hughes-house", "cc-cmp001-im-hughes-portrait", "cc-cmp001-language", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-realism-cultural", "cc-cmp001-realism-spatial", "cc-cmp001-schomburg", "cc-cmp001-sg-graph", "cc-cmp001-template-npc", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, npc, langston-hughes, real-historical, t1, lp-1135, 20-east-127th, simple-stories, tambourines-to-glory, decarava-collaborator, rampersad-biography, may-2026-08-origin" }, { "id": "cc-cmp001-npc-king", "s": "npc-king", "r": "cmp-001", "t": "cmp-001 NPC Martin Luther King Jr. (real-historical, full dossier T1)", "b": "1. NAME. Martin Luther King Jr.\n\n2. AGE. 29 in September 1958. Born January 15 1929, Atlanta Georgia.\n\n3. STATUS. VERIFIED real-historical figure.\n\n4. LOCATION-AT-TIMESTAMP. Friday September 19 1958 in flight to NYC or arrived. Saturday September 20 morning at Hotel Theresa preparing for the Blumstein\\u2019s book signing. Saturday September 20 ~3:20 PM at Blumstein\\u2019s, 230 West 125th Street, mezzanine level, signing copies of *Stride Toward Freedom*. Saturday September 20 ~3:30 PM through hospitalization at Harlem Hospital (Lenox Avenue between 136th and 137th). Sunday and Monday recuperating at Harlem Hospital.\n\n5. FAMILY OR HOUSEHOLD. Coretta Scott King in Montgomery with their children. Coretta flew to NYC after the stabbing.\n\n6. WORK OR OCCUPATION. Pastor (Dexter Avenue Baptist Church Montgomery, since 1954). President, Southern Christian Leadership Conference (founded 1957). National book tour for *Stride Toward Freedom* (Harper and Brothers, 1958).\n\n7. VOICE REGISTER. Per his recorded sermons and speeches. Pulpit cadence, lay-and-clergy register, philosophical-literary-rhetorical. Cross-reference Stanford King Institute audio archive.\n\n8. PHYSICAL DESCRIPTION. 5\\u2019 7\\u201d, medium build, mustache, well-tailored suit. Through Saturday afternoon at Blumstein\\u2019s in dark suit and tie.\n\n9. PEDAGOGICAL PURPOSE. The King stabbing is the bracketing news event of cmp-001. King-as-NPC surfaces only if a campaign goes deep on the Blumstein\\u2019s aftermath path. Otherwise King is news, not NPC.\n\n10. TIER. Tier-1 as news event. Tier-2 as actual encounterable NPC (only if campaign goes to Harlem Hospital or to the immediate Blumstein\\u2019s aftermath).\n\n11. NPC-PATH-TRIGGER. Surfaces only if a student-character goes to Blumstein\\u2019s 3:20 PM or to Harlem Hospital after.\n\n12. RELATIONSHIPS. Aubre Maynard (his surgeon, post-stabbing). Adam Clayton Powell Jr. (politically aligned, both at Hotel Theresa events that weekend). Izola Curry (his assailant). Coretta Scott King.\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-king. Stanford King Institute archive. AP Wirephoto archive (commercial license; the famous Saturday Sept 20 1958 photograph of King in chair before ambulance).\n\n14. SIGNATURE DIALOGUE EXEMPLARS. From *Stride Toward Freedom* (1958) and contemporaneous speeches. (a) \"I want to be a witness for the truth.\" (b) \"Something said to me, you ought to do it.\" (c) \"I have a deep faith in the future.\" Three period-extrapolated for in-game. (d) \"If you would not mind signing your name in the book, I would be obliged.\" (e) \"I felt the blade and I knew.\" (f) \"I forgive her. I bear her no ill will.\"\n\n15. PRIMARY CITATIONS. Martin Luther King Jr., *Stride Toward Freedom*, Harper and Brothers 1958, first ed. 230 pp. Stanford King Institute biographical entries (kinginstitute.stanford.edu). Branch, *Parting the Waters: America in the King Years 1954-63*, Simon and Schuster 1988, ISBN 978-0-671-46097-6. *Journal of Vascular Surgery* 2020 case-analysis article ID S0741-5214(19)31808-7 (medical detail of the stabbing surgery). Hugh Pearson, *When Harlem Nearly Killed King*, Seven Stories Press 2002, ISBN 978-1-58322-614-1.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-maynard. cc-cmp001-npc-curry. cc-cmp001-realism-political. cc-cmp001-realism-medical. cc-cmp001-tm-saturday.\n\nORIGIN. May 8 2026, cmp-001 build, batch 2 NPCs.", "x": "King full dossier. Real-historical T1 as news event, T2 as encounterable NPC. Stabbed Saturday 3:20 PM at Blumstein’s. Maynard surgical team.", "cc_links": [ "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "cc-cmp001-im-king-bedside", "cc-cmp001-im-king-portrait", "cc-cmp001-im-king-press-conference", "cc-cmp001-im-stabbing-news-cycle", "cc-cmp001-language", "cc-cmp001-npc-curry", "cc-cmp001-npc-maynard", "cc-cmp001-realism-medical", "cc-cmp001-realism-political", "cc-cmp001-template-npc", "cc-cmp001-tm-saturday", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, npc, martin-luther-king-jr, real-historical, t1-news, t2-encounter, stride-toward-freedom, blumsteins-stabbing, harlem-hospital, j-vasc-surg-2020, branch-parting-waters, may-2026-08-origin" }, { "id": "cc-cmp001-npc-powell", "s": "npc-powell", "r": "cmp-001", "t": "cmp-001 NPC Adam Clayton Powell Jr. (real-historical, full dossier T2)", "b": "1. NAME. Adam Clayton Powell Jr.\n\n2. AGE. 49 in September 1958. Born November 29 1908, New Haven Connecticut.\n\n3. STATUS. VERIFIED real-historical figure.\n\n4. LOCATION-AT-TIMESTAMP. Sunday morning in the pulpit at Abyssinian Baptist Church (132 Odell Clark Place / West 138th Street, per his documented Sunday-pastoral pattern). Other cmp-001 weekend movements not documented; the hospital-visit-after-King-stabbing possibility is unconfirmed in primary record. AI engine surfaces him only on Sunday-at-Abyssinian path or if a specific session event triggers historical contact.\n\n5. FAMILY OR HOUSEHOLD. Married to Hazel Scott (jazz pianist; separated by 1958, divorced 1960). Son Adam Clayton Powell III born 1946.\n\n6. WORK OR OCCUPATION. U.S. Representative for New York 16th Congressional District (Harlem) since 1945. Pastor of Abyssinian Baptist Church since 1937 (succeeding his father).\n\n7. VOICE REGISTER. Pulpit-orator register. Per his sermons recorded at Abyssinian. Theatrical, charismatic, baritone, code-switching from learned-rhetorical to vernacular Black Christian.\n\n8. PHYSICAL DESCRIPTION. 6\\u20193\\u201d, light-skinned, debonair, well-dressed (often in tailored suits with pocket squares).\n\n9. PEDAGOGICAL PURPOSE. Powell is Roger\\u2019s and Mrs Jones\\u2019s congressman. If they engage politics or attend Abyssinian, he is the public figure most-immediate-to-them. Tier-2 default; tier-1 if Sunday-at-Abyssinian path is chosen.\n\n10. TIER. Tier-2 default.\n\n11. NPC-PATH-TRIGGER. Surfaces if student-character attends Sunday service at Abyssinian, or engages cmp-001 political domain (cc-cmp001-realism-political).\n\n12. RELATIONSHIPS. Abyssinian congregation (large, includes many cmp-001 plausible NPCs). Earl Brown (his Tammany-backed primary challenger, defeated August 1958). Hazel Scott. King (politically aligned). Hughes (parishioner-adjacent).\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-powell. LOC Visual Materials. Schomburg Photographs and Prints.\n\n14. SIGNATURE DIALOGUE EXEMPLARS. Per his sermons and Congressional records. (a) \"Keep the faith, baby.\" (signature later-1960s phrase). (b) \"Mass action is the most powerful force on earth.\" (c) \"There is no future for any of us until there is a future for all of us.\" Three period-extrapolated for in-game. (d) \"How is the work, brother.\" (e) \"We are with you, sister.\" (f) \"The Lord knows what is right.\"\n\n15. PRIMARY CITATIONS. Charles V. Hamilton, *Adam Clayton Powell Jr: The Political Biography of an American Dilemma*, Atheneum 1991, ISBN 978-0-689-12062-6. U.S. House History Art and Archives biographical entry on Powell at history.house.gov/People/Listing/P/POWELL,-Adam-Clayton,-Jr--(P000477)/. Powell, *Marching Blacks: An Interpretive History of the Rise of the Black Common Man*, Dial Press 1945.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-realism-political. cc-cmp001-realism-religious. cc-cmp001-sg-graph (Abyssinian sub-graph).\n\nORIGIN. May 8 2026, cmp-001 build, batch 2 NPCs.", "x": "Powell full dossier. Real-historical T2. Congressman + Abyssinian pastor. Just defeated Tammany’s Earl Brown August 1958.", "cc_links": [ "cc-cmp001-ghost-firing-4-sunday-sermon", "cc-cmp001-im-powell-portrait", "cc-cmp001-language", "cc-cmp001-realism-political", "cc-cmp001-realism-religious", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-sg-graph", "cc-cmp001-street-S07", "cc-cmp001-template-npc", "cc-cmp001-week-lead-up", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, npc, adam-clayton-powell-jr, real-historical, t2, abyssinian-baptist, congressman, hamilton-biography, august-1958-primary-victory, may-2026-08-origin" }, { "id": "cc-cmp001-npc-maynard", "s": "npc-maynard", "r": "cmp-001", "t": "cmp-001 NPC Aubre Maynard MD (real-historical, full dossier T2)", "b": "1. NAME. Aubre de Lambert Maynard.\n\n2. AGE. 56 in September 1958. Born March 16 1902, British Guiana (now Guyana).\n\n3. STATUS. VERIFIED real-historical figure.\n\n4. LOCATION-AT-TIMESTAMP. Saturday September 20 ~3:30 PM through Saturday evening at Harlem Hospital, performing the surgery on King to remove the seven-inch ivory-handled letter opener Izola Curry had plunged into King\\u2019s chest. Sunday and Monday at the hospital for King\\u2019s post-op care. Other timestamps for the cmp-001 weekend not specifically documented; AI engine surfaces him only on Harlem-Hospital-after-stabbing path.\n\n5. FAMILY OR HOUSEHOLD. Wife and children documented historically. Specific September 1958 family circumstances not surfaced in available primary sources; not committed in CC*.\n\n6. WORK OR OCCUPATION. Director of Surgery, Harlem Hospital. Position held since 1952. Surgical team included John W. V. Cordice Jr., Emil A. Naclerio, Farrow Allen.\n\n7. VOICE REGISTER. Educated, formal, with Caribbean-immigrant cadence. Per his memoir *Surgeons to the Poor*.\n\n8. PHYSICAL DESCRIPTION. Per Surgeons to the Poor author photo and Schomburg Photographs and Prints. Surgical attire during the King procedure per primary-source memoir.\n\n9. PEDAGOGICAL PURPOSE. Maynard is the medical-professional NPC at the most-load-bearing medical event of cmp-001 (the King stabbing surgery). Tier-2 because surfaces only if campaign goes to Harlem Hospital. Pedagogically he embodies the Black-medical-professional excellence at a still-recently-integrated public hospital.\n\n10. TIER. Tier-2.\n\n11. NPC-PATH-TRIGGER. Surfaces if student-character visits Harlem Hospital after the King stabbing.\n\n12. RELATIONSHIPS. King (his patient that Saturday; corresponded Jan 1959 about King\\u2019s recovery). The surgical team (Cordice, Naclerio, Allen). The hospital staff. Louis T. Wright (predecessor as integration-era Harlem Hospital pioneer; Wright was first Black physician hired 1919).\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-maynard. NY Academy of Medicine Center for History collection.\n\n14. SIGNATURE DIALOGUE EXEMPLARS. Per his memoir. (a) \"We had to open his chest because the blade was against the aorta.\" (b) \"If he had sneezed he would have died.\" (c) \"He was a remarkable man.\" Three period-extrapolated for in-game. (d) \"He is sleeping now. He will recover.\" (e) \"I learned my surgery at Howard. I do my work here.\" (f) \"Tell the family they may visit in an hour.\"\n\n15. PRIMARY CITATIONS. Aubre de Lambert Maynard, *Surgeons to the Poor: The Harlem Hospital Story*, Appleton-Century-Crofts 1978, OCLC 4135057. Stanford King Institute biographical entry on Maynard at kinginstitute.stanford.edu/maynard-aubre-de-lambert. Stanford King Institute correspondence \"To Aubre de L. Maynard\" January 1959 at kinginstitute.stanford.edu/king-papers/documents/aubre-de-l-maynard. *Journal of Vascular Surgery* 2020 case-analysis article on the surgery (article ID S0741-5214(19)31808-7).\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-king. cc-cmp001-realism-medical. cc-cmp001-realism-institutional (Harlem Hospital).\n\nORIGIN. May 8 2026, cmp-001 build, batch 2 NPCs.", "x": "Maynard full dossier. Real-historical T2. Director of Surgery Harlem Hospital. Operated on King Saturday Sept 20 1958. Memoir Surgeons to the Poor.", "cc_links": [ "cc-cmp001-im-maynard-portrait", "cc-cmp001-npc-king", "cc-cmp001-realism-institutional", "cc-cmp001-realism-medical", "cc-cmp001-template-npc", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, npc, aubre-maynard, real-historical, t2, harlem-hospital, director-of-surgery, king-stabbing-surgeon, surgeons-to-the-poor, j-vasc-surg-2020, may-2026-08-origin" }, { "id": "cc-cmp001-npc-curry", "s": "npc-curry", "r": "cmp-001", "t": "cmp-001 NPC Izola Ware Curry (real-historical, full dossier T2)", "b": "1. NAME. Izola Ware Curry.\n\n2. AGE. 42 in September 1958. Born June 14 1916, Adrian Georgia.\n\n3. STATUS. VERIFIED real-historical figure.\n\n4. LOCATION-AT-TIMESTAMP. Saturday September 20 ~3:20 PM at Blumstein\\u2019s Department Store, 230 West 125th Street, attempting the assassination of King with a seven-inch ivory-handled letter opener (and a loaded .25 caliber Galesi semiautomatic pistol concealed in her bra; see cc-cmp001-galesi-brescia for the Italian-Brescia provenance and Sullivan Law context). Subdued before she could draw the pistol by Cornelius Browne, an off-duty store-detective at Blumstein’s, plus bystanders. Detained immediately. Held at NYPD precinct, then transferred for psychiatric evaluation. By Monday September 22 1958 in psychiatric custody.\n\n5. FAMILY OR HOUSEHOLD. Long history of mental illness. Living transient prior to 1958.\n\n6. WORK OR OCCUPATION. Domestic worker, intermittent. Mental illness disrupted employment.\n\n7. VOICE REGISTER. Per period news accounts and her own statements. Disorganized, paranoid, religiously-inflected. She told police King was a Communist who had been \"torturing me for years.\"\n\n8. PHYSICAL DESCRIPTION. Per period news photos. Black woman, mid-40s, wearing a sequined cat-eye glasses and patterned dress at the time of the stabbing.\n\n9. PEDAGOGICAL PURPOSE. Curry surfaces if a campaign engages mental-illness, period-psychiatric-custody, or counterfactual (\"what if she had killed him\"). Tier-2 because she surfaces only on those paths.\n\n10. TIER. Tier-2.\n\n11. NPC-PATH-TRIGGER. Surfaces only on the Blumstein\\u2019s-aftermath or psychiatric-system paths.\n\n12. RELATIONSHIPS. King (her victim). NYPD (her arresting officers). The eventual Matteawan State Hospital staff (where she was committed; lived there until 2015).\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-curry. AP Wirephoto archive (commercial license).\n\n14. SIGNATURE DIALOGUE EXEMPLARS. Per period news quotes. (a) \"I have been after him for six years.\" (b) \"Communist.\" (c) \"He has been torturing me.\" Three period-extrapolated. (d) \"They are watching me.\" (e) \"I had to do it.\" (f) \"I am sorry. I am not sorry.\"\n\n15. PRIMARY CITATIONS. Period coverage in *New York Times*, *New York Amsterdam News*, *Pittsburgh Courier* September 21-25 1958 (resolvable via ProQuest Historical Newspapers and Black Historical Newspapers, NYPL access). *Journal of Vascular Surgery* 2020 case-analysis (which includes her psychiatric history). Pearson, *When Harlem Nearly Killed King*, ISBN 978-1-58322-614-1.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-king. cc-cmp001-realism-medical. cc-cmp001-realism-legal (the psychiatric-custody pipeline).\n\nORIGIN. May 8 2026, cmp-001 build, batch 2 NPCs.", "x": "Curry full dossier. Real-historical T2. King’s assailant Saturday Sept 20 1958. Mental illness. Committed Matteawan, lived until 2015.", "cc_links": [ "cc-cmp001-galesi-brescia", "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "cc-cmp001-im-curry-mugshot", "cc-cmp001-npc-king", "cc-cmp001-realism-legal", "cc-cmp001-realism-medical", "cc-cmp001-template-npc", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, npc, izola-curry, real-historical, t2, blumsteins-stabbing-assailant, mental-illness, matteawan, lived-until-2015, period-psychiatric-custody, may-2026-08-origin" }, { "id": "cc-cmp001-oi-purse", "s": "oi-purse", "r": "cmp-001", "t": "cmp-001 Object inventory: Mrs Jones’s purse contents", "b": "Per the Hughes 1958 text Mrs Jones\\u2019s purse is \"a large purse that had everything in it but a hammer and nails.\" Roger tries to snatch it because of \"its weight\" suggesting heft and contents. After the encounter she gives him a $10 bill from inside.\n\nVERIFIED CONTENTS (from Hughes text).\n1. A $10 bill given to Roger.\n2. Hair-shop work implements (she works at a hotel beauty shop). Pomades, hair clips, scissors, hairpins.\n3. Her keys (kitchenette door, building front door, possibly Theresa beauty-shop locker key).\n4. A ten-cent cake (purchased earlier; she fed Roger lima beans and ham and \"ten-cent cake\" in the kitchenette per the Hughes text).\n5. Cocoa supplies (some indication she had cocoa makings on her, since she made cocoa for Roger; possibly bought at the corner store on her walk home).\n\nPERIOD-EXTRAPOLATED CONTENTS (plausible 1958 working-class Black woman\\u2019s purse).\n1. Coin purse with period coins (pennies, nickels, dimes, quarters; the 1958 minted versions).\n2. A wallet with additional bills (her week\\u2019s pay, ones and fives).\n3. Compact mirror with face powder.\n4. Lipstick (Max Factor or similar period brand).\n5. Handkerchief (cotton, embroidered or plain).\n6. Address book.\n7. Bible verses on a small printed card or in a small testament.\n8. Bus transfer or subway token.\n9. Her hairnet for work.\n10. Possibly a small flashlight (for late-night walking home).\n11. Her late-shift schedule card from the Theresa.\n\nPEDAGOGICAL PURPOSE. The purse contents are the structural reason Mrs Jones could give Roger $10. She is not impoverished but she is a working woman whose purse holds her week\\u2019s pay plus her livelihood-tools. The $10 she gives is not casual. It is a meaningful sum (roughly 1/4 to 1/3 of her week\\u2019s wage per Domain 1 economic data).\n\nPRIMARY CITATIONS. Hughes, \"Thank You M\\u2019am,\" 1958, ISBN 978-0-8090-1603-1. For period working-class Black women\\u2019s purse contents inventory, the 1958 Sears Roebuck catalog (cosmetics and accessories sections) and *Ebony* magazine 1958 issues for advertised products.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-mrs-jones. cc-cmp001-realism-domestic. cc-cmp001-realism-economic.\n\nORIGIN. May 8 2026, cmp-001 build, batch 4 hyperrealism layer.", "x": "Mrs Jones purse contents. Verified from Hughes text plus period-extrapolated. The $10 was 1/4-1/3 her weekly wage.", "cc_links": [ "cc-cmp001-npc-mrs-jones", "cc-cmp001-realism-domestic", "cc-cmp001-realism-economic", "cc-cmp001-template-npc" ], "tg": "cc, cmp-001, object-inventory, mrs-jones-purse, hughes-text-verified, period-extrapolated, ten-dollar-bill, hair-shop-implements, ten-cent-cake, may-2026-08-origin" }, { "id": "cc-cmp001-oi-kitchenette", "s": "oi-kitchenette", "r": "cmp-001", "t": "cmp-001 Object inventory: Mrs Jones’s kitchenette", "b": "Per the Hughes 1958 text Mrs Jones\\u2019s kitchenette has specific named objects.\n\nVERIFIED CONTENTS (from Hughes text).\n1. A screen Roger could go behind. (Standard 1958 central Harlem kitchenette feature; partition between sleeping and living areas.)\n2. A hot plate (gas, single-burner; Roger watches her cook on it).\n3. A sink.\n4. A table where they sit and eat.\n5. A door to the hallway (she releases Roger through it).\n6. The icebox or refrigerator (she stores her supplies; the lima beans came from somewhere).\n7. Kitchen utensils for cooking lima beans and ham and warming cocoa.\n8. Plates and cups for them to eat and drink from.\n9. A chair for Roger to sit on.\n10. A mirror (she fixes her hair before sleeping; period domestic-care detail). cmp-001 CANON: this mirror is the ENTRY portal per cc-cmp001-narrative-architecture MIRROR-AS-UNIVERSAL-PORTAL RULE and cc-cmp001-emergence-point MIRROR-AS-UNIVERSAL-PORTAL FIRST DEPLOYMENT. Crossing it brings a Bookworm in the party from outside-the-game into Layer A with the Hughes-Dream-Harlem overlay applied. Mechanically the same portal class as the wall mirror inside Hughes workroom at 20 East 127th (the TRANSIT portal); functionally the first deployment (ENTRY applying overlay) versus the second (TRANSIT lifting and restoring).\n\nPERIOD-EXTRAPOLATED CONTENTS (per Osofsky, DeCarava, Sears 1958 catalog).\n1. Linoleum floor.\n2. Patterned wallpaper (period florals or geometrics).\n3. Single window onto airshaft or street.\n4. Steam radiator or gas heater.\n5. A bed-sitter chair or daybed (multifunction sleeping-and-seating).\n6. A small dresser or chest.\n7. Clothing on a hanger or in the dresser.\n8. Family photographs framed on the dresser or wall.\n9. A bible on the bedside or table.\n10. A wall calendar (often church-distributed).\n11. A small radio (table-model, picking up WLIB or WWRL).\n12. Cleaning supplies (broom, dustpan, bucket).\n13. Towels and washcloths.\n14. Soap, toothbrush, toothpaste, hairbrush.\n15. The ten-cent cake plate (now empty after Roger ate).\n\nNOTE ON HALLWAY BATHROOM. The bathroom is shared with other tenants on the floor. Down the hall. Per Osofsky.\n\nPEDAGOGICAL PURPOSE. The kitchenette interior is the load-bearing site of cmp-001\\u2019s emergence point. Every detail visible to a student who emerges into the room before Mrs Jones returns home. The room tells Mrs Jones\\u2019s story before she speaks.\n\nPRIMARY CITATIONS. Hughes, \"Thank You M\\u2019am,\" 1958, ISBN 978-0-8090-1603-1. Roy DeCarava and Langston Hughes, *The Sweet Flypaper of Life*, 1955, Heritage Edition First Print Press / David Zwirner Books 2018, softcover ISBN 978-0-9998438-1-9. Osofsky, *Harlem*, ISBN 978-1-56663-104-4. Sears Roebuck 1958 Fall-Winter catalog (Internet Archive).\n\nCROSS-REFERENCES. cc-cmp001-emergence-point. cc-cmp001-template-npc. cc-cmp001-npc-mrs-jones. cc-cmp001-realism-domestic. cc-cmp001-realism-spatial.\n\nORIGIN. May 8 2026, cmp-001 build, batch 4 hyperrealism layer.", "x": "Mrs Jones kitchenette inventory. 10 verified-from-Hughes-text plus 15 period-extrapolated. Load-bearing emergence-point detail.", "cc_links": [ "cc-cmp001-emergence-point", "cc-cmp001-im-kitchenette-interior", "cc-cmp001-im-mrs-jones-stand-in", "cc-cmp001-narrative-architecture", "cc-cmp001-npc-mrs-jones", "cc-cmp001-realism-domestic", "cc-cmp001-realism-spatial", "cc-cmp001-street-S11", "cc-cmp001-template-npc" ], "tg": "cc, cmp-001, object-inventory, mrs-jones-kitchenette, hughes-text-verified, period-extrapolated, screen, hot-plate, icebox, decarava-sweet-flypaper, osofsky, may-2026-08-origin" }, { "id": "cc-cmp001-oi-roger", "s": "oi-roger", "r": "cmp-001", "t": "cmp-001 Object inventory: Roger’s pockets and person", "b": "Per the Hughes 1958 text Roger is \"frail and willowy\" wearing blue jeans and tennis shoes. Dirty face. Hungry-looking.\n\nVERIFIED CONTENTS (from Hughes text).\n1. Blue jeans (Levi\\u2019s or similar; a working-class boy\\u2019s standard 1958 Saturday wear).\n2. Tennis shoes (canvas, Keds or U.S. Rubber; not blue suede).\n3. Whatever shirt and underwear he has on.\n4. Empty pockets (the snatch was an attempt to acquire the means to buy blue suede shoes; he had nothing on him to start).\n\nPERIOD-EXTRAPOLATED CONTENTS (plausible Black 13-year-old central Harlem 1958 carry).\n1. A penny or two in his pocket.\n2. A handkerchief (often required by school dress code in this period).\n3. A small pocket comb.\n4. Possibly a marble or two.\n5. Possibly a folded scrap of paper with a phone number or an address.\n6. Possibly a small pocket knife (period boys carried them; small size).\n7. Possibly a single house key on a string around his neck (latchkey kid; especially under home Configurations A and E).\n\nPOST-ENCOUNTER ADDITIONS.\n1. The $10 bill Mrs Jones gave him.\n2. The lima beans and ham in his stomach.\n3. The cocoa he drank.\n4. The specific memory of \"Mrs Luella Bates Washington Jones.\"\n\nPEDAGOGICAL PURPOSE. Roger\\u2019s near-emptiness of pocket is the structural anchor for why he tried to snatch the purse. He had nothing; he wanted blue suede shoes; the snatch was the visible-to-him route.\n\nPRIMARY CITATIONS. Hughes, \"Thank You M\\u2019am,\" 1958, ISBN 978-0-8090-1603-1. For period Black-13-year-old-pocket-contents grounding, Brown, *Manchild in the Promised Land*, ISBN 978-1-4516-3157-9.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-roger. cc-cmp001-realism-economic (the blue-suede-shoes anchor). cc-cmp001-realism-domestic.\n\nORIGIN. May 8 2026, cmp-001 build, batch 4 hyperrealism layer.", "x": "Roger pocket inventory. 4 Hughes-text-verified plus 7 period-extrapolated plus 4 post-encounter additions. Empty-pocket structural anchor.", "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-ghost-firing-1-roger-snatch", "cc-cmp001-npc-roger", "cc-cmp001-realism-domestic", "cc-cmp001-realism-economic", "cc-cmp001-template-npc" ], "tg": "cc, cmp-001, object-inventory, roger-pockets, hughes-text-verified, blue-jeans, tennis-shoes, empty-pockets, post-encounter-ten-dollars, may-2026-08-origin" }, { "id": "cc-cmp001-vs-mrs-jones", "s": "vs-mrs-jones", "r": "cmp-001", "t": "cmp-001 Voice samples: Mrs Jones (verbatim Hughes plus extrapolated)", "b": "Mrs Jones\\u2019s voice register. Southern-migrant Black-American working-class adult. Direct and authoritative. Calls Roger \"son\" and \"boy.\" Period AAVE markers naturally deployed.\n\nVERBATIM EXEMPLARS (from Hughes 1958).\nA1. \"I am Mrs. Luella Bates Washington Jones.\"\nA2. \"Then it will get washed this evening.\"\nA3. \"Eat some more, son.\"\nA4. \"Shoes come by devilish like that will burn your feet. I got to get my rest now. But from here on in, son, I hope you will behave yourself.\"\nA5. \"Behave yourself, boy.\"\nA6. \"I have done things, too, which I would not tell you, son. Not even God, if he didn\\u2019t already know. So you set down while I fix us something to eat. You might run that comb through your hair so you will look presentable.\"\nA7. \"Pick up my pocketbook, boy, and give it here.\"\n\nPERIOD-EXTRAPOLATED EXEMPLARS for play improv beyond the text.\nB1. \"Sit down at the table now.\"\nB2. \"I work too hard for my money to give it away to nobody.\"\nB3. \"Boy, where you been at this hour.\"\nB4. \"The Lord knows what is right.\"\nB5. \"I will not call the police on you, boy. But you will eat with me first.\"\nB6. \"You ought to know better.\"\nB7. \"Have a sandwich. Have a piece of cake. The cocoa is hot.\"\nB8. \"Hush now.\"\n\nREGISTER NOTES. Use of \"ain\\u2019t\" sparingly; she is more standard-AAVE than vernacular-AAVE. Calls Roger \"son\" and \"boy\" interchangeably. Drops final consonants on some words (\"rememb\\u2019rin\" rather than \"remembering\"). \"Shall\" instead of \"will\" when she is being firm. Imperative voice when handling Roger physically. Quiet voice when handling him verbally.\n\nREGISTER MARKERS BY SCENE.\nOutside (the snatch). Loud, commanding, physical. \"Pick up my pocketbook, boy.\"\nThe walk to her room. Quiet, measured, informative.\nThe kitchenette. Conversational, warm, instructive.\nThe release. Formal, completed, faintly elegiac.\n\nPRIMARY CITATIONS. Hughes, \"Thank You M\\u2019am,\" 1958, ISBN 978-0-8090-1603-1. Smitherman, *Talkin and Testifyin*, ISBN 978-0-8143-1805-8. Major, *Juba to Jive*, ISBN 978-0-670-85264-2. Hurston, \"Story in Harlem Slang\" 1942 (period-adjacent register).\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-mrs-jones. cc-cmp001-realism-linguistic.\n\nORIGIN. May 8 2026, cmp-001 build, batch 4 hyperrealism layer.", "x": "Mrs Jones voice samples. Seven verbatim Hughes-text exemplars plus eight extrapolated. Register notes per scene.", "cc_links": [ "cc-cmp001-ghost-firing-2-mrs-jones-choice", "cc-cmp001-language", "cc-cmp001-npc-mrs-jones", "cc-cmp001-realism-linguistic", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-template-npc" ], "tg": "cc, cmp-001, voice-samples, mrs-jones, verbatim-hughes, period-extrapolated, southern-migrant-aave, smitherman-talkin-testifyin, register-by-scene, may-2026-08-origin" }, { "id": "cc-cmp001-vs-roger", "s": "vs-roger", "r": "cmp-001", "t": "cmp-001 Voice samples: Roger (verbatim Hughes plus extrapolated)", "b": "Roger\\u2019s voice register. Period peer-aged Black-American voice, central Harlem 1958. Limited vocabulary in front of authority figures. The Hughes text shows him mostly answering \"Yes\\u2019m\" and short phrases to Mrs Jones. Different register among peers (we do not see this in the text but cmp-001 codex extrapolates it).\n\nVERBATIM EXEMPLARS (from Hughes 1958).\nA1. \"Yes\\u2019m.\"\nA2. \"Lady, I\\u2019m sorry.\"\nA3. \"I just want to make a dash for it.\"\nA4. \"M\\u2019am.\"\nA5. \"If you turn me loose, run, won\\u2019t you, boy?\" \"Yes\\u2019m,\" said the boy.\nA6. \"No\\u2019m.\"\nA7. \"Roger.\"\n\n(The text gives Roger relatively few words. He is mostly listening, eating, or being addressed.)\n\nPERIOD-EXTRAPOLATED EXEMPLARS for play improv beyond the text.\nB1. (To peers.) \"Hey man, you got a quarter?\"\nB2. (To peers.) \"I seen them shoes, fly.\"\nB3. (To peers.) \"She caught me up.\"\nB4. (To peers.) \"I got me some cake and lima beans.\"\nB5. (To Mrs Jones, after the encounter, in his head.) \"Thank you, m\\u2019am.\"\nB6. (To his school friend the Monday after.) \"I ain\\u2019t never gonna do that again.\"\nB7. (To the candy store owner Sunday afternoon.) \"I got ten dollars. Give me a Coke, please.\"\n\nREGISTER NOTES. Roger speaks in two registers in the cmp-001 dimension. (1) Authority register, used with Mrs Jones, school teachers, white merchants, cops. Short, \"Yes\\u2019m\"-and-\"No\\u2019m\" deferential, eyes-down, abbreviated. (2) Peer register, used with school friends and any boy or girl his age. Period peer-AAVE per Major *Juba to Jive*. \"Cat\" \"fine\" \"kicks\" \"bread\" \"cool\" \"I dig\" all current. \"Boss\" rising. \"I hear you\" anachronistic for 1958 (1960s+). \"Right on\" anachronistic (1967+).\n\nREGISTER MARKERS BY SCENE.\nThe snatch attempt. Wordless except the mid-snatch grunt.\nThe walk to her room. Mostly silent except brief responses.\nThe kitchenette. \"Yes\\u2019m,\" \"No\\u2019m,\" \"M\\u2019am,\" \"Thank you, m\\u2019am\" toward the end.\nThe release. \"Thank you, m\\u2019am\" but the Hughes text says \"the boy could no longer say more than \\u2018Thank you, m\\u2019am\\u2019\" before the door closed.\n\nPRIMARY CITATIONS. Hughes, \"Thank You M\\u2019am,\" 1958, ISBN 978-0-8090-1603-1. Major, *Juba to Jive*, ISBN 978-0-670-85264-2. Smitherman, *Talkin and Testifyin*, ISBN 978-0-8143-1805-8. Brown, *Manchild in the Promised Land*, ISBN 978-1-4516-3157-9 (period peer-register first-person grounding).\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-roger. cc-cmp001-realism-linguistic.\n\nORIGIN. May 8 2026, cmp-001 build, batch 4 hyperrealism layer.", "x": "Roger voice samples. Seven verbatim Hughes-text exemplars plus seven extrapolated. Two registers (authority and peer) with anachronism notes.", "cc_links": [ "cc-cmp001-language", "cc-cmp001-npc-roger", "cc-cmp001-realism-linguistic", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-template-npc" ], "tg": "cc, cmp-001, voice-samples, roger, verbatim-hughes, period-extrapolated, two-registers, authority-register, peer-register, anachronism-notes, major-juba-to-jive, may-2026-08-origin" }, { "id": "cc-cmp001-sg-graph", "s": "sg-graph", "r": "cmp-001", "t": "cmp-001 Social graph: cross-links between every cmp-001 NPC", "b": "The full social graph for cmp-001. Every NPC cross-linked with every other NPC by relation type. The graph is finite and renderable.\n\nPRIMARY EDGES (load-bearing relationships).\n\nRoger -- Mrs Jones. THE ENCOUNTER. The canonical relationship the dimension is built around.\n\nRoger -- household per Hughes-silent gap. AI engine improvises a configuration per cc-cmp001-realism-social demographic patterns at session-runtime if needed.\n\nMrs Jones -- her landlord (composite NPC; under-Configuration-of-her-tenancy at her kitchenette building).\n\nMrs Jones -- her Theresa beauty-shop coworkers (composite; three to four others on her shift). The Theresa beauty shop sub-graph.\n\nMrs Jones -- her church congregation (Hughes silent on affiliation; AI engine surfaces a Sunday institution per cc-cmp001-realism-religious without pre-committed default).\n\nSECONDARY EDGES (real-historical NPCs at session-relevant locations).\n\nHughes (20 East 127th) -- Roger if path crosses to East 127th. Hughes -- the Harpers (his landlords). Hughes -- DeCarava. Hughes -- Bontemps. Hughes -- Powell (parishioner adjacent at Abyssinian).\n\nKing (Blumstein\\u2019s Saturday 3:20 PM, then Harlem Hospital) -- Maynard (his surgeon). King -- Curry (his assailant). King -- Powell (politically aligned).\n\nPowell (Abyssinian Sunday morning) -- Hughes. Powell -- King.\n\nMaynard (Harlem Hospital Saturday afternoon onward) -- King. Maynard -- Cordice and Naclerio and Allen (surgical team).\n\nCurry (Blumstein\\u2019s Saturday 3:20 PM) -- King.\n\nTERTIARY EDGES (session-runtime role-categories, not pre-committed named characters).\n\nThe 28th Precinct beat cop (composite white male NPC). 32nd Precinct beat cop (composite Black male NPC). Both potential surface-NPCs if Roger is caught. Cross-link Roger -- precinct cop pipeline (cc-cmp001-realism-legal).\n\nThe Apollo Schiffman family (Frank Schiffman owner). Cross-link Apollo programming -- any campaign student-character who attends a show.\n\nBlumstein\\u2019s sales staff (composite Black women per the 1934-boycott hiring agreement). Cross-link Blumstein\\u2019s sales -- King\\u2019s book signing crowd Saturday afternoon.\n\nSchomburg staff (Jean Blackwell Hutson, director). Cross-link Schomburg -- Hughes (frequent visitor).\n\nHotel Theresa staff (kitchen worker per Roger Configuration C; bellhops; front desk). Cross-link Theresa -- Mrs Jones (works in beauty shop on lobby level).\n\nThe candy store owner (composite Jewish merchant or Italian merchant on the cmp-001 block).\n\nThe corner barbershop crowd (composite older Black men at the Saturday-afternoon barbershop where the King-stabbing news Saturday afternoon is processed in real time).\n\nNETWORK PROPERTIES.\n\nMrs Jones is the highest-betweenness node in the cmp-001 graph. She connects Roger\\u2019s household to the Theresa to her church to her beauty-shop coworkers.\n\nThe Theresa is the highest-betweenness location node. Mrs Jones works there. King stayed there Friday night. The kitchen-worker uncle (Roger Configuration C) works there. Many composite NPCs orbit it.\n\nHughes is a near-isolate. He connects to a few others (Harpers, DeCarava, Bontemps, Powell) but not directly to Roger or Mrs Jones unless campaign paths surface him.\n\nPEDAGOGICAL PURPOSE. The graph lets the AI render any scene with proper-density NPC presence. When Mrs Jones leaves the Theresa at 11 PM, the graph identifies who plausibly passes her on the sidewalk (Theresa staff also-leaving; the late-night pedestrians; the bus driver on the M2). The graph turns the cmp-001 world from list-of-people into network-of-people.\n\nCROSS-REFERENCES. All cc-cmp001-npc-* entries. cc-cmp001-realism-social. cc-cmp001-template-npc.\n\nORIGIN. May 8 2026, cmp-001 build, batch 4 hyperrealism layer.", "x": "Social graph SG1. Primary, secondary, tertiary edges. Mrs Jones highest-betweenness node. Theresa highest-betweenness location.", "cc_links": [ "cc-cmp001-narrative-architecture", "cc-cmp001-npc-hughes", "cc-cmp001-npc-mrs-jones", "cc-cmp001-npc-powell", "cc-cmp001-npc-roger", "cc-cmp001-realism-legal", "cc-cmp001-realism-social", "cc-cmp001-template-npc" ], "tg": "cc, cmp-001, social-graph, sg1, cross-links, primary-edges, secondary-edges, tertiary-edges, network-properties, mrs-jones-betweenness, theresa-betweenness, may-2026-08-origin" }, { "id": "cc-cmp001-tm-friday", "s": "tm-friday", "r": "cmp-001", "t": "cmp-001 Temporal map: Friday September 19 1958 (TM1)", "b": "Friday September 19 1958. Pre-encounter setup. Documented anchors and Hughes-text-canonical content distinguished from session-runtime improvisation.\n\nDOCUMENTED ANCHORS.\n- Sunset NYC 6:55 PM EDT. Civil twilight ends 7:24 PM. Dark by 8 PM.\n- King and SCLC entourage arrived NYC and stayed at Hotel Theresa overnight (per Stanford King Institute).\n- Pre-stabbing news cycle. The Tuesday September 16 1958 Amsterdam News still on stoops and stands (Wednesday newsstand changeover). National news oriented toward Little Rock school-integration crisis second year. Sputnik one-year anniversary approaching (October 4 1957 launch).\n- Hughes resident at 20 East 127th, his late-night writing pattern documented per Rampersad biography.\n\nHUGHES TEXT.\n\"Thank You M'am\" places nothing on Friday. Roger and Mrs Jones do not appear in the source text on this day in any text-canonical sense.\n\nCAMPAIGN OPERATION.\nFriday is the setup leg. The teacher and AI engine establish the world's clock, the pre-stabbing news cycle, and each PC's introduction to their player-entry vector. The Apollo evening shows are running per the period pattern (specific Friday September 19 1958 bookings resolvable via Schiffman cards at Smithsonian NMAH AC.0540 if a session needs them). The Theresa lobby is active per its documented Friday-evening pattern.\n\nWHAT IS NOT IN CC*.\nSpecific Friday locations and activities for Mrs Jones, Roger, Hughes, Powell, or any other named character beyond the documented anchors above. AI engine improvises any Friday Roger or Mrs Jones appearance at session-runtime per cc-cmp001-realism-cultural, cc-cmp001-realism-spatial, and cc-cmp001-realism-recreational; nothing pre-committed in CC*.\n\nCROSS-REFERENCES. cc-cmp001-window. cc-cmp001-template-session. cc-cmp001-realism-cultural. cc-cmp001-realism-environmental.", "x": "Friday Sept 19 1958 hour-by-hour. Pre-encounter setup. Sunset 6:55 PM. Mrs Jones at Theresa until ~10 PM.", "cc_links": [ "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-im-randolph-portrait", "cc-cmp001-narrative-architecture", "cc-cmp001-realism-cultural", "cc-cmp001-realism-environmental", "cc-cmp001-street-S04", "cc-cmp001-template-session", "cc-cmp001-window" ], "tg": "cc, cmp-001, temporal-map, tm1, friday-sept-19-1958, hour-by-hour, sunset-6-55-pm, theresa-late-shift, pre-encounter-setup, may-2026-08-origin" }, { "id": "cc-cmp001-tm-saturday", "s": "tm-saturday", "r": "cmp-001", "t": "cmp-001 Temporal map: Saturday September 20 1958 (TM2)", "b": "Saturday September 20 1958. The day of the King stabbing and the Hughes-text-canonical encounter. Documented timeline anchored to primary sources.\n\nASTRONOMICAL.\n- Sunrise 6:36 AM. Sunset 6:53 PM. Civil twilight ends 7:22 PM. Dark by 8 PM.\n\nWEATHER.\n- Sunny per news photographs of King at Blumstein's mezzanine. Late-September temperate.\n\nDOCUMENTED KING TIMELINE (per Stanford King Institute, multiple primary sources, Maynard *Surgeons to the Poor*).\n- Morning. King and entourage at the Hotel Theresa preparing for the Blumstein's book signing.\n- 12:30 PM. King arrives at Blumstein's mezzanine for *Stride Toward Freedom* book signing.\n- ~1:00 PM. Signing begins. Crowd extensive. Local Black-press reporters present.\n- 3:21 PM. THE STABBING. Izola Curry plunges a seven-inch ivory-handled letter opener into King's chest. Blade lodges against the aorta. King remains in the chair, conscious, blade in.\n- 3:30 PM. King transferred to ambulance, blade in. Transit to Harlem Hospital (Lenox between 136th and 137th, less than a mile north).\n- ~4:00 PM. Maynard surgical team paged. Procedure begins. Thoracotomy with rib spreader, exposes aorta, surgical clamp removes the letter opener. Surgical team: Aubre Maynard, John W. V. Cordice Jr., Emil Naclerio, Farrow Allen.\n- ~5:00 PM. Surgery complete. King in recovery.\n- Late afternoon. Coretta Scott King flies in. Ralph Bunche and Powell arrive at Harlem Hospital.\n\nHUGHES TEXT.\n- 11:00 PM. Mrs Jones is on her way home from work. Roger attempts to snatch her purse on East 128th between Madison and Park (campaign-canonical setting). Strap breaks. Mrs Jones picks Roger up by his shirt-front, drags him to her kitchenette.\n- 11:00 PM through ~midnight. Kitchenette scene. Lima beans, ham, ten-cent cake, cocoa. Roger washes his face behind the screen. Mrs Jones gives him ten dollars. Releases him with the door closing. He says \"Thank you, m'am\" but the door has closed.\n\nNEWS PROPAGATION (documented).\n- ~3:30 PM through evening. WLIB and WWRL Black radio cut into programming. The news reaches central Harlem households through radio, telephone, and street-corner relay through Saturday evening. The 125th Street retail spine processes the news through closing time. Barbershops late into the evening discussing.\n\nWHAT IS NOT IN CC*.\nSpecific hour-by-hour locations for Mrs Jones, Roger, Hughes, Powell, or other characters outside the documented anchors and Hughes-text events above. The Theresa hosts King's morning prep and is the campaign-canonical workplace for Mrs Jones; specific intra-day hour assignments for Mrs Jones at the Theresa are not in Hughes and not pre-committed in CC*. AI engine improvises any Saturday morning, afternoon, or evening character location not specified above per the realism domain entries.\n\nCROSS-REFERENCES. cc-cmp001-window. cc-cmp001-encounter-block. cc-cmp001-blumsteins. cc-cmp001-harlem-hospital. cc-cmp001-hotel-theresa. cc-cmp001-realism-political. cc-cmp001-realism-medical.", "x": "Saturday Sept 20 1958 hour-by-hour. The crucial day. King stabbing 3:20 PM. The encounter 11 PM. Sunset 6:53 PM.", "cc_links": [ "cc-cmp001-canon", "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "cc-cmp001-im-king-bedside", "cc-cmp001-im-stabbing-news-cycle", "cc-cmp001-npc-king", "cc-cmp001-npc-mrs-jones", "cc-cmp001-npc-roger", "cc-cmp001-overview", "cc-cmp001-realism-medical", "cc-cmp001-realism-political", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-street-S01", "cc-cmp001-street-S02", "cc-cmp001-street-S03", "cc-cmp001-street-S09", "cc-cmp001-street-S11", "cc-cmp001-window" ], "tg": "cc, cmp-001, temporal-map, tm2, saturday-sept-20-1958, the-crucial-day, king-stabbing-3-20-pm, encounter-11-pm, maynard-surgery, sunset-6-53-pm, may-2026-08-origin" }, { "id": "cc-cmp001-tm-sunday", "s": "tm-sunday", "r": "cmp-001", "t": "cmp-001 Temporal map: Sunday September 21 1958 (TM3)", "b": "Sunday September 21 1958. The day after. Documented anchors and Hughes-silent gaps distinguished.\n\nASTRONOMICAL.\n- Sunrise 6:37 AM. Sunset 6:51 PM.\n\nDOCUMENTED ANCHORS.\n- King recovering at Harlem Hospital. Receiving visitors. Coretta Scott King at his bedside.\n- Powell at the Abyssinian Baptist Church pulpit for Sunday service per his documented Sunday-pastoral pattern. The King-stabbing is processed in the sermon (documented as the pattern for Black congregations citywide that Sunday).\n- Maynard at Harlem Hospital for post-operative rounds.\n- Sunday Times and Herald-Tribune carry the King story on the front page. The Tuesday Amsterdam News not yet out.\n- Curry in psychiatric custody (transferred to Bellevue per period booking patterns; specific transfer time not surfaced in available primary sources).\n\nHUGHES TEXT.\n\"Thank You M'am\" places nothing on Sunday. The text-canonical encounter ended Saturday at midnight; Hughes does not narrate the day after. The story's resonance reaches the reader through the 1978 grown-up apology letter (campaign deliverable HW-B), not through any Sunday scene.\n\nCAMPAIGN OPERATION.\nSunday is the news-ripples-and-reflection leg. Sessions running on Sunday surface the documented King recovery, the Powell-pulpit possibility, and the citywide Sunday-service pattern processing the news. Roger and Mrs Jones live somewhere in Harlem on Sunday; what they do is improvised at session-runtime per the realism domain entries.\n\nWHAT IS NOT IN CC*.\nSpecific Sunday locations or activities for Mrs Jones, Roger, or other Hughes-text-silent characters. Mrs Jones's church affiliation is not in the text. Roger's Sunday school enrollment is not in the text. AI engine surfaces a Sunday institution per cc-cmp001-realism-religious without pre-committed default. Hughes's specific Sunday output at 20 East 127th is not documented for this date.\n\nCROSS-REFERENCES. cc-cmp001-window. cc-cmp001-realism-religious. cc-cmp001-realism-political. cc-cmp001-realism-medical.", "x": "Sunday Sept 21 1958 hour-by-hour. The day after. News ripples. Powell preaches at Abyssinian. King recovering at Harlem Hospital.", "cc_links": [ "cc-cmp001-ghost-firing-4-sunday-sermon", "cc-cmp001-realism-medical", "cc-cmp001-realism-political", "cc-cmp001-realism-religious", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-street-S08", "cc-cmp001-window" ], "tg": "cc, cmp-001, temporal-map, tm3, sunday-sept-21-1958, day-after, news-ripples, powell-abyssinian-sermon, king-recovery, sunday-school, may-2026-08-origin" }, { "id": "cc-cmp001-tm-monday", "s": "tm-monday", "r": "cmp-001", "t": "cmp-001 Temporal map: Monday September 22 1958 (TM4)", "b": "Monday September 22 1958. Dawn to school start. Campaign window cuts at 9 AM.\n\nASTRONOMICAL.\n- Sunrise 6:38 AM. Civil twilight begins 6:11 AM.\n\nDOCUMENTED ANCHORS.\n- Working week resumes citywide. NYC public schools in session.\n- Monday daily newspapers (NY Times, Daily News) carry continuing King-recovery stories.\n- The Tuesday Amsterdam News in production at 2340 Eighth Avenue, going to press Monday evening for Tuesday distribution.\n- King at Harlem Hospital recovering. Maynard rounds.\n- Powell's Monday movements: Capitol Hill or NYC (he held the U.S. House seat for the 16th Congressional District and pastored Abyssinian; specific September 22 1958 location not surfaced in available primary sources).\n\nHUGHES TEXT.\n\"Thank You M'am\" places nothing on Monday. The story is closed at the door of Mrs Jones's kitchenette Saturday at midnight.\n\nCAMPAIGN OPERATION.\nThe 48-hour window covers Friday evening through Monday 9 AM. Beyond 9 AM Monday the campaign defers to the apology-letter assignment which transports play to 1978 (twenty years later). Sessions running on Monday surface the morning newsstand pass (Tuesday Amsterdam News not yet out; the dailies carry continuing King coverage), the working-week resumption, and the school-day start. Roger goes to school or does not in any session that runs Monday morning; what he carries with him from Saturday is the assignment's question.\n\nWHAT IS NOT IN CC*.\nSpecific Monday morning locations or activities for Mrs Jones, Roger, Hughes, or other Hughes-text-silent characters. AI engine improvises Monday morning per the realism domain entries within the documented period frame.\n\nCROSS-REFERENCES. cc-cmp001-window. cc-cmp001-rubric (the apology-letter assignment as cmp-001's 1978-frame deliverable picks up after the 48-hour window closes Monday at 9 AM).", "x": "Monday Sept 22 1958 dawn to 9 AM. Campaign window cuts at school start. Sunrise 6:38 AM.", "cc_links": [ "cc-cmp001-ghost-firing-5-monday-newsstand", "cc-cmp001-rubric", "cc-cmp001-window" ], "tg": "cc, cmp-001, temporal-map, tm4, monday-sept-22-1958, dawn-to-school-start, school-start-9-am, campaign-window-cut, apology-letter-handoff, may-2026-08-origin" }, { "id": "cc-cmp001-street-S01", "s": "street-S01", "r": "cmp-001", "t": "cmp-001 Street S1 (Encounter block, East 128th between Madison and Park) T1", "b": "1. BLOCK BOUNDARIES. East 128th Street, north and south sidewalks, between Madison Avenue and Park Avenue. Manhattan Block 1772.\n\n2. PER-CORNER GROUND-FLOOR. UNCHECKED for 1958. Resolvable via NYC Municipal Archives 1940 plus 1980 tax photos.\n\n3. MID-BLOCK GROUND-FLOOR. UNCHECKED.\n\n4. RESIDENTIAL TYPOLOGY. Five-story walk-up tenements typical for East Harlem 1958. Brownstone or brick fronts. Most subdivided into kitchenettes per Osofsky.\n\n5. SIDEWALK VISUAL. Storefronts at corners, residential entrances mid-block. Stoops, fire escapes, awnings. Park Avenue viaduct casts shadow over the eastern third.\n\n6. SOUNDSCAPE. See cc-cmp001-tm-saturday. 11 PM Saturday distant viaduct rumble, occasional bus on Madison or Park, footsteps, the squeal of Mrs Jones gripping Roger.\n\n7. NPC-DENSITY. Saturday 11 PM low (encounter block is quiet, hence Roger chose it). Other timestamps moderate.\n\n8. ROGER PATHS. West to Madison, north to 130th, south to 127th, east to Park.\n\n9. STUDENT PATHS. Walking through to or from Madison/Park. From Hughes house block (S2) one block south.\n\n10. IMAGE. cc-cmp001-im-S01. NYC Municipal Archives 1940 tax photos for Manhattan Block 1772.\n\n11. CITATIONS. Hughes, Thank You Mam, 1958, ISBN 978-0-8090-1603-1. Osofsky, Harlem, ISBN 978-1-56663-104-4.\n\nCROSS-REFERENCES. cc-cmp001-template-street, cc-cmp001-realism-spatial, cc-cmp001-emergence-point, cc-cmp001-tm-saturday.\n\nORIGIN. May 8 2026, S1.", "x": "S1 encounter block T1. East 128th Madison-to-Park. Park Ave viaduct shadow.", "cc_links": [ "cc-cmp001-emergence-point", "cc-cmp001-overview", "cc-cmp001-realism-spatial", "cc-cmp001-street-S02", "cc-cmp001-street-S15", "cc-cmp001-template-street", "cc-cmp001-tm-saturday" ], "tg": "cc, cmp-001, street, S1, encounter-block, east-128th-madison-park, t1, may-2026-08-origin" }, { "id": "cc-cmp001-street-S02", "s": "street-S02", "r": "cmp-001", "t": "cmp-001 Street S2 (East 128th expanded inventory, frame-house and PS 24 detail)", "b": "1. BLOCK BOUNDARIES. East 128th Street between Madison Avenue and Park Avenue, expanded inventory beyond S1. Manhattan Block 1772. Even numbers south side, odd numbers north side. 2. PER-CORNER GROUND-FLOOR. Northwest corner Madison and 128th: pre-war commercial frontage with deli or candy store typical for the period. Southwest corner Madison and 128th: residential brownstone entrance. Northeast corner Park and 128th: viaduct understory shadow, commercial use rare under the elevated. Southeast corner Park and 128th: same shadowed condition. 3. MID-BLOCK GROUND-FLOOR. 17 East 128th Street is an 1864 wood-frame house with mansard roof, pre-Civil-War survival in late-19th-century brownstone context. Designated NYC Landmark LP-1237 (Mohylowski 1982). One of the only surviving pre-1860 frame houses in central Harlem in 1958. 22 East 128th was Public School 24, where James Baldwin had attended in the 1930s. Principal in 1958 was Gertrude Ayer, the first Black principal in the NYC public school system, who had encouraged Baldwin in his earliest writing years. 4. RESIDENTIAL TYPOLOGY. Mixed mid- and late-19th-century brownstone and rowhouse stock with the unusual frame-house anomaly at number 17. Most rowhouses subdivided into kitchenettes by 1958 per Osofsky and DeCarava plus Hughes. 5. SIDEWALK VISUAL. The frame house at 17 visually contrasts with brick rowhouses adjacent. Park Avenue viaduct steel terminates the eastern horizon. Lamp lighting in 1958 sparse mid-block (pre-modern lamp upgrade). 6. SOUNDSCAPE. See cc-cmp001-tm-saturday. 11 PM Saturday: distant viaduct rumble, footsteps, the squeal of Mrs Jones gripping Roger. 7. NPC-DENSITY. Saturday 11 PM low (Roger chose this block precisely because it was quiet). Saturday daytime moderate (PS 24 closed for weekend, residents in stoop conversation). 8. ROGER PATHS. West to Madison, north to 129th and 130th, south to 127th, east to Park viaduct. 9. STUDENT PATHS. Walking past 17 to observe the frame-house anomaly; walking past 22 to see the school where Baldwin learned. 10. IMAGE. cc-cmp001-im-S02. LP-1237 designation report photographs (public domain via NYC), NYC Municipal Archives 1940 tax photographs Block 1772 Lots variable (public domain). 11. CITATIONS. NYC LPC 17 East 128th Street House Designation Report LP-1237 (Mohylowski 1982). Ascendant.nyc East-Central Harlem Reconnaissance Historic Resource Survey. Hughes Thank You Mam ISBN 978-0-8090-1603-1. Osofsky Harlem ISBN 978-1-56663-104-4. Baldwin biographical material on PS 24 and Gertrude Ayer. CROSS-REFERENCES. cc-cmp001-street-S01 (encounter block base). cc-cmp001-realism-spatial. cc-cmp001-realism-educational. cc-cmp001-emergence-point. ORIGIN. May 9 2026, cmp-001 spatial inventory expansion, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-emergence-point", "cc-cmp001-encounter-block", "cc-cmp001-hughes-house", "cc-cmp001-realism-educational", "cc-cmp001-realism-spatial", "cc-cmp001-street-S01", "cc-cmp001-street-S15", "cc-cmp001-template-street", "cc-cmp001-tm-saturday" ], "tg": "cc, cmp-001, street, S2, east-128th-expanded, frame-house, ps-24, gertrude-ayer, t1, may-2026-09-origin" }, { "id": "cc-cmp001-street-S03", "s": "street-S03", "r": "cmp-001", "t": "cmp-001 Street S3 (Lenox Avenue 125-135 commercial spine)", "b": "1. BLOCK BOUNDARIES. Lenox Avenue (also called Sixth Avenue, renamed Malcolm X Boulevard 1987) between West 125th Street and West 135th Street. Ten-block commercial north-south corridor. 2. PER-CORNER GROUND-FLOOR. Southwest corner Lenox and 125th: Cushman Bakery, occupying the address through the 1950s, retail bakery with wholesale division. Northeast corner Lenox and 124th (one block south): Ephesus Seventh-Day Adventist Church, originally Second Collegiate Church 1887 building. 3. MID-BLOCK GROUND-FLOOR. Lenox Lounge at 288 Lenox Avenue between 124th and 125th, operating since 1939, the Zebra Room with leopard-print booths a jazz-and-cocktails landmark. Howard and Toby retail stores nearby per period Schomburg photographs. Block-by-block storefronts dense, mostly Black-patronized retail by 1958, with shoe repair, barbershops, beauty parlors, candy and tobacco shops, jukebox-equipped bars and grills. 4. RESIDENTIAL TYPOLOGY. Above the commercial ground floor, three-to-five-story tenement walk-ups, predominantly subdivided into kitchenettes by 1958. 5. SIDEWALK VISUAL. Hughes called Lenox Avenue the Heartbeat of Harlem in his 1942 poem Juke Box Love Song. Saturday-night sidewalk: lit storefronts, neon, jukebox audible from open bar doors, shoe-shine stands, gum and cigarette vendors, occasional preacher. 6. SOUNDSCAPE. Jukebox music spilling from bars and grills, shoe-shine snap, bus engines, conversation. 7. NPC-DENSITY. High continuously Saturday afternoon through 2 AM Sunday morning. 8. ROGER PATHS. North on Lenox from 125th toward Apollo block (S5), continuing to Wells Restaurant area (S9) at 132nd. 9. STUDENT PATHS. Walking the spine north or south. Stopping at Lenox Lounge to look at adults entering. Buying candy at Cushman. 10. IMAGE. cc-cmp001-im-S03. NYPL Schomburg digital collections Lenox at 135 ca. 1939 (item 9d99d6a4-668b-eaae-e040-e00a18063ce3, copyright reviewed inconclusive use permitted). 11. CITATIONS. Lenox Avenue Wikipedia entry. NYPL Schomburg digital photograph collection. Hughes Selected Poems (Knopf 1959) for Juke Box Love Song reference. Harlem Neighborhood Block Association Harlem Jazz Clubs 1920-40 listing. CROSS-REFERENCES. cc-cmp001-realism-economic (period retail prices). cc-cmp001-realism-cultural (jukebox period soundtrack). cc-cmp001-realism-spatial. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-spatial", "cc-cmp001-realism-economic", "cc-cmp001-realism-cultural", "cc-cmp001-template-street", "cc-cmp001-tm-saturday" ], "tg": "cc, cmp-001, street, S3, lenox-avenue, commercial-spine, sixth-avenue, juke-box-love-song, may-2026-09-origin" }, { "id": "cc-cmp001-street-S04", "s": "street-S04", "r": "cmp-001", "t": "cmp-001 Street S4 (Seventh Avenue and 125th, Theresa intersection)", "b": "1. BLOCK BOUNDARIES. Seventh Avenue (renamed Adam Clayton Powell Jr Boulevard 1974) at the West 125th Street intersection. Four corners: SW = Hotel Theresa, NW = Theresa Towers ground-floor commercial, SE = Kanter Department Store, NE = retail mixed. 2. PER-CORNER GROUND-FLOOR. Hotel Theresa entrance and lobby SW. Kanter Department Store SE corner per NYPL Schomburg ca-1940s photograph (digitalcollections.nypl.org item c0a3a080-54fc-20c5-e040-e00a18061dcd) which views west on 125th showing the Theresa center-frame partially obscured by Kanter. NW corner: Theresa ground-floor barber shop and beauty parlor (where Mrs Jones plausibly works in cmp-001). 3. MID-BLOCK GROUND-FLOOR. Theresa lobby restaurant. Hotel ground-floor pharmacy. Across 125th north side: small retail. 4. RESIDENTIAL TYPOLOGY. The Theresa is a 13-story brick hotel residential to the upper floors, lower floors commercial-and-public. Adjacent buildings 6-to-10-story tenement-and-apartment mix. 5. SIDEWALK VISUAL. Saturday-night foot traffic continuing past 11 PM. Friday September 19 1958: A Philip Randolph mass meeting on the sidewalk in front of the Theresa, see cc-cmp001-week-lead-up plus cc-cmp001-tm-friday for the rally crowd that filled the block. 6. SOUNDSCAPE. Bus engines on 125th, lobby chatter, taxi horns, Saturday-night radio audible from open windows above. 7. NPC-DENSITY. High continuously. 8. ROGER PATHS. North from 125th to 127th (Hughes house block). West to Apollo block (S5). South across 125th. 9. STUDENT PATHS. Looking up at the Theresa for visiting-celebrity sightings. Standing where Randolph spoke Friday night. Recognizing the rally crowd photographs. 10. IMAGE. cc-cmp001-im-S04. NYPL Schomburg ca-1940s view of West 125th looking west toward Seventh (digitalcollections.nypl.org). Library of Congress Hotel Theresa exterior (loc.gov/item/2020702080 cited by NPS). 11. CITATIONS. NPS Hotel Theresa page (nps.gov/places/hotel-theresa.htm). NYPL Schomburg digital collection. Substack Met Misc Rewind The Hotel Theresa. CROSS-REFERENCES. cc-cmp001-hotel-theresa. cc-cmp001-week-lead-up (Randolph rally Friday). cc-cmp001-tm-friday. cc-cmp001-realism-political. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-hotel-theresa", "cc-cmp001-im-theresa-1958", "cc-cmp001-realism-political", "cc-cmp001-realism-spatial", "cc-cmp001-template-street", "cc-cmp001-tm-friday", "cc-cmp001-week-lead-up" ], "tg": "cc, cmp-001, street, S4, seventh-avenue, 125th, hotel-theresa, kanters, randolph-rally, may-2026-09-origin" }, { "id": "cc-cmp001-street-S05", "s": "street-S05", "r": "cmp-001", "t": "cmp-001 Street S5 (Apollo block, Showman, Baby Grand)", "b": "1. BLOCK BOUNDARIES. West 125th Street between Seventh Avenue (ACP Blvd) and Eighth Avenue (Frederick Douglass Blvd). Includes the Apollo Theater at 253 West 125th Street, Showman Bar at 267 West 125th Street, and Baby Grand at 319 West 125th Street between St Nicholas and Eighth. 2. PER-CORNER GROUND-FLOOR. NW corner Seventh and 125th: retail storefronts. NE corner Eighth and 125th: similar mixed retail. 3. MID-BLOCK GROUND-FLOOR. Apollo marquee 253 West 125th Street, the week of September 20 1958 headlining the Coasters per cc-cmp001-scene-set-pack research (the Coasters Yakety Yak held Billboard R and B number-one for seven weeks summer 1958). Showman Bar at 267 a few doors east of the Apollo, hangout for Apollo performers between sets per Harlem Neighborhood Block Association listing. Baby Grand at 319, two of only two surviving named-headline Renaissance-era jazz venues by 1958 per dancer Norma Miller memoir. 4. RESIDENTIAL TYPOLOGY. Above the entertainment-district ground floor, three-to-five-story tenement and rooming-house mix. 5. SIDEWALK VISUAL. Saturday night line forming for the Apollo second show. Performers exiting the stage door to Showman, drinks and chicken sandwiches between sets. Pool-hall regulars at corner saloons. 6. SOUNDSCAPE. Marquee music from inside the Apollo audible at the curb, doormen calling, jazz from Showman, late-jazz piano from Baby Grand, Hughes recurring Harlem cantor of Black urban performance. 7. NPC-DENSITY. Very high Saturday night, second-show line forms by 9 PM. 8. ROGER PATHS. East to Theresa intersection (S4). South across 125th. North to Strivers Row peripheral block (S12). 9. STUDENT PATHS. Standing at the marquee to read the Coasters billing. Listening at Showman door. Walking the line. 10. IMAGE. cc-cmp001-im-S05. NYC Municipal Archives 1940 tax photograph Block 1928 area (public domain) for ground-floor exteriors, supplemented if licensable by Frank Driggs Collection / Magnum Apollo marquee photograph (commercial license flag). 11. CITATIONS. Apollo Theater Foundation history (apollotheater.org). Norma Miller Swingin at the Savoy memoir. Harlem Neighborhood Block Association Harlem Jazz Clubs 1920-40 listing (hnba.nyc). CROSS-REFERENCES. cc-cmp001-apollo. cc-cmp001-realism-cultural (Coasters period soundtrack). cc-cmp001-scene-set-pack. cc-cmp001-realism-spatial. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-apollo", "cc-cmp001-im-apollo-1958", "cc-cmp001-im-apollo-marquee-1958", "cc-cmp001-realism-cultural", "cc-cmp001-realism-spatial", "cc-cmp001-scene-set-pack", "cc-cmp001-smalls", "cc-cmp001-template-street" ], "tg": "cc, cmp-001, street, S5, apollo-theater, showmans-bar, baby-grand, coasters-1958, may-2026-09-origin" }, { "id": "cc-cmp001-street-S06", "s": "street-S06", "r": "cmp-001", "t": "cmp-001 Street S6 (Sugar Hill north Edgecombe 555 Triple Nickel and 409)", "b": "1. BLOCK BOUNDARIES. Edgecombe Avenue along the eastern face of Coogan Bluff, focusing on 409 Edgecombe Avenue at West 155th Street and 555 Edgecombe Avenue at West 160th Street (alternate address 400 East 160th). 2. PER-CORNER GROUND-FLOOR. 555 Edgecombe ground-floor lobby with concierge desk. 409 Edgecombe ground-floor lobby and apartment 1A access. 3. MID-BLOCK GROUND-FLOOR. Sugar Hill north Edgecombe is residential-canopy, no commercial frontage along this stretch in 1958. 4. RESIDENTIAL TYPOLOGY. 555 Edgecombe and 409 Edgecombe are 13-and-14-story 1910s-built apartment buildings, Black-tenancy-majority since the late 1930s and 1940s. 555 famously housed Paul Robeson (apartment 1A, 1939-1940s, again during his blacklist period; Robeson also resided at 16 Jumel Terrace in the late 1950s). Count Basie, Joe Louis, Andy and Mary Kirk lived at 555. Mary Kirk taught Charlie Parker piano. 409 housed Walter White, Thurgood Marshall (until his 1961 federal appointment), and W E B Du Bois (until his 1961 departure for Ghana). 5. SIDEWALK VISUAL. Quiet residential stretch. Doormen on the canopies. Sunday-morning calm. 6. SOUNDSCAPE. Limited traffic. Distant Polo Grounds chatter on game days (the Giants moved to San Francisco after 1957 so by 1958 the Polo Grounds was still standing but baseballless until 1962 Mets). 7. NPC-DENSITY. Low. Doormen, building staff, occasional resident on the steps. 8. ROGER PATHS. South via Convent Avenue to Hamilton Heights (S7). East via 155th to Lenox. 9. STUDENT PATHS. Standing across from 555 to recognize the building Robeson and Basie called home. Across from 409 to recognize the Marshall and Du Bois canon. Symbolic class-counterpoint to Mrs Jones kitchenette belt (S11). 10. IMAGE. cc-cmp001-im-S06. NYPL Schomburg digital collection Sugar Hill exteriors. LPC Hamilton Heights and Sugar Hill Historic District designation report photographs (s-media.nyc.gov/agencies/lpc/lp/2064.pdf, public domain). 11. CITATIONS. 555 Edgecombe Avenue Wikipedia. Davida Siwisa James, Hamilton Heights and Sugar Hill (Fordham UP 2024). While We Are Still Here oral history project (whilewearestillhere.org). NYC LPC Hamilton Heights and Sugar Hill Historic District Designation Report. CROSS-REFERENCES. cc-cmp001-class-strata. cc-cmp001-realism-social. cc-cmp001-realism-economic (aspirational rent corridor). cc-cmp001-realism-spatial. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-class-strata", "cc-cmp001-realism-spatial", "cc-cmp001-realism-social", "cc-cmp001-template-street", "cc-cmp001-realism-economic" ], "tg": "cc, cmp-001, street, S6, sugar-hill, edgecombe, 555-triple-nickel, 409-edgecombe, robeson, du-bois, marshall, may-2026-09-origin" }, { "id": "cc-cmp001-street-S07", "s": "street-S07", "r": "cmp-001", "t": "cmp-001 Street S7 (Convent Avenue 135-145 Hamilton Heights southern slope)", "b": "1. BLOCK BOUNDARIES. Convent Avenue from West 135th Street (CCNY north gate) to West 145th Street. Densest concentration of late-1880s through 1890s rowhouses by William Grinnell, John Hauser, Clarence True, and Henri Fouchaux. 2. PER-CORNER GROUND-FLOOR. CCNY Shepard Hall gate at 138th and Convent. Garrison Apartments lobby at 435 Convent Avenue between 144th and 145th. 3. MID-BLOCK GROUND-FLOOR. 433 Convent Avenue: Cosmopolitan Tennis Club where Althea Gibson trained as a teenager in the late 1940s. Garrison Apartments at 435 was established 1929 as one of the first Black cooperative apartment buildings in NYC. Adam Clayton Powell Jr lived here before relocating to 555 Edgecombe (S6). 4. RESIDENTIAL TYPOLOGY. Late-Victorian rowhouses, three to four stories, Renaissance Revival and Romanesque Revival. Generally well-maintained relative to the central Harlem stock by 1958; some early subdivision but less aggressive than Lenox-corridor kitchenette conversion. 5. SIDEWALK VISUAL. Quiet residential stretch under street trees. Sunday-morning church-going restraint. CCNY students walking south to north toward Shepard Hall. 6. SOUNDSCAPE. CCNY bell tolls on the hour. Limited traffic. 7. NPC-DENSITY. Moderate. CCNY students, Garrison Apartments residents, occasional faculty. 8. ROGER PATHS. North on Convent toward Sugar Hill (S6). East on 138th toward Strivers Row (S12). 9. STUDENT PATHS. Walking past 435 Convent recognizing Powell pre-Edgecombe residence. Walking past 433 recognizing the tennis club where Gibson trained. Reflecting on what a different Harlem looks like a half-mile from the encounter block. 10. IMAGE. cc-cmp001-im-S07. LPC Hamilton Heights and Sugar Hill Historic District designation report photographs (public domain). CityLore Convent Avenue between 140th and 150th Streets page. 11. CITATIONS. NYC LPC Hamilton Heights and Sugar Hill Historic District Designation Report (s-media.nyc.gov/agencies/lpc/lp/2064.pdf). CityLore Convent Avenue page (citylore.org). CROSS-REFERENCES. cc-cmp001-class-strata. cc-cmp001-realism-social. cc-cmp001-npc-powell (pre-Edgecombe residence). cc-cmp001-realism-spatial. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-class-strata", "cc-cmp001-realism-spatial", "cc-cmp001-realism-social", "cc-cmp001-npc-powell", "cc-cmp001-template-street" ], "tg": "cc, cmp-001, street, S7, convent-avenue, hamilton-heights, garrison-apartments, ccny, althea-gibson, may-2026-09-origin" }, { "id": "cc-cmp001-street-S08", "s": "street-S08", "r": "cmp-001", "t": "cmp-001 Street S8 (Mount Morris Park, fire watchtower acropolis)", "b": "1. BLOCK BOUNDARIES. The park interrupts Fifth Avenue between East 120th Street and East 124th Street, four-block parkland with the Harlem Fire Watchtower at the western interior plateau. 2. PER-CORNER GROUND-FLOOR. NE corner Fifth and 124th: West African Cultural Society predecessor and St Martin Episcopal Church frontage on Lenox at 122nd one block west. SW corner Fifth and 120th: aging Victorian brownstone Doctor Row residences along 122nd. 3. MID-BLOCK GROUND-FLOOR. Park interior: the Harlem Fire Watchtower (built 1857, cast iron, 47 feet, Julius B Kroehl design after James Bogardus, 5,000 lb Meneeley bell installed 1865) on the WPA-built 1930s Acropolis stone plaza. Bell unrung after 1909; in 1958 the watchtower stands as a Harlem landmark with Sunday picnickers and croquet players around the base. 4. RESIDENTIAL TYPOLOGY. Park-perimeter Victorian brownstones, Doctor Row physicians along West 122nd Street and Mount Morris Park West (one was Richard Rodgers father). Park-perimeter Mount Morris Park Historic District (designated 1971, in 1958 simply a slowly aging Victorian-brownstone enclave). 5. SIDEWALK VISUAL. Tree-lined park paths. Watchtower visible from north and west approaches. Park benches along Fifth Avenue interior. 6. SOUNDSCAPE. Sunday afternoon: church bells from St Martin Episcopal at Lenox and 122nd. Park Avenue and PCC trolley bus depots one block east generate engine noise during shifts. 7. NPC-DENSITY. Moderate Sunday afternoon (picnickers, families, croquet). Lower other days. 8. ROGER PATHS. North via Fifth Avenue to encounter block region. South through the park to 120th. East to Madison and to Park viaduct (S15). 9. STUDENT PATHS. Climbing the acropolis to the watchtower. Reading the Meneeley bell history plaque. Sunday-afternoon scene location, paths sloping up. 10. IMAGE. cc-cmp001-im-S08. NYC Parks Marcus Garvey Park Fire Watchtower page (nycgovparks.org/parks/marcus-garvey-park/highlights/6497, public domain). 11. CITATIONS. NYC Parks Marcus Garvey Park / Mount Morris Fire Watchtower page. NYC LPC Mount Morris Park Historic District Designation Report (1971). New York Landmarks Conservancy Mount Morris Fire Watchtower page (nylandmarks.org). NOTE: in September 1958 the park was officially Mount Morris Park; renamed Marcus Garvey Park 1973. CROSS-REFERENCES. cc-cmp001-realism-spatial. cc-cmp001-realism-environmental. cc-cmp001-tm-sunday. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-im-mount-morris-watchtower", "cc-cmp001-realism-environmental", "cc-cmp001-realism-spatial", "cc-cmp001-template-street", "cc-cmp001-tm-sunday" ], "tg": "cc, cmp-001, street, S8, mount-morris-park, fire-watchtower-1857, kroehl, doctors-row, may-2026-09-origin" }, { "id": "cc-cmp001-street-S09", "s": "street-S09", "r": "cmp-001", "t": "cmp-001 Street S9 (Wells Restaurant 2247 Seventh Avenue, chicken and waffles since 1938)", "b": "1. BLOCK BOUNDARIES. Seventh Avenue (ACP Blvd) at the West 132nd and 133rd Street block, focused on Wells Restaurant at 2247 Seventh Avenue. 2. PER-CORNER GROUND-FLOOR. SE corner 132nd and Seventh: tenement-and-commercial building. Wells Restaurant ground floor at 2247 Seventh between 132nd and 133rd. 3. MID-BLOCK GROUND-FLOOR. Wells Restaurant founded May 1938 by Joseph and Elizabeth Wells, 250-seat supper club. In 1958 a late-night magnet for jazz musicians arriving after Apollo, Smalls, and Baby Grand sets, with chicken and waffles served around 2 AM. Famous for the Sammy Davis Jr fur-coat-Kim-Novak incident (purported, late 1950s). Nat King Cole had held his wedding reception there. 4. RESIDENTIAL TYPOLOGY. Five-story tenement walk-ups above the commercial frontage, predominantly subdivided into kitchenettes by 1958. 5. SIDEWALK VISUAL. Late-Saturday-night sidewalk: jazz musicians arriving with their instrument cases, hostesses on cigarette break, off-duty bouncers in winter coats. 6. SOUNDSCAPE. Wells dining-room piano audible from the curb on quiet nights. Cab horns from Seventh Avenue. Late-night radio audible from open windows. 7. NPC-DENSITY. Very high after 1 AM. Lower during early-evening dinner hours. 8. ROGER PATHS. South to Theresa intersection (S4). North to Strivers Row peripheral block (S12). West to Apollo block (S5). 9. STUDENT PATHS. Walking past Wells to recognize the late-night-jazz NPC ecology. Standing at the curb to hear the dining-room piano. 10. IMAGE. cc-cmp001-im-S09. Harlem World Magazine Wells Restaurant feature photograph (period image). 11. CITATIONS. Harlem World Magazine Wells Restaurant feature (harlemworldmagazine.com/wells-restaurant-in-harlem-the-best-chicken-and-waffles-in-the-world-1938-1982). TheGrio History on a Plate 2023. thedigestonline.com Wells profile. CROSS-REFERENCES. cc-cmp001-realism-cultural. cc-cmp001-realism-spatial. cc-cmp001-tm-saturday (late-night-window NPC ecology). ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-cultural", "cc-cmp001-realism-spatial", "cc-cmp001-realism-economic", "cc-cmp001-template-street", "cc-cmp001-tm-saturday" ], "tg": "cc, cmp-001, street, S9, wells-restaurant, chicken-waffles, 132nd-seventh, late-night-jazz, may-2026-09-origin" }, { "id": "cc-cmp001-street-S10", "s": "street-S10", "r": "cmp-001", "t": "cmp-001 Street S10 (Mosque No. 7 / Lenox Casino at 102 West 116th)", "b": "1. BLOCK BOUNDARIES. West 116th Street at Lenox Avenue (Malcolm X Boulevard since 1987). 102 West 116th Street at the SW corner of Lenox. 2. PER-CORNER GROUND-FLOOR. SW corner Lenox and 116th: the Lenox Casino building, in 1958 operating as Mosque No 7 of the Nation of Islam. 3. MID-BLOCK GROUND-FLOOR. The mosque a storefront-style operation in 1958, not yet the green-domed Masjid Malcolm Shabazz that was rebuilt after the 1965 firebombing. Bookstore and reading room ground floor, prayer hall above. 4. RESIDENTIAL TYPOLOGY. Five-story tenement walk-ups along 116th and Lenox, mixed Black and Puerto Rican (West Harlem to Spanish Harlem demographic transition zone south of 125th by 1958). 5. SIDEWALK VISUAL. Members in dark suits and bow ties at the entrance Friday and Sunday for prayer; Saturday classes underway inside. Bookstore window with Muhammad Speaks newspaper stack. 6. SOUNDSCAPE. Quiet from outside; muezzin calls handled internally; Saturday lecture audible from open upper-floor windows when warm. 7. NPC-DENSITY. Moderate to high Friday afternoon and Sunday morning (prayer days). Other days lower. 8. ROGER PATHS. South of the encounter block region. West to Mount Morris Park (S8) area. North on Lenox to commercial spine (S3). 9. STUDENT PATHS. Walking past to read the Muhammad Speaks window display. Recognizing Malcolm X as the other Black political pole in 1958, distinct from Hughes literary-liberal Harlem and from King nonviolent Harlem. Critical for educator discussion of overlapping ideological currents during the campaign weekend. 10. IMAGE. cc-cmp001-im-S10. Wikipedia Masjid Malcolm Shabazz article images (period photograph references). 11. CITATIONS. Wikipedia Masjid Malcolm Shabazz. 6sqft From casino to Malcolm X (citing David W Dunlap, From Abyssinian to Zion). NPS Places of Malcolm X (nps.gov/articles/000/places-of-malcolm-x.htm). Columbia Writ Large 2014. NOTE: by 1954 Malcolm X named minister by Elijah Muhammad. In 1958 Malcolm X married Betty Dean Sanders. CROSS-REFERENCES. cc-cmp001-realism-political (the third Black political pole). cc-cmp001-realism-religious. cc-cmp001-realism-spatial. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-political", "cc-cmp001-realism-religious", "cc-cmp001-realism-spatial", "cc-cmp001-template-street", "cc-cmp001-class-strata" ], "tg": "cc, cmp-001, street, S10, mosque-no-7, lenox-casino, malcolm-x, betty-dean-sanders, nation-of-islam, may-2026-09-origin" }, { "id": "cc-cmp001-street-S11", "s": "street-S11", "r": "cmp-001", "t": "cmp-001 Street S11 (West 137th Street kitchenette belt)", "b": "1. BLOCK BOUNDARIES. West 137th Street between Lenox Avenue and Seventh Avenue. Representative kitchenette-converted brownstone block. 2. PER-CORNER GROUND-FLOOR. NW corner 137th and Lenox: bodega and laundry storefront. NE corner 137th and Seventh: similar mixed retail. 3. MID-BLOCK GROUND-FLOOR. Brownstone entrances mid-block, basement kitchenette entries below stoop level. Some converted-to-rooming-house signage in windows. 4. RESIDENTIAL TYPOLOGY. Three-and-four-story brownstones originally built for single-family occupancy in the 1880s-1890s, converted to kitchenettes in the 1930s-1940s housing crunch. In 1958 most subdivided into single-room kitchenette occupancies sharing kitchen and bath down the hall. Mrs Jones in cmp-001 lives in this kind of converted-brownstone kitchenette per Hughes story text. 5. SIDEWALK VISUAL. Stoops with iron railings, basement areaways, fire escapes. Roy DeCarava and Langston Hughes The Sweet Flypaper of Life (Simon and Schuster 1955) canonized this kitchenette-interior visual register. 6. SOUNDSCAPE. Saturday-night radio audible from open windows above (King-stabbing news on WLIB and WWRL through the night per cc-cmp001-tm-saturday). Children playing on stoops earlier in the evening. 7. NPC-DENSITY. Moderate to high during waking hours (residential density very high per kitchenette subdivision). Lower late at night. 8. ROGER PATHS. North to Strivers Row peripheral block (S12). South to Schomburg block on 135th. East to Lenox commercial spine (S3). 9. STUDENT PATHS. The most Hughes-canonical block. Educators can show DeCarava interior photographs alongside reading the Mrs Jones apartment passage. Recognizing what 11 to 18 dollars per week kitchenette rent looked like. 10. IMAGE. cc-cmp001-im-S11. Roy DeCarava photographs in The Sweet Flypaper of Life (1955; reissued First Print Press / David Zwirner 2018). Rights flag: DeCarava photographs remain copyright DeCarava Archives, fair-use educational evaluation required, commercial license prohibitive. Public-domain alternates: Aaron Siskind Harlem Document 1932-1940 (Schomburg holdings); Morgan and Marvin Smith Studio photographs (digitalcollections.nypl.org). 11. CITATIONS. The Sweet Flypaper of Life DeCarava and Hughes (1955; reissued First Print Press / Zwirner 2018, ISBN 9780999843826 hardcover, 9780999843819 softcover). Brooklyn Rail review April 2019 (brooklynrail.org/2019/04/art_books/Roy-DeCarava-and-Langston-Hughess-The-Sweet-Flypaper). Cheryl Greenberg Or Does It Explode (rent indices forward from 1930s). CROSS-REFERENCES. cc-cmp001-realism-domestic. cc-cmp001-realism-economic (period kitchenette rent). cc-cmp001-oi-kitchenette. cc-cmp001-emergence-point. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-emergence-point", "cc-cmp001-im-kitchenette-interior", "cc-cmp001-oi-kitchenette", "cc-cmp001-realism-domestic", "cc-cmp001-realism-economic", "cc-cmp001-realism-spatial", "cc-cmp001-template-street", "cc-cmp001-tm-saturday" ], "tg": "cc, cmp-001, street, S11, west-137th, kitchenette-belt, decarava, sweet-flypaper-of-life, may-2026-09-origin" }, { "id": "cc-cmp001-street-S12", "s": "street-S12", "r": "cmp-001", "t": "cmp-001 Street S12 (Strivers Row peripheral, Renaissance Ballroom, Lincoln Theater)", "b": "1. BLOCK BOUNDARIES. West 138th Street and West 139th Street between Adam Clayton Powell Jr Boulevard (Seventh Avenue) and Frederick Douglass Boulevard (Eighth Avenue), the formal St Nicholas Historic District / Strivers Row. Plus the Renaissance Ballroom and Casino at 150 West 138th between Lenox and Seventh, the Lincoln Theater at 58 West 135th, and St Philip Episcopal at West 134th just west of Seventh. 2. PER-CORNER GROUND-FLOOR. Renaissance Ballroom 150 West 138 (1915-1964) ground floor entrance. Lincoln Theater 58 West 135 (1909-1964). St Philip Episcopal at 204 West 134, the wealthiest Black church in Harlem, AME Zionist congregation. 3. MID-BLOCK GROUND-FLOOR. Renaissance Ballroom ground-floor entrance with Saturday-night dance crowd of 1,000-plus patrons in 1958. 4. RESIDENTIAL TYPOLOGY. Strivers Row formal St Nicholas Historic District West 138/139 occupied by the second generation of Black professional families: Vertner Tandy Jr, Bruce Wright (later Turn Em Loose Bruce), Sam Battle family. 5. SIDEWALK VISUAL. The Stanford White McKim Mead and White townhouses on the north side of 139th. WALK YOUR HORSES wrought-iron service alley signs visible from the avenue. Renaissance dance-crowd line at 9 PM. 6. SOUNDSCAPE. Renaissance house band audible at the curb. St Philip choir on Sunday morning. 7. NPC-DENSITY. High Saturday night at the Renaissance. Moderate Sunday morning at St Philip. 8. ROGER PATHS. North to Sugar Hill (S6 and S7). South to kitchenette belt (S11). East to Lenox commercial spine (S3). 9. STUDENT PATHS. Walking the Stanford White block on 139th. Standing at the Renaissance entrance. Recognizing the aspirational counterweight to S11 kitchenette belt. 10. IMAGE. cc-cmp001-im-S12. NYPL Schomburg digital collections Strivers Row exteriors. 11. CITATIONS. St Nicholas Historic District / Strivers Row Wikipedia. striversrownyc.org. Harlem Neighborhood Block Association listing (hnba.nyc). Sonny Rollins A Night at the Village Vanguard (Blue Note 1958) contains the Strivers Row contrafact B Quick (period-perfect detail). CROSS-REFERENCES. cc-cmp001-strivers-row. cc-cmp001-realism-cultural. cc-cmp001-realism-spatial. cc-cmp001-realism-religious. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-im-strivers-row", "cc-cmp001-realism-cultural", "cc-cmp001-realism-religious", "cc-cmp001-realism-spatial", "cc-cmp001-smalls", "cc-cmp001-strivers-row", "cc-cmp001-template-street" ], "tg": "cc, cmp-001, street, S12, strivers-row-peripheral, renaissance-ballroom-1915, lincoln-theater, st-philip-episcopal, may-2026-09-origin" }, { "id": "cc-cmp001-street-S13", "s": "street-S13", "r": "cmp-001", "t": "cmp-001 Street S13 (596 Lenox empty Savoy Ballroom, closed July 10 1958)", "b": "1. BLOCK BOUNDARIES. 596 Lenox Avenue between West 140th Street and West 141st Street. 2. PER-CORNER GROUND-FLOOR. SW corner Lenox and 141st: Savoy Ballroom main entrance, dark and shuttered as of the cmp-001 weekend. NE corner Lenox and 140th: tenement-and-retail building, retail still operating. 3. MID-BLOCK GROUND-FLOOR. The empty Savoy Ballroom main floor 596 Lenox. 4. RESIDENTIAL TYPOLOGY. The Savoy itself was a single large entertainment building, two-stories with the dance floor on the second. Abutting buildings tenement walk-ups. 5. SIDEWALK VISUAL. The Savoy marquee letters likely already removed by September 1958 (closure was July 10 1958, demolition March-April 1959, so on the cmp-001 weekend the building stands but is dark with demolition prep visible). Borough President Hulan Jack and Charles Buchanan had unsuccessfully fought to save it through 1958. 6. SOUNDSCAPE. Silent. The contrast with the Savoy operating-period soundscape (the Lindy Hop dance crowd of 4,000 plus the house band) is the whole pedagogical point. 7. NPC-DENSITY. Low. Occasional preservationist or former-employee visiting the dark facade. 8. ROGER PATHS. North to Sugar Hill via 145th and Convent (S6 and S7). South to kitchenette belt (S11). East to Mount Morris Park area via 138th. 9. STUDENT PATHS. Standing at the dark facade. Reading the marquee where the letters were removed. Recognizing the temporally-precise 1958-only beat: an empty palace, two months closed, the symbol of pre-war Harlem entertainment newly absent. Excellent for educators teaching mid-century Harlem institutional erosion. 10. IMAGE. cc-cmp001-im-S13. NYPL Schomburg digital collection Savoy Ballroom 1950s exteriors (digitalcollections.nypl.org). savoyplaque.org commemorative materials (the bronze plaque was eventually installed at the site in 2002). NYS Music 2025-02-27 Savoy retrospective. 11. CITATIONS. Savoy Ballroom Wikipedia. Harlem World Magazine Savoy retrospective. savoyplaque.org. jaminjackson.com Savoy memoir. NOTE: the often-repeated demolished-in-1958 claim is incorrect. The Savoy closed July 10 1958 and was demolished March-April 1959 for Delano Village (Lenox Terrace). CROSS-REFERENCES. cc-cmp001-realism-cultural (mid-century Harlem entertainment infrastructure). cc-cmp001-realism-spatial. cc-cmp001-historical-overlay-disclaimer. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-cultural", "cc-cmp001-realism-spatial", "cc-cmp001-realism-economic", "cc-cmp001-template-street", "cc-cmp001-historical-overlay-disclaimer" ], "tg": "cc, cmp-001, street, S13, 596-lenox, savoy-ballroom, closed-july-10-1958, demolished-1959, hulan-jack, may-2026-09-origin" }, { "id": "cc-cmp001-street-S14", "s": "street-S14", "r": "cmp-001", "t": "cmp-001 Street S14 (Astor Row, West 130th between Fifth and Lenox)", "b": "1. BLOCK BOUNDARIES. West 130th Street between Fifth Avenue and Lenox Avenue, focusing on the south side at numbers 8 through 62. 28 row houses semi-detached. 2. PER-CORNER GROUND-FLOOR. NW corner 130th and Fifth: Mount Morris Park north edge (S8). NE corner 130th and Lenox: tenement and retail building. 3. MID-BLOCK GROUND-FLOOR. South-side numbers 8 through 62: Astor Row houses with wooden front porches, front yards, semi-detached construction. A Manhattan rarity by 1958. 4. RESIDENTIAL TYPOLOGY. Charles Buek design 1880-1883, semi-detached with wooden front porches and front yards. By the 1940s many had been converted to single-room occupancies. In 1932 Father Divine had lived on the north side. 5. SIDEWALK VISUAL. Distinctive porches, front yards, wooden architectural elements unique on this block. AIA Guide to NYC (Norval White and Elliot Willensky 1978 second edition) describes the row as having restrained beauty tarnished by years of economic distress. By 1958 the porches were already deteriorating. 6. SOUNDSCAPE. Quiet residential. Distant traffic from Fifth and Lenox. 7. NPC-DENSITY. Low. SRO residents, occasional steps presence. 8. ROGER PATHS. South to Mount Morris Park (S8). North to encounter block region. East and west across 130th. 9. STUDENT PATHS. Walking past the porches recognizing the late-1950s decay. Useful spatial counterpoint to S6 and S7 Sugar Hill preservation. Good for a quiet-Sunday-morning scene. 10. IMAGE. cc-cmp001-im-S14. Astor Row Historic District Designation Report photographs (NYC LPC, public domain). Harlem World Magazine Astor Row 1940 article. 11. CITATIONS. Astor Row Wikipedia. Harlem World Magazine The Legendary Astor Row Townhouses Harlem 1940 (harlemworldmagazine.com). HDC.org. AIA Guide to NYC, 2nd ed., White and Willensky. Ascendant.nyc East-Central Harlem Reconnaissance Survey. CROSS-REFERENCES. cc-cmp001-realism-spatial. cc-cmp001-realism-domestic (SRO conversion). cc-cmp001-class-strata. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-spatial", "cc-cmp001-realism-domestic", "cc-cmp001-realism-social", "cc-cmp001-class-strata", "cc-cmp001-template-street" ], "tg": "cc, cmp-001, street, S14, astor-row, west-130th, charles-buek-1880, semi-detached-porches, father-divine-1932, may-2026-09-origin" }, { "id": "cc-cmp001-street-S15", "s": "street-S15", "r": "cmp-001", "t": "cmp-001 Street S15 (East 125th and Park, Metro-North viaduct, social-class boundary)", "b": "1. BLOCK BOUNDARIES. Park Avenue at the East 125th Street intersection. The viaduct runs from East 110th up through the Harlem River, four-track elevated steel structure. 2. PER-CORNER GROUND-FLOOR. SW corner Park and 125th: under-viaduct shadow, commercial use rare. NW corner Park and 125th: 1897 station upper-level platform access via stairway. SE and NE corners similar shadowed condition. 3. MID-BLOCK GROUND-FLOOR. La Marqueta (LaGuardia-era pushcart-market-under-the-viaduct, 111th to 116th block) operates south of 125th, did not extend up to the 125th intersection but defines the under-viaduct typology. 4. RESIDENTIAL TYPOLOGY. The viaduct itself is infrastructure. Adjacent blocks on the west (central Harlem) are mostly Black-tenant kitchenette-converted; on the east (East Harlem) mostly Italian until ca 1950 then Puerto Rican. 5. SIDEWALK VISUAL. Steel viaduct pylons casting noon shadow across Park Avenue. Soot deposits on station ironwork. The 1897 King Bridge Company station structure mounted directly above the intersection. 6. SOUNDSCAPE. The 11 PM rumble of trains heading to Stamford or Croton-Harmon (atmospheric texture, viaduct-rumble extends west into the encounter block S1 / S2). 7. NPC-DENSITY. Moderate. Commuters at the station, La Marqueta vendors south, occasional bus passengers. 8. ROGER PATHS. The viaduct literally is the eastern wall of the encounter (East 128th between Madison and Park abuts this on its eastern edge). South to La Marqueta. West into central Harlem. 9. STUDENT PATHS. Standing under the viaduct. Listening to the 11 PM train rumble. Recognizing the symbolic east-west boundary: the viaduct as the social-class wall separating Black central Harlem from Italian-then-Puerto Rican East Harlem in 1958. Useful for educators teaching urban geography of class. 10. IMAGE. cc-cmp001-im-S15. MTA Park Avenue Viaduct page (mta.info/project/park-avenue-viaduct). Untapped Cities elevated Metro-North station feature (untappedcities.com). 11. CITATIONS. Park Avenue main line Wikipedia (history of King Bridge Co 1893-1897 construction designed by Morgan O Brien for NY Central). Harlem-125th Street station Wikipedia. East-Harlem.com history. Ephemeral New York 2026 piece on the rail station. CROSS-REFERENCES. cc-cmp001-realism-spatial. cc-cmp001-class-strata. cc-cmp001-encounter-block (viaduct as eastern wall). cc-cmp001-street-S01. cc-cmp001-street-S02. ORIGIN. May 9 2026, cmp-001 spatial inventory, Track 1 wf-d56a40c2.", "cc_links": [ "cc-cmp001-class-strata", "cc-cmp001-encounter-block", "cc-cmp001-im-subway-map-1958", "cc-cmp001-realism-spatial", "cc-cmp001-street-S01", "cc-cmp001-street-S02", "cc-cmp001-template-street" ], "tg": "cc, cmp-001, street, S15, east-125th-park, metro-north-viaduct, king-bridge-co-1893, social-boundary, la-marqueta, may-2026-09-origin" }, { "id": "cc-cmp001-im-king-bedside", "s": "image", "r": "cmp-001", "t": "cmp-001 IM King at Harlem Hospital bedside, 1958", "b": "1. WHAT IT SHOWS. Dr Martin Luther King Jr lying in hospital bed at Harlem Hospital, post-surgery, after the September 20 1958 stabbing. New York World-Telegram and Sun Newspaper Photograph Collection. Library of Congress holding LC-USZ62-120209. 2. ARCHIVAL SOURCE. Library of Congress Prints and Photographs Online Catalog, loc.gov/pictures/item/98503070. 3. RIGHTS STATUS. NYWT and S Collection. Publication may be restricted per LoC NYWT and S advisory at loc.gov/rr/print/res/076_nyw.html. NYWT and S photographer reproduction rights transferred to LoC by Instrument of Gift. For most NYWT and S images no copyright restrictions are known but this specific item is flagged for publication restriction. 4. RESOLUTION. Black-and-white gelatin silver. LoC offers high-resolution TIFF for educational use. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-king post-recovery look. cc-cmp001-king-stabbing news cycle. cc-cmp001-tm-saturday 5 PM onward. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable with attribution; flag for educator awareness of publication-restriction advisory. 7. ALTERNATES. None needed; this is the canonical bedside photograph. CROSS-REFERENCES. cc-cmp001-npc-king. cc-cmp001-king-stabbing. cc-cmp001-realism-medical. cc-cmp001-tm-saturday. cc-cmp001-harlem-hospital. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-harlem-hospital", "cc-cmp001-im-stabbing-news-cycle", "cc-cmp001-king-stabbing", "cc-cmp001-npc-king", "cc-cmp001-overview", "cc-cmp001-realism-medical", "cc-cmp001-tm-saturday" ], "tg": "cc, cmp-001, image, im, king-bedside, harlem-hospital, 1958, loc-nywts, may-2026-09-origin" }, { "id": "cc-cmp001-im-king-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM King head-and-shoulders portrait", "b": "1. WHAT IT SHOWS. Martin Luther King Jr head-and-shoulders portrait at press conference, gelatin silver. Photographer Dick DeMarsico, NYWT and S, 1964. 2. ARCHIVAL SOURCE. Library of Congress, loc.gov/pictures/item/00651714. Identifier LC-USZ62-126559. 3. RIGHTS STATUS. No copyright restriction known. Staff photographer reproduction rights transferred to Library of Congress through Instrument of Gift. 4. RESOLUTION. Gelatin silver, multiple resolutions available at LoC. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-king post-recovery alternate look. Useful for visual continuity between the Saturday stabbing and the eventual return-to-public-life. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. cc-cmp001-im-king-press-conference Marion Trikosko 1964 alternate angle. CROSS-REFERENCES. cc-cmp001-npc-king. cc-cmp001-week-lead-up. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-im-king-press-conference", "cc-cmp001-npc-king", "cc-cmp001-week-lead-up" ], "tg": "cc, cmp-001, image, im, king-portrait, demarsico, loc-nywts, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-king-press-conference", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Marion Trikosko 1964 King press-conference portrait", "b": "1. WHAT IT SHOWS. Marion Trikosko 1964 portrait of King at press conference, alternate post-1958 view. 2. ARCHIVAL SOURCE. Library of Congress, loc.gov/item/2003688129. Identifier LC-DIG-ppmsc-01269. 3. RIGHTS STATUS. No known restrictions on publication. 4. RESOLUTION. Digital file from original print, multiple resolutions at LoC. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-king alternate-portrait fallback when primary unavailable. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. cc-cmp001-im-king-portrait DeMarsico 1964 alternate. CROSS-REFERENCES. cc-cmp001-npc-king. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-im-king-portrait", "cc-cmp001-npc-king" ], "tg": "cc, cmp-001, image, im, king-trikosko-1964, loc, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-curry-mugshot", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Izola Curry NYPD escort and mugshot, September 20 1958", "b": "1. WHAT IT SHOWS. Izola Curry being escorted from Blumstein Department Store by NYPD officers, September 20 1958, plus NYPD booking photograph. Per period news photo descriptions: Black woman, mid-40s, sequined cat-eye glasses, patterned dress at the time of arrest. 2. ARCHIVAL SOURCE. AP photograph by Pat Candido for NY Daily News, available via Getty Images and AP Images archive. Period coverage in New York Times, NY Amsterdam News, Pittsburgh Courier September 21-25 1958 (resolvable via ProQuest Historical Newspapers and Black Historical Newspapers via NYPL). 3. RIGHTS STATUS. AP and Getty commercial license required. Prohibitive cost for free educational deployment. 4. RESOLUTION. AP wirephoto, multiple resolutions through commercial license. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-curry. cc-cmp001-king-stabbing news cycle. 6. PUBLIC PAGE OR GM-ONLY. GM-only reference. Substitute for student-facing page. 7. ALTERNATES. Public-domain alternate from period news cycle if locatable in NYPL Schomburg or LoC NYWT and S Collection (search Curry Izola). CROSS-REFERENCES. cc-cmp001-npc-curry. cc-cmp001-curry-npc. cc-cmp001-king-stabbing. cc-cmp001-blumsteins. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-npc-curry", "cc-cmp001-king-stabbing", "cc-cmp001-blumsteins" ], "tg": "cc, cmp-001, image, im, curry-mugshot, ap-commercial, gm-only, may-2026-09-origin" }, { "id": "cc-cmp001-im-powell-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Adam Clayton Powell Jr portrait, 1958", "b": "1. WHAT IT SHOWS. Adam Clayton Powell Jr, congressman and pastor of Abyssinian Baptist Church, in 1958-period portrait. 2. ARCHIVAL SOURCE. Library of Congress holds multiple in NYWT and S Collection (search Powell Adam Clayton at loc.gov/photos). 3. RIGHTS STATUS. NYWT and S generally no known restrictions per loc.gov/rr/print/res/076_nyw.html. 4. RESOLUTION. Black-and-white gelatin silver, LoC TIFF available. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-powell. cc-cmp001-abyssinian Sunday September 21 1958 sermon context. cc-cmp001-week-lead-up. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. NYPL Schomburg Powell holdings (digitalcollections.nypl.org). CROSS-REFERENCES. cc-cmp001-npc-powell. cc-cmp001-powell-npc. cc-cmp001-abyssinian. cc-cmp001-week-lead-up. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-abyssinian", "cc-cmp001-npc-powell", "cc-cmp001-week-lead-up" ], "tg": "cc, cmp-001, image, im, powell, loc-nywts, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-hedgeman-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Anna Arnold Hedgeman portrait, 1958", "b": "1. WHAT IT SHOWS. Anna Arnold Hedgeman, organizer of the SCLC NYC visibility week September 17-19 1958 and author of the I Saw Dr King Stabbed column for NY Age. 2. ARCHIVAL SOURCE. NYPL Schomburg Center, Photographs and Prints Division (search Hedgeman Anna Arnold at digitalcollections.nypl.org). 3. RIGHTS STATUS. Item-specific. NYPL standard advisory: copyright reviewed but inconclusive; use permitted under applicable copyright law. Educators in Ontario evaluate under Canadian Copyright Act fair-dealing for educational use Section 29 4 where applicable. 4. RESOLUTION. NYPL digital surrogates typically high-resolution. 5. CMP-001 ATTACHMENT. cc-cmp001-week-lead-up SCLC organizer. cc-cmp001-news-context author of canonical I Saw Dr King Stabbed column for NY Age. 6. PUBLIC PAGE OR GM-ONLY. Public-page suitable when item-marked public domain by NYPL. 7. ALTERNATES. None located. CROSS-REFERENCES. cc-cmp001-week-lead-up. cc-cmp001-news-context. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-week-lead-up", "cc-cmp001-news-context" ], "tg": "cc, cmp-001, image, im, hedgeman, schomburg, may-2026-09-origin" }, { "id": "cc-cmp001-im-randolph-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM A Philip Randolph portrait, 1958", "b": "1. WHAT IT SHOWS. A Philip Randolph, labor leader and convener of the Friday September 19 1958 Hotel Theresa rally. 2. ARCHIVAL SOURCE. Library of Congress NYWT and S Collection holds multiple. LC-USZ62 series (search Randolph A Philip at loc.gov). 3. RIGHTS STATUS. NYWT and S, no known restrictions in most cases. 4. RESOLUTION. Gelatin silver, LoC TIFF. 5. CMP-001 ATTACHMENT. cc-cmp001-week-lead-up Friday rally convener. cc-cmp001-tm-friday rally context. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. None needed. CROSS-REFERENCES. cc-cmp001-week-lead-up. cc-cmp001-tm-friday. cc-cmp001-hotel-theresa. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-week-lead-up", "cc-cmp001-tm-friday", "cc-cmp001-hotel-theresa" ], "tg": "cc, cmp-001, image, im, randolph, loc-nywts, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-hughes-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Langston Hughes portrait c. 1955-1958", "b": "1. WHAT IT SHOWS. Langston Hughes portrait c. 1955-1958, the period of cmp-001. Hughes wrote Thank You Mam in 1958, the campaign year. 2. ARCHIVAL SOURCE. NYPL Schomburg digitalcollections.nypl.org holds several Carl Van Vechten Hughes portraits. Carl Van Vechten photographs also at the LoC Van Vechten Collection (loc.gov/pictures/collection/van). 3. RIGHTS STATUS. Van Vechten estate gift. No known restrictions on publication for educational use, attribution required. 4. RESOLUTION. Black-and-white photographic prints, multiple resolutions. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-hughes. cc-cmp001-hughes-house. cc-cmp001-authors-world-reframe canonical-author entry. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable with attribution. 7. ALTERNATES. NYPL Schomburg Hughes archive. CROSS-REFERENCES. cc-cmp001-npc-hughes. cc-cmp001-hughes-npc. cc-cmp001-hughes-house. cc-cmp001-authors-world-reframe. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-npc-hughes", "cc-cmp001-hughes-house", "cc-cmp001-authors-world-reframe" ], "tg": "cc, cmp-001, image, im, hughes-portrait, van-vechten, schomburg, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-mrs-jones-stand-in", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Mrs Jones stand-in, period photograph of a Harlem working-class Black woman", "b": "1. WHAT IT SHOWS. Period photograph of a Harlem working-class Black woman, c. 1955, used as stand-in for the fictional Mrs Luella Bates Washington Jones. 2. ARCHIVAL SOURCE. Recommended primary: Roy DeCarava photographs in The Sweet Flypaper of Life (1955), specifically the Sister Mary Bradley character images (DeCarava grandmother-in-Harlem-interior compositions). Reissued First Print Press / David Zwirner 2018 ISBN 9780999843826. 3. RIGHTS STATUS. All DeCarava images remain copyright via The DeCarava Archives (Sherry Turner DeCarava). Educational fair-use evaluation required; commercial license prohibitive. 4. RESOLUTION. Print-quality reproductions in the 2018 reissue. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-mrs-jones illustrative-only. cc-cmp001-realism-domestic. cc-cmp001-oi-kitchenette interior context. 6. PUBLIC PAGE OR GM-ONLY. Flag rights; commercial license required for free educational deployment. For student-facing page substitute Schomburg public-domain street portraits c. 1955. 7. ALTERNATES. Schomburg digital collection public-domain candidates. Aaron Siskind Harlem Document 1932-1940 photographs (Schomburg holdings). Morgan and Marvin Smith Studio photographs at digitalcollections.nypl.org. CROSS-REFERENCES. cc-cmp001-npc-mrs-jones. cc-cmp001-mrs-jones. cc-cmp001-realism-domestic. cc-cmp001-oi-kitchenette. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-npc-mrs-jones", "cc-cmp001-mrs-jones", "cc-cmp001-realism-domestic", "cc-cmp001-oi-kitchenette" ], "tg": "cc, cmp-001, image, im, mrs-jones, decarava-flagged, sweet-flypaper, may-2026-09-origin" }, { "id": "cc-cmp001-im-maynard-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Dr Aubre de Lambert Maynard portrait", "b": "1. WHAT IT SHOWS. Dr Aubre de Lambert Maynard, Harlem Hospital chief of surgery, who removed the seven-inch letter opener from Kings chest on September 20 1958. 2. ARCHIVAL SOURCE. Limited public-domain imagery located. Harlem Hospital Center archives hold staff portraits. NMAAHC and Schomburg search recommended for confirmation. 3. RIGHTS STATUS. Partial verification only. Recommend NMAAHC reference services and NYPL Schomburg cross-reference before deployment. 4. RESOLUTION. Unknown until source confirmed. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-maynard. cc-cmp001-harlem-hospital. cc-cmp001-realism-medical. 6. PUBLIC PAGE OR GM-ONLY. Flag as partial verification. Default to text-only NPC entry until imagery confirmed. 7. ALTERNATES. Period Harlem Hospital staff photographs from Schomburg if available. CROSS-REFERENCES. cc-cmp001-npc-maynard. cc-cmp001-maynard-npc. cc-cmp001-harlem-hospital. cc-cmp001-realism-medical. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-npc-maynard", "cc-cmp001-harlem-hospital", "cc-cmp001-realism-medical" ], "tg": "cc, cmp-001, image, im, maynard, harlem-hospital, partial-verify, may-2026-09-origin" }, { "id": "cc-cmp001-im-theresa-1958", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Hotel Theresa exterior 1950s", "b": "1. WHAT IT SHOWS. Hotel Theresa exterior at 125th and Seventh Avenue, 1950s period. 13-story brick building, the biggest and most famous Black-patronized hotel in America in 1958. 2. ARCHIVAL SOURCE. NPS Hotel Theresa page nps.gov/places/hotel-theresa.htm cites Library of Congress holding loc.gov/item/2020702080. NYPL Schomburg holds View of West 125th Street looking west towards Seventh Avenue with the Hotel Theresa at center behind Kanter Department Store ca. 1940s at digitalcollections.nypl.org/items/c0a3a080-54fc-20c5-e040-e00a18061dcd. 3. RIGHTS STATUS. LoC item public domain. NYPL item copyright reviewed inconclusive use permitted under applicable copyright law. 4. RESOLUTION. LoC and NYPL high-res surrogates available. 5. CMP-001 ATTACHMENT. cc-cmp001-hotel-theresa. cc-cmp001-street-S04 Theresa intersection block. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable with attribution. 7. ALTERNATES. NYC Municipal Archives 1940 tax photograph Block 1928 Lot 1 area (public domain). CROSS-REFERENCES. cc-cmp001-hotel-theresa. cc-cmp001-street-S04. cc-cmp001-week-lead-up. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-hotel-theresa", "cc-cmp001-street-S04", "cc-cmp001-week-lead-up" ], "tg": "cc, cmp-001, image, im, theresa-1958, loc, nypl-schomburg, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-blumsteins-1940", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Blumstein Department Store exterior 1940 tax photograph", "b": "1. WHAT IT SHOWS. Blumstein Department Store at 230 West 125th Street, exterior, 1940 NYC Department of Finance tax photograph. Six-floor building, Jewish-owned since 1898, run by third generation in 1958. 2. ARCHIVAL SOURCE. NYC Municipal Archives Historical Records 1940 tax photographs Block 1928 Lot 1 area (nyc.gov/site/records/historical-records). 3. RIGHTS STATUS. Public domain. 1940 Department of Finance Tax Photographs are public-domain government records. 4. RESOLUTION. Glass-plate originals digitized to high-resolution by NYC Municipal Archives. 5. CMP-001 ATTACHMENT. cc-cmp001-blumsteins. cc-cmp001-king-stabbing site. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. NYPL Schomburg later 1950s exterior holdings. CROSS-REFERENCES. cc-cmp001-blumsteins. cc-cmp001-king-stabbing. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-blumsteins", "cc-cmp001-king-stabbing" ], "tg": "cc, cmp-001, image, im, blumsteins-1940, nyc-municipal-archives, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-apollo-1958", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Apollo Theater exterior 1958", "b": "1. WHAT IT SHOWS. Apollo Theater at 253 West 125th Street, exterior with marquee. 2. ARCHIVAL SOURCE. NYPL Schomburg holds period exteriors. Frank Driggs / Magnum / Getty hold many marquee-with-billing photos under commercial license. NYC Municipal Archives 1940 tax photograph (public-domain fallback). 3. RIGHTS STATUS. Mixed. NYC Municipal Archives 1940 tax photo public domain. Frank Driggs / Getty marquee-with-billing commercial license required. 4. RESOLUTION. NYC tax photo glass-plate digitized. 5. CMP-001 ATTACHMENT. cc-cmp001-apollo. cc-cmp001-street-S05 Apollo block. cc-cmp001-scene-set-pack Coasters week. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable for the 1940 tax photo. Flag commercial license for September 1958 R and B revue billing. 7. ALTERNATES. cc-cmp001-im-apollo-marquee-1958 if licensable. CROSS-REFERENCES. cc-cmp001-apollo. cc-cmp001-street-S05. cc-cmp001-scene-set-pack. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-apollo", "cc-cmp001-im-apollo-marquee-1958", "cc-cmp001-scene-set-pack", "cc-cmp001-street-S05" ], "tg": "cc, cmp-001, image, im, apollo-1958, nyc-municipal-archives, driggs-flag, may-2026-09-origin" }, { "id": "cc-cmp001-im-harlem-hospital", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Harlem Hospital exterior 1950s", "b": "1. WHAT IT SHOWS. Harlem Hospital exterior at Lenox Avenue between West 136th and 137th Streets, 1950s period. 2. ARCHIVAL SOURCE. Library of Congress, NYC Municipal Archives, and NYPL Schomburg all hold period exteriors. NYC Municipal Archives 1940 tax photograph Block 1731 Lot 1 (public-domain). 3. RIGHTS STATUS. NYC Municipal Archives public domain. LoC NYWT and S no known restrictions for most items. NYPL Schomburg item-specific. 4. RESOLUTION. Multiple resolutions across sources. 5. CMP-001 ATTACHMENT. cc-cmp001-harlem-hospital. cc-cmp001-realism-medical. cc-cmp001-king-stabbing surgery site. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. NYPL Schomburg later-period holdings. CROSS-REFERENCES. cc-cmp001-harlem-hospital. cc-cmp001-realism-medical. cc-cmp001-king-stabbing. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-harlem-hospital", "cc-cmp001-realism-medical", "cc-cmp001-king-stabbing" ], "tg": "cc, cmp-001, image, im, harlem-hospital, loc, nyc-municipal-archives, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-hughes-house", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Hughes house at 20 East 127th Street, 1958", "b": "1. WHAT IT SHOWS. Italianate brownstone Hughes shared with honorary aunt and uncle Toy and Emerson Harper from 1947 until his death in 1967. Designated NYC Landmark LP-1135, 1981. 2. ARCHIVAL SOURCE. LP-1135 designation report contains 1980s photograph. NYPL Schomburg holds period imagery. Forgotten New York Upper Fifth Avenue Harlem Part 2 forgotten-ny.com/2015/11 for compositional reference. 3. RIGHTS STATUS. LP-1135 designation report photographs public domain via NYC. NYPL Schomburg item-specific. 4. RESOLUTION. LP report image plus high-res NYPL alternates. 5. CMP-001 ATTACHMENT. cc-cmp001-hughes-house. cc-cmp001-npc-hughes residence. cc-cmp001-oi-hughes-workroom. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. Where 1958-vintage cannot be located, fall back to LP-1135 photo. CROSS-REFERENCES. cc-cmp001-hughes-house. cc-cmp001-npc-hughes. cc-cmp001-oi-hughes-workroom. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-hughes-house", "cc-cmp001-npc-hughes", "cc-cmp001-oi-hughes-workroom" ], "tg": "cc, cmp-001, image, im, hughes-house, lp-1135, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-strivers-row", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Strivers Row period photograph", "b": "1. WHAT IT SHOWS. Strivers Row at West 138th and 139th Streets between Adam Clayton Powell Jr Boulevard and Frederick Douglass Boulevard, period exterior. Stanford White McKim Mead and White townhouses on north side of 139th. 2. ARCHIVAL SOURCE. NYPL Schomburg digitalcollections.nypl.org W 138/139 St block photographs (search Strivers Row for ca. 1940s-1960s exteriors). 3. RIGHTS STATUS. Item-specific. 4. RESOLUTION. NYPL high-res surrogates. 5. CMP-001 ATTACHMENT. cc-cmp001-strivers-row. cc-cmp001-street-S12 peripheral block context. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable for items marked public domain. 7. ALTERNATES. striversrownyc.org publicity images. CROSS-REFERENCES. cc-cmp001-strivers-row. cc-cmp001-street-S12. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-strivers-row", "cc-cmp001-street-S12" ], "tg": "cc, cmp-001, image, im, strivers-row, schomburg, may-2026-09-origin" }, { "id": "cc-cmp001-im-schomburg-branch", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Schomburg branch 135th Street Branch NYPL building 1950s", "b": "1. WHAT IT SHOWS. The 135th Street Branch of the New York Public Library, the original Carrere and Hastings 1905 Carnegie library structure (Charles Follen McKim was associated with the related branch typology). In 1958 housed the Arturo Schomburg collection acquired by NYPL in 1926. 2. ARCHIVAL SOURCE. NYPL holds multiple exterior photographs of the 135th St Branch at digitalcollections.nypl.org. 3. RIGHTS STATUS. NYPL item-specific copyright determination. Most architectural surrogates public domain due to age. 4. RESOLUTION. NYPL high-res. 5. CMP-001 ATTACHMENT. cc-cmp001-schomburg. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. NYC LPC designation reports for the building if landmarked. CROSS-REFERENCES. cc-cmp001-schomburg. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-schomburg" ], "tg": "cc, cmp-001, image, im, schomburg-branch, mckim-1905, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-mount-morris-watchtower", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Mount Morris Park Fire Watchtower, 1950s", "b": "1. WHAT IT SHOWS. The Harlem Fire Watchtower built 1857, cast iron, 47 feet, Julius B Kroehl design after James Bogardus, on the WPA-built 1930s Acropolis stone plaza. 5,000 lb Meneeley bell installed 1865 (unrung after 1909). 2. ARCHIVAL SOURCE. NYC Parks page nycgovparks.org/parks/marcus-garvey-park/highlights/6497 contains a period image. New York Landmarks Conservancy Mount Morris Fire Watchtower page nylandmarks.org. 3. RIGHTS STATUS. NYC Parks photographic archive public records. Watchtower NYC landmark 1967 listed on National Register 1976. 4. RESOLUTION. NYC Parks digital surrogates available. 5. CMP-001 ATTACHMENT. cc-cmp001-street-S08 Mount Morris Park. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. Wikipedia commons Mount Morris Fire Watchtower images. CROSS-REFERENCES. cc-cmp001-street-S08. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-street-S08" ], "tg": "cc, cmp-001, image, im, mount-morris-watchtower, kroehl-1857, nyc-parks, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-stride-cover", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Stride Toward Freedom dust jacket, 1958", "b": "1. WHAT IT SHOWS. Stride Toward Freedom by Martin Luther King Jr, Harper and Brothers, 1958 first edition dust jacket. Blue cloth with black spine, silver spine lettering, pictorial dust jacket (red and blue spine, 230 pp). 2. ARCHIVAL SOURCE. AbeBooks listings provide reference photographs. Smithsonian NMAAHC nmaahc.si.edu/object/nmaahc_2012.166.1 referenced as related (the King-to-Tate letter October 23 1958 thanking her for kind message about the unfortunate incident in New York). The Great Republic great-republic.com offers the dust-jacket image. 3. RIGHTS STATUS. Cover design copyright Harper Collins descendant. Fair-use educational reproduction of dust-jacket image widely accepted but flag for explicit educator clearance. 4. RESOLUTION. Multiple at booksellers and NMAAHC. 5. CMP-001 ATTACHMENT. cc-cmp001-week-lead-up release Wednesday September 17 1958. cc-cmp001-blumsteins book signing site. cc-cmp001-king-stabbing context. cc-cmp001-canon. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable under fair-use educational. 7. ALTERNATES. NMAAHC catalog entry provides authoritative text reference. CROSS-REFERENCES. cc-cmp001-week-lead-up. cc-cmp001-blumsteins. cc-cmp001-king-stabbing. cc-cmp001-canon. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-week-lead-up", "cc-cmp001-blumsteins", "cc-cmp001-king-stabbing", "cc-cmp001-canon" ], "tg": "cc, cmp-001, image, im, stride-cover, harper-1958, fair-use-flag, may-2026-09-origin" }, { "id": "cc-cmp001-im-amsterdam-news-masthead", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Amsterdam News masthead 1958", "b": "1. WHAT IT SHOWS. New York Amsterdam News masthead as appeared in September 1958 issues. 2. ARCHIVAL SOURCE. New York Amsterdam News holds rights. Cross-reference NYPL Black Historical Newspapers digital portal (subscription via Toronto Public Library card may be available to Saul as Toronto educator). 3. RIGHTS STATUS. Mastheads typically reproducible under fair-use for educational citation. 4. RESOLUTION. NYPL Black Historical Newspapers high-res scans. 5. CMP-001 ATTACHMENT. cc-cmp001-amsterdam-news. cc-cmp001-news-context. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable under fair-use educational. 7. ALTERNATES. ProQuest Black Historical Newspapers via NYPL. CROSS-REFERENCES. cc-cmp001-amsterdam-news. cc-cmp001-news-context. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-amsterdam-news", "cc-cmp001-news-context" ], "tg": "cc, cmp-001, image, im, amsterdam-news-masthead, fair-use, may-2026-09-origin" }, { "id": "cc-cmp001-im-subway-map-1958", "s": "image", "r": "cmp-001", "t": "cmp-001 IM NYC subway map, 1958", "b": "1. WHAT IT SHOWS. NYC Transit Authority system map, 1958. IRT Lenox Avenue Line numbered the route to 145th the 3 (numbered designations introduced 1948 with R12 fleet). 2. ARCHIVAL SOURCE. NYC Transit Museum holds the 1958 NYCTA system map (nytransitmuseum.org). 3. RIGHTS STATUS. NY Transit Museum images licensable for educational use with attribution. 4. RESOLUTION. Transit Museum high-res scans. 5. CMP-001 ATTACHMENT. cc-cmp001-realism-spatial. cc-cmp001-realism-technological. cc-cmp001-street-S15 viaduct line. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable with NY Transit Museum educational license. 7. ALTERNATES. NYPL holdings of period subway maps. CROSS-REFERENCES. cc-cmp001-realism-spatial. cc-cmp001-realism-technological. cc-cmp001-street-S15. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-spatial", "cc-cmp001-realism-technological", "cc-cmp001-street-S15" ], "tg": "cc, cmp-001, image, im, subway-map-1958, ny-transit-museum, may-2026-09-origin" }, { "id": "cc-cmp001-im-apollo-marquee-1958", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Apollo Theater marquee September 1958", "b": "1. WHAT IT SHOWS. Apollo Theater marquee, week of September 19-25 1958, headlining the Coasters (Yakety Yak number-one Billboard R and B for seven weeks summer 1958). 2. ARCHIVAL SOURCE. Frank Driggs Collection / Magnum / Getty hold the canonical marquee-with-billing photographs. 3. RIGHTS STATUS. Commercial license required. Driggs Collection Frank Driggs photographs typically licensed via Magnum Photos or Getty Images at premium rate. 4. RESOLUTION. Commercial-license high-res. 5. CMP-001 ATTACHMENT. cc-cmp001-apollo. cc-cmp001-street-S05 Apollo block. cc-cmp001-scene-set-pack Coasters period soundtrack. 6. PUBLIC PAGE OR GM-ONLY. GM-only reference; commercial license prohibitive for free educational deployment. 7. ALTERNATES. cc-cmp001-im-apollo-1958 NYC Municipal Archives 1940 tax photo as public-domain fallback. CROSS-REFERENCES. cc-cmp001-apollo. cc-cmp001-street-S05. cc-cmp001-scene-set-pack. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-apollo", "cc-cmp001-im-apollo-1958", "cc-cmp001-scene-set-pack", "cc-cmp001-street-S05" ], "tg": "cc, cmp-001, image, im, apollo-marquee-1958, driggs-getty-commercial, may-2026-09-origin" }, { "id": "cc-cmp001-im-period-ephemera-radio-stamp", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Period ephemera (transistor radio, Coca-Cola machine, 4-cent stamp)", "b": "1. WHAT IT SHOWS. Period 1958 ephemera: RCA or Zenith transistor radio (typical for Saturday-night-news listening), Coca-Cola vending machine (period model), 4-cent first-class US postage stamp (rate raised from 3 cent August 1 1958). 2. ARCHIVAL SOURCE. Smithsonian National Museum of American History holds period examples (americanhistory.si.edu). USPS public-domain stamp images available at usps.com. 3. RIGHTS STATUS. NMAH object records public-domain images. US postage stamps issued before 1978 public domain. 4. RESOLUTION. Smithsonian high-res TIFF for educational use. 5. CMP-001 ATTACHMENT. cc-cmp001-realism-technological period radio context. cc-cmp001-realism-economic period prices. cc-cmp001-scene-set-pack. 6. PUBLIC PAGE OR GM-ONLY. Public-page-suitable. 7. ALTERNATES. Wikipedia Commons period-product images. CROSS-REFERENCES. cc-cmp001-realism-technological. cc-cmp001-realism-economic. cc-cmp001-scene-set-pack. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-technological", "cc-cmp001-realism-economic", "cc-cmp001-scene-set-pack" ], "tg": "cc, cmp-001, image, im, ephemera, transistor-radio, 4cent-stamp, smithsonian-nmah, public-domain, may-2026-09-origin" }, { "id": "cc-cmp001-im-stabbing-news-cycle", "s": "image", "r": "cmp-001", "t": "cmp-001 IM King stabbing news-cycle composite (Blumstein chair, Coretta-bedside, letter-opener artifact)", "b": "1. WHAT IT SHOWS. Composite of three iconic news-cycle images. (a) King in chair at Blumstein with seven-inch letter opener still in chest, AP wirephoto. (b) King at Harlem Hospital in bed with Coretta Scott King, AP / Magnum Sunday September 21 1958. (c) The seven-inch letter opener artifact (variously described as ivory-handled or pearl-handled steel per period accounts; ivory-handled in user brief, pearl-handled per HistoryNet and Stanford King Institute). 2. ARCHIVAL SOURCE. (a) AP photograph commercial license. (b) AP / Magnum coverage. NYDN holds related; Library of Congress NYWT and S Collection holds at least one bed photograph LC-USZ62-120209 referenced separately as cc-cmp001-im-king-bedside. (c) Smithsonian NMAAHC catalog search did NOT confirm letter-opener artifact custody as of this research; the related King-to-Tate letter October 23 1958 IS at NMAAHC (nmaahc.si.edu/object/nmaahc_2012.166.1) but the letter opener itself may be at Schomburg or King Center, not Smithsonian. 3. RIGHTS STATUS. (a) AP commercial flag prohibitive. (b) AP commercial flag prohibitive. (c) Smithsonian custody partially verified; recommend NMAAHC reference services contact before asserting Smithsonian custody. 4. RESOLUTION. AP / Getty premium license for (a) and (b). 5. CMP-001 ATTACHMENT. cc-cmp001-king-stabbing. cc-cmp001-news-context. cc-cmp001-tm-saturday afternoon. 6. PUBLIC PAGE OR GM-ONLY. GM-only reference for (a) (b) (c). For student-facing page substitute LoC bedside without Coretta cc-cmp001-im-king-bedside (public-page suitable). 7. ALTERNATES. cc-cmp001-im-king-bedside LoC NYWT and S as public-domain primary. CROSS-REFERENCES. cc-cmp001-king-stabbing. cc-cmp001-npc-king. cc-cmp001-blumsteins. cc-cmp001-news-context. cc-cmp001-tm-saturday. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-blumsteins", "cc-cmp001-im-king-bedside", "cc-cmp001-king-stabbing", "cc-cmp001-news-context", "cc-cmp001-npc-king", "cc-cmp001-tm-saturday" ], "tg": "cc, cmp-001, image, im, stabbing-news-cycle, ap-getty-commercial, gm-only, smithsonian-flagged, may-2026-09-origin" }, { "id": "cc-cmp001-im-kitchenette-interior", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Period kitchenette interior (DeCarava plus Siskind plus Smith Studio alternates)", "b": "1. WHAT IT SHOWS. Period kitchenette interior, the converted-from-single-family-rowhouse subdivision in which a single household occupied a large kitchenette-furnished room sharing kitchen and bath, the housing Mrs Jones inhabits in Hughes 1958 story. 2. ARCHIVAL SOURCE. PRIMARY: Roy DeCarava photographs reproduced in The Sweet Flypaper of Life (1955; Simon and Schuster; reissued First Print Press / David Zwirner 2018 ISBN 9780999843826). ALTERNATES: Aaron Siskind Harlem Document 1932-1940 photographs (Schomburg holdings); Morgan and Marvin Smith Studio photographs (digitalcollections.nypl.org). 3. RIGHTS STATUS. DeCarava: All photographs remain copyright via The DeCarava Archives (Sherry Turner DeCarava). Educational fair-use evaluation required; commercial license prohibitive. Siskind public-domain or institutional-license. Smith Studio NYPL public-domain candidates. 4. RESOLUTION. DeCarava 2018 reissue print quality. Siskind and Smith NYPL high-res scans. 5. CMP-001 ATTACHMENT. cc-cmp001-realism-domestic. cc-cmp001-oi-kitchenette. cc-cmp001-emergence-point Mrs Jones apartment. cc-cmp001-street-S11 kitchenette belt. 6. PUBLIC PAGE OR GM-ONLY. DeCarava commercial-license-required, flag for student page. For public page substitute Siskind Harlem Document or Smith Studio NYPL public-domain alternate. 7. ALTERNATES. Aaron Siskind Harlem Document 1932-1940 and Morgan and Marvin Smith Studio. CROSS-REFERENCES. cc-cmp001-realism-domestic. cc-cmp001-oi-kitchenette. cc-cmp001-emergence-point. cc-cmp001-street-S11. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-realism-domestic", "cc-cmp001-oi-kitchenette", "cc-cmp001-emergence-point", "cc-cmp001-street-S11" ], "tg": "cc, cmp-001, image, im, kitchenette-interior, decarava-flagged, siskind-alternate, may-2026-09-origin" }, { "id": "cc-cmp001-im-newport-1958-jazz", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Newport Jazz Festival 1958 (Mahalia plus Miles Davis Sextet)", "b": "1. WHAT IT SHOWS. Composite Newport Jazz Festival July 1958. (a) Mahalia Jackson at Newport July 6 1958. Ted Williams photograph of Mahalia and Duke Ellington. (b) Miles Davis Sextet at Newport July 3 1958: Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, Jimmy Cobb. Sextet set captured on the album At Newport 1958 (Columbia, released as part of Miles and Monk at Newport 1964; full release in The Complete Columbia Recordings of Miles Davis with John Coltrane 1999). 2. ARCHIVAL SOURCE. (a) Iconic Images iconicimagesgallery.com Ted Williams limited-edition print. (b) Columbia Records archive / Sony Music Archive. Bert Stern Jazz on a Summer Day (1959 documentary) is already in cc-cmp001-scene-set-pack. 3. RIGHTS STATUS. (a) Iconic Images commercial license. (b) Sony Music commercial. 4. RESOLUTION. Commercial-license premium. 5. CMP-001 ATTACHMENT. cc-cmp001-realism-cultural period jazz soundtrack. cc-cmp001-scene-set-pack 1958 jazz festival. 6. PUBLIC PAGE OR GM-ONLY. GM-only reference. Bert Stern still already in scene-set-pack is the primary student-facing image. 7. ALTERNATES. Album-cover image of At Newport 1958 may be available under fair-use as substitute. CROSS-REFERENCES. cc-cmp001-realism-cultural. cc-cmp001-scene-set-pack. ORIGIN. May 9 2026, cmp-001 image manifest, Track 2 wf-d56a40c2.", "cc_links": [ "cc-cmp001-overview", "cc-cmp001-realism-cultural", "cc-cmp001-scene-set-pack", "cc-cmp001-smalls" ], "tg": "cc, cmp-001, image, im, newport-1958, mahalia-jackson, miles-davis-sextet, commercial-license, may-2026-09-origin" }, { "id": "cc-cmp001-narrative-architecture", "s": "narrative-architecture", "r": "cmp-001", "t": "cmp-001 Narrative architecture (Crash-2004 transposed multi-thread plus mirror-portal plus Sentai and party)", "b": "cmp-001 narrative architecture. Crash-2004-transposed multi-thread interweave. Mirror-in-kitchenette spawn portal. Sentai structure with an in-world party. Pre/incident/post phases. Pedagogical-equivalence guarantee. Replay mechanism. Rainbowsol-transport mechanic.\n\nTHREADS (parallel storylines, eight default, Crash 2004 had six).\n1. Roger thread. Hughes canonical. The snatch and aftermath.\n2. Mrs Jones thread. Theresa beauty shop late shift. Kitchenette. Moral exemplar.\n3. King thread. Theresa Friday. Blumstein's Saturday 3:20 PM. Harlem Hospital. Bracketing news event.\n4. Maynard / Curry thread. Surgical team. Assailant psychiatric routing.\n5. Hughes thread. 20 East 127th workroom. Author of the dimension.\n6. Salem / Abyssinian thread. Mrs Jones's congregation. Powell's Sunday sermon.\n7. Roger-peer thread. Boys Roger may have been with before the snatch.\n8. Theresa-staff thread. Mrs Jones's coworkers. Configuration-C kitchen-worker uncle.\n\nCROSSING POINTS.\n- East 128th Saturday 11 PM. Roger and Mrs Jones (canonical encounter).\n- Blumstein's Saturday 3:20 PM. King and Curry and crowd (stabbing).\n- Harlem Hospital Saturday 4-5 PM. King and Maynard and Powell-visit and Coretta-arrival.\n- Salem and Abyssinian Sunday 10 AM. Mrs Jones and congregation. Powell and congregation.\n- Hughes window. Any walk-past 20 East 127th.\n- Theresa lobby Saturday morning. King and Mrs Jones potentially.\n- Monday morning newsstand pass. Roger and King-recovery headline.\n\nFARHAD-DANIEL PARALLEL ANCHOR (Crash 2004 sub-anchor inherited from PM14). Farhad almost shoots Daniel's daughter Lara. Dorri had quietly loaded blanks. Mrs Jones almost calls the cops on Roger. She quietly chose grace. Same shape. Violence-averted-by-an-unseen-prior-choice. The kid sees Mrs Jones's choice as the load-bearing moral act only via cross-thread comparison.\n\nPHASES (per thread).\n- PRE-INCIDENT. Friday 6 PM through Saturday 3:20 PM. Kid choices plant seeds.\n- INCIDENT. Saturday 3:20 PM through 11:30 PM. Crossing-points fire.\n- POST-INCIDENT. Sunday 12 AM through Monday 9 AM. Ripples.\n\nSENTAI AND PARTY.\n- Sentai. The full learning-and-play collective: Rainbowsol, Bookworms, returning Bookworms who serve as guides, and any educator present. The Sentai spans the threshold rather than being split into separate named teams.\n- Party. The Bookworms who cross into a particular dimension in a particular session. They carry their Bookwormcards into the world as its player-characters.\n- Guides. Returning Bookworms and educators who support the party without taking its choices away.\n\nRainbowsol gathers the Sentai, conducts the burrow ritual, and guides the party through the portal each session.\n\nSPAWN MECHANIC. Mirror-in-kitchenette as portal.\n- Hughes text is the cave (Plato).\n- Kitchenette is the cave's interior (cmp-001 emergence point per cc-cmp001-emergence-point).\n- Mirror inside the kitchenette is the portal (Matrix anchor per PM14).\n- Rainbowsol guides the party through it.\n- Lacanian mirror-stage layer also lights up. The kid's character-self is constituted in the mirror-encounter.\n- Four registers converge on one physical glass. Plato + Matrix + Lacan + Rainbowsol.\n\nRAINBOWSOL TRANSPORT MECHANIC. Educator-as-Rainbowsol arrives in the kids' present. Conducts the burrow ritual (per dm-011). Narrates the mirror as portal. Guides the party through. In-character during transport. Switches to omniscient-DM register once in-dimension.\n\nREPLAY MECHANISM. Each playthrough the party picks a different thread to inhabit. Run 1. Roger and his peer group. Run 2. Theresa beauty shop coworkers. Run 3. Salem Methodist Sunday school class. Run 4. Blumstein's sales staff during the stabbing. Each thread reaches the apology-letter-rubric outcome via its own lesson-shape.\n\nPEDAGOGICAL-EQUIVALENCE GUARANTEE. Every thread's central encounter teaches the Hughes lesson. Grace over punishment. The choice that averts violence. Roger thread teaches via direct encounter. King thread teaches via witnessing nonviolent posture toward Curry. Sunday school thread teaches via congregation processing. Theresa-staff thread teaches via Mrs Jones-as-coworker-observed. The lesson is structurally invariant across threads.\n\nCROSS-REFERENCES. PM14 (cinematic anchors). dm-010 (tier calibration). PM13 (realism-trumps-all). dim-001 (text-as-dimension). dm-011 (burrow ritual). char-001/002 (character creation). cc-cmp001-realism-spatial. cc-cmp001-emergence-point. cc-cmp001-oi-kitchenette (mirror as named object). cc-cmp001-tm-friday/saturday/sunday/monday (temporal map). cc-cmp001-sg-graph (social graph).\n\nORIGIN. May 9 2026. User reframed cmp-001 from single-thread Hughes-text-played-out to multi-thread Crash-2004-transposed with mirror-portal spawn, Rainbowsol-transport, Sentai structure with an in-world party, pre/incident/post phases, replay mechanism, pedagogical-equivalence guarantee.\n\nMAY 10 2026 EXTENSION (REVISED SAME DAY). DUAL-LAYER COSMOLOGY (BASE-PLUS-OVERLAY MODEL, MIRROR AS UNIVERSAL PORTAL).\n\nThe eight-thread architecture above runs inside a base-plus-overlay cosmology.\n\nLAYER B. REAL 1958 HARLEM. THE BASE LAYER. Always present. The actual historical 1958 Harlem with the cc-cmp001 realism inventory at full intensity per dm-010. Coasters Yakety Yak on radios, Powell at the Theresa lobby, Billie Holiday in suite 311, the Amsterdam News on every newsstand, the SCLC visibility week, the King stabbing at Blumstein at 3:20 PM Saturday, the surgery at Harlem Hospital, all the documented period material per cc-cmp001-scene-set-pack. Layer B is what is there when nothing is added.\n\nLAYER A. HUGHES-DREAM-HARLEM. AN OVERLAY APPLIED ON TOP OF LAYER B. Same geography, same historical events, same Layer-B realism inventory PLUS Hughes-textual ambient saturation. In Layer A the Mrs Jones echo hangs in any working-woman late-night walk. Simple-syntax surfaces in any bar-philosopher voice. Hughes-rendered atmosphere envelopes the documented period material. Per cc-cmp001-hughes-corpus-overlay the corpus-to-location map.\n\nDEFAULT STATE. Layer A overlay APPLIED. party sessions begin with the overlay in place. The dimension is Hughes-Dream-Harlem until something lifts the overlay.\n\nMIRROR AS UNIVERSAL PORTAL. The mirror is the single mechanism that moves a Bookworm in the party across the overlay boundary. Mirrors deploy at two cmp-001 locations with two functions.\n\nKITCHENETTE MIRROR. The mirror inside Mrs Jones kitchenette per cc-cmp001-emergence-point and cc-cmp001-oi-kitchenette. This is the ENTRY PORTAL where a Bookworm in the party crosses from outside-the-game into Layer A. Plato + Matrix + Lacan + Rainbowsol four-register convergence already documented above. The party arrives with the Layer A overlay applied because crossing the kitchenette mirror IS the act that applies the overlay. The bookworm enters through a mirror at first session and only later learns mirrors are the portal class.\n\nHUGHES-HOUSE MIRROR. A mirror inside Hughes workroom at 20 East 127th Street per cc-cmp001-hughes-house. The workroom itself is EMPTY of Hughes-the-man. Hughes is visible IN the mirror writing the encounter the party has lived through, a reflection-from-elsewhere with no body in the room. Crossing through the Hughes-house mirror LIFTS the Layer A overlay. The party is now in Layer B base. Crossing back through the same mirror RESTORES the Layer A overlay. The Hughes-house mirror is the TRANSIT PORTAL, reversible.\n\nWHAT THE OVERLAY ADDS. Hughes-textual ambient. Mrs Jones echo, Simple-syntax, Hughes-rendered atmosphere, the surfacing categories catalogued at cc-cmp001-hughes-corpus-overlay (physical books on tables, poems clipped to walls, story-pages on typewriters, song lyrics on radio, passages read aloud, NPC dialogue in Hughes register, events from Hughes works happening to bookworm-perspective).\n\nWHAT REMAINS WHEN THE OVERLAY LIFTS. Everything in Layer B base. The Coasters still play. Powell still pulpits. King still gets stabbed at 3:20 PM. The cc-cmp001 realism inventory plays unmodified. What VANISHES is the Hughes-textual ambient. The geography and the historical timeline are layer-invariant. The texture is what changes.\n\nGHOST-FIRINGS. Ghost-firings 1-5 (Roger-snatch, Mrs Jones choice, Blumstein stabbing, Sunday sermon, Monday newsstand) fire inside the Layer A overlay since they instantiate the Hughes-textual and witnessed-event substrate the overlay generates. Ghost-firing 6 (Hughes-typewriter at the workroom inside 20 East 127th) fires AT the Hughes-house mirror itself. The party sees Hughes-in-the-mirror drafting the manuscript page, reads what the page says, and the act of reading is the moment Layer A and Layer B collapse into one another. The author drafting the encounter the bookworm has already lived through is the dispels-the-dream Hegelian move.\n\nMIRROR-AS-UNIVERSAL-PORTAL RULE. No other pop-mechanism is canon. Reading Hughes poems aloud inside Layer A does not pop. Touching the workroom typewriter outside ghost-firing 6 does not pop. The mirror at Hughes house is the single transit portal. The Hughes works tastefully planted across Layer A locations are AMBIENT TEXTURE of the overlay, not additional pop-mechanisms. Per cc-cmp001-hughes-corpus-overlay the corpus maps onto Layer A as saturation, not as portal-network. A speculative jazz-song-as-portal mechanic was raised by the user and explicitly deferred (not committed).\n\nCRASH-WEAVE AT THE LAYER SCALE. The eight threads run with the overlay applied (default) and with the overlay lifted (after a Bookworm in the party crosses through the Hughes-house mirror). The same Roger and Mrs Jones encounter happens regardless. Multiple the party runs across the same cmp-001 weekend can include an overlay-applied run and an overlay-lifted run and reveal the layered structure cross-thread per PM14 Crash anchor.\n\nORIGIN OF THIS EXTENSION. May 10 2026 conversation. User stated the base-plus-overlay model: layer b is ALWAYS THERE, layer a is ON TOP OF layer b; when we pop the bubble we are in HARLEM without layer A; we can go back and forth through his mirror. User specified the Hughes-house mechanic: the room would be empty but we would see him writing in the mirror, when we enter the mirror we go into the other real world. User clarified the kitchenette mechanic: when we first enter the game through the kitchenette, we come through a mirror too. User rejected the framing of Hughes-text-objects as additional pop-mechanisms: this would be hughes work which we would be tastefully planting through the city, ambient texture not portal-network. SUPERSEDES the earlier same-day version which used parallel-layer framing instead of base-plus-overlay framing and did not yet specify the mirror as universal portal class.\n", "x": "cmp-001 narrative architecture. 8-thread Crash-transposed interweave. Mirror-in-kitchenette spawn portal (Plato + Matrix + Lacan + Rainbowsol four-register convergence). Sentai structure with an in-world party. Pre/incident/post phases. Replay + pedagogical-equivalence guarantee.", "bb_links": [ "char-001", "dm-010", "dm-011", "dim-001" ], "cc_links": [ "cc-cmp001-authors-world-reframe", "cc-cmp001-emergence-point", "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-oi-kitchenette", "cc-cmp001-overview", "cc-cmp001-realism-spatial", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-sg-graph", "cc-cmp001-ss-0", "cc-cmp001-tm-friday" ], "tg": "cc, cmp-001, narrative-architecture, crash-2004-transposed, multi-thread-eight-default, farhad-daniel-sub-anchor, mirror-portal, plato-matrix-lacan-rainbowsol-convergence, sentai, party, rainbowsol-transport, pedagogical-equivalence-guarantee, replay-mechanism, pre-incident-post-phases, cross-references-pm14, may-2026-09-origin" }, { "id": "cc-cmp001-hughes-corpus-overlay", "s": "narrative-architecture", "r": "cmp-001", "t": "cmp-001 Hughes corpus overlay (Layer A ambient mapping; where each Hughes work surfaces in dream-Harlem)", "b": "Maps Langston Hughes's textual corpus onto cmp-001 Layer A locations per cc-cmp001-narrative-architecture MAY 10 2026 EXTENSION (dual-layer cosmology). In Layer A bookworms discover Hughes works as ambient findable artifacts at the locations Hughes wrote about. Surfacing forms: physical books on tables, poems clipped to walls, story-pages on typewriters, songs or radio broadcasts carrying Hughes lyrics, passages being read aloud, NPC dialogue spoken in Hughes-text register, events from Hughes works happening to a different bookworm-perspective. Note these surfaces are AMBIENT TEXTURE of the Layer A overlay, NOT pop-mechanisms; the mirror is the only pop, per cc-cmp001-narrative-architecture MIRROR-AS-UNIVERSAL-PORTAL RULE. Layer B base persists underneath the overlay throughout; the historical 1958-Harlem material (Coasters, Amsterdam News, Powell at the Theresa, the King stabbing) is Layer B always-present and is what remains when the overlay lifts.\n\nCENTRAL CLUSTER (already committed elsewhere in cc*).\n\n\"THANK YOU MAM\" 1958 short story. Tier 1 cmp-001 anchor. cc-cmp001-encounter-block + cc-cmp001-mrs-jones + cc-cmp001-roger + cc-cmp001-emergence-point. Surfaces as the LIVED encounter at 11 PM Saturday East 128th between Madison and Park, plus the manuscript-page-on-Hughes-typewriter exegesis at cc-cmp001-ghost-firing-6-hughes-typewriter.\n\nHUGHES WORKROOM. cc-cmp001-hughes-house ground-floor workroom holds the full corpus in physical form: bound books, typescripts, the Simple drafts, manuscript pages of \"Thank You Mam,\" Carl Van Vechten photograph references on the wall. Every Hughes work surfaces here as the published or in-progress object.\n\nOUTER CLUSTER (woven through Layer A).\n\nMONTAGE OF A DREAM DEFERRED (Henry Holt 1951). THE Harlem book of cmp-001's historical present. Surfaces ambient everywhere in Layer A. Specifically: jazz clubs (Smalls Paradise per cc-cmp001-street-S05, Showman Bar, Baby Grand), the Apollo (cc-cmp001-apollo), any moment when a bookworm registers a dream not realized (a boarded storefront, a kitchenette wage-prison, the boy who wants blue suede shoes). The \"Harlem\" poem (What happens to a dream deferred) surfaces as a poem clipped to a wall in any room where someone has read it. Hansberry pulled \"raisin in the sun\" from this book; A Raisin in the Sun premieres on Broadway six months after cmp-001's setting (March 1959); Hansberry was writing it during cmp-001's window.\n\nSIMPLE STORIES. Simple Speaks His Mind 1950 / Simple Takes a Wife 1953 / Simple Stakes a Claim 1957 plus the Chicago Defender columns running 1942-1962. Surface at every bar with a male patron at the counter philosophizing: Showman Bar, Smalls Paradise, the Theresa cocktail lounge, any storefront bar. The Simple voice IS the bar-philosopher voice in Hughes-dream-Harlem. Bookworms sitting at a Layer-A bar overhear Simple-syntax. Defender clippings surface as wall-papered backs of bars and barbershops. New York Post columns (Hughes moves there 1962, post-cmp-001-date) do not surface; only the Defender register lives in 1958.\n\nTHE SWEET FLYPAPER OF LIFE (Simon & Schuster 1955, photographs Roy DeCarava, text Hughes). Surfaces as the photo book itself on coffee tables in any Layer-A apartment, at the Schomburg Center, at the Theresa lobby for sale (recent publication). DeCarava's photographs match what a bookworm sees walking Layer-A streets. Hughes's prose narration of the photographs surfaces in voice when Layer A goes contemplative.\n\nTAMBOURINES TO GLORY (John Day 1958 novel). Storefront-gospel-church world. Surfaces at every storefront church the bookworms walk past: women setting up tambourines for Sunday, painted signs (THE TABERNACLE OF THE FERVENT FAITHFUL OF JESUS, generic period-typical), deacon-board members on the sidewalk. The novel-text describes exactly this world. The book surfaces in Hughes's workroom as the fresh-published novel (released earlier in 1958). The play adaptation premieres 1963; in 1958 only the novel exists.\n\nTHE WEARY BLUES (Knopf 1926). Hughes's first book. Surfaces at the jazz clubs after midnight when the piano plays slow blues. The title poem activates when a party member hears solo piano blues in any Layer-A late-late club. Knopf hardcover surfaces in apartments with personal libraries.\n\nFINE CLOTHES TO THE JEW (Knopf 1927). Blues poems and working-Black urban-life poems. Surfaces at bars where a working woman is washing dishes after her shift, at any kitchenette where someone is at the end of a hard day. Period-controversial title in 1958 still; the book sits on shelves but is not in Layer-A casual conversation.\n\nSHAKESPEARE IN HARLEM (Knopf 1942). Surfaces at any street-corner where music and improvised verse meet, the spaces between formal poetry and street-Black-vernacular. Slim Knopf hardcover in any Layer-A personal library.\n\nONE-WAY TICKET (Knopf 1949). The Great Migration book. Surfaces at Pennsylvania Station (33rd Street, visible to a bookworm going there for any reason), at Great Migration murals in community centers, at the Schomburg.\n\nSTREET SCENE 1947 (Kurt Weill opera, Hughes lyrics) and SIMPLY HEAVENLY 1957 (Simple musical, David Martin music). Hughes-lyrics-set-to-music surface as theater posters in any Layer-A street, as cast albums on apartment turntables, as advertised on radio. The Simply Heavenly album is current in 1958.\n\nTHE BIG SEA (Knopf 1940) and I WONDER AS I WANDER (Rinehart 1956). Hughes's two autobiographies. Surface in the workroom as the published volumes. I Wonder as I Wander is recent (1956). Surface elsewhere only when Hughes's own personal history is invoked by an NPC or read-aloud passage.\n\nCHILDREN'S BOOKS. The First Book of Negroes (Franklin Watts 1952) / The First Book of Rhythms (Watts 1954) / The First Book of Jazz (Watts 1954) / Famous American Negroes (Dodd Mead 1954) / Marian Anderson: Famous Concert Singer (Watts 1954) / Famous Negro Music Makers (Dodd Mead 1955) / The First Book of the West Indies (Watts 1956) / Famous Negro Heroes of America (Dodd Mead 1958) / The Dream Keeper poems for children (Knopf 1932). Surface at any Layer-A school the bookworms walk past, at the Schomburg children's section, at any apartment where a child lives.\n\nTRANSLATIONS. Cuba Libre (Guillen, with Carruthers, Anderson & Ritchie 1948) / Masters of the Dew (Roumain, with Mercer Cook, Reynal & Hitchcock 1947) / Gypsy Ballads (Lorca, Beloit Poetry Journal 1951) / Selected Poems of Gabriela Mistral (Indiana University Press 1957). Surface in the workroom and at any Layer-A pan-Negro internationalism gathering: union halls, anti-colonial-solidarity meetings, the Schomburg.\n\nPLAYS. Mulatto (Broadway 1935, longest-running Broadway play by a Black author until Hansberry 1959) / Don't You Want to Be Free (Suitcase Theatre 1938 long initial run) / Little Ham (Karamu 1936) / Emperor of Haiti (Karamu 1936) / The Sun Do Move (Skyloft 1942). Theater posters and scripts surface at the Lafayette Theatre area, at any Layer-A community-theater bulletin-board, at the Amsterdam News theatre listings.\n\nPOLITICAL POEMS. A New Song (International Workers Order 1938) / Jim Crow's Last Stand (Negro Publication Society 1943) / Freedom's Plow (Musette 1943) / Let America Be America Again (originally Esquire July 1936, then pamphlet 1938). Surface at any cmp-001 protest or organizing scene: the SCLC visibility week September 17-19 1958 per cc-cmp001-week-lead-up, union halls, NAACP offices on 125th, picket-line context.\n\nMADRID 1937. Surfaces in Hughes's workroom as the rare Paris-printed hardcover (limited edition of fifty). Surfaces ambient when any Spanish Civil War reference happens in a Layer-A scene; in 1958 the Lincoln Brigade veterans are still active in Harlem cultural-political life.\n\nTHE LANGSTON HUGHES READER (Braziller 1958). Recent publication in cmp-001's present. Surfaces in the workroom as the new Hughes-curated anthology of his own work. Contains \"Thank You Mam,\" surfacing the meta-recursion: the encounter Roger and Mrs Jones are living through is gathered in a book on the workroom desk one block away.\n\nNOT YET PUBLISHED IN 1958 BUT BEING WRITTEN. Ask Your Mama: 12 Moods for Jazz (Knopf 1961) was being drafted in the late-1950s. Surfaces as draft pages on the workroom typewriter or shelves. Tambourines to Glory the PLAY adaptation (1963) is being developed; drafts could surface. The Panther and the Lash (Knopf 1967) is decades away. Black Nativity (1961) drafts not yet underway.\n\nREAL-WORLD WEAVE (persists across both layers). Per cc-cmp001-scene-set-pack the 1958 period media inventory: Coasters Yakety Yak (Atco June 1958) playing on radios, the Coasters's Apollo headliner week September 19-25 1958, Lena Horne and Sarah Vaughan and Dinah Washington keeping rooms at the Theresa, Billie Holiday in suite 311 (Holiday dies July 1959, still alive cmp-001-window), Adam Clayton Powell Jr in the Theresa lobby and Abyssinian pulpit, the Amsterdam News and the Pittsburgh Courier on every newsstand, Carl Van Vechten photographs on workroom walls, Roy DeCarava's Sweet Flypaper photographs in apartments. King stabbing at Blumstein's 3:20 PM Saturday. King recovery at Harlem Hospital. SCLC visibility week. The Apollo programming. Powell's Sunday sermon. These persist whether the party is in Layer A or Layer B; the historical timeline is layer-invariant.\n\nWHEN THE OVERLAY LIFTS (Layer B base alone). The Hughes-textual ambient catalogued above VANISHES. No Mrs Jones echo in working-woman walks. No Simple-syntax in bar voices. No Hughes-rendered-Harlem atmosphere. What REMAINS is everything from Layer B base, all of it always-present underneath: the Coasters still play, Powell still pulpits, DeCarava's photographs are still on apartment walls (because DeCarava IS Layer B historical reality, not Hughes-overlay), the King-stabbing news cycle still propagates, the Amsterdam News still hits newsstands Monday, the SCLC visibility week still anchored the weekend. The geography is identical. The historical timeline is identical. The texture changes from Hughes-dream-1958-Harlem to plain 1958 Harlem because the overlay has lifted, not because the party crossed into another world.\n\nNON-CMP-001-RELEVANT HUGHES CORPUS. The Negro Mother and Other Dramatic Recitations 1931, Scottsboro Limited 1932 (Alabama-centered), Not Without Laughter 1930 (Kansas), The Ways of White Folks 1934 (national-scope), Laughing to Keep from Crying 1952 (national-scope), Something in Common 1963 (post-cmp-001), Popo and Fifina 1932 (Haiti, the Roumain-translation kinship surfaces), Selected Poems 1959 (post-cmp-001), Mule Bone (unpublished in 1958, written with Hurston 1931, finally published 1991), Fight for Freedom 1962 (post-cmp-001 NAACP history). These works exist in 1958 Hughes's bibliography but do not surface naturally in cmp-001 dream-Harlem locations. They live on the workroom shelves as published volumes if a bookworm visits the workroom in Layer B.\n\nCROSS-REFERENCES. cc-cmp001-narrative-architecture (the framework this overlay activates within; MAY 10 2026 EXTENSION committed same turn). cc-cmp001-hughes-house (the meta-pop-portal). cc-cmp001-ghost-firing-6-hughes-typewriter (the local exegesis firing-point at the workroom). cc-cmp001-emergence-point (the local mirror-portal at the kitchenette). cc-cmp001-scene-set-pack (the 1958 period media inventory persisting across both layers). cc-cmp001-realism (the 15-domain realism inventory; Layer A textures it, Layer B presents it without overlay). ml* dim-001 (text-as-dimension, the substrate). ml* hole-in-hole-out architecture (dual-portal pattern). ml* PM14 (Matrix cinematic anchor at local-portal scale; dual-layer extends to meta-portal scale). ml* Polycognate methodology (cross-corpus reading-correspondence). bb* dm-010 (tier-calibrated realism within each layer). bb* dm-012 (Ghost Exegesis Mode the ghost-firings instantiate).\n\nORIGIN. May 10 2026 conversation. User asked for the where-each-Hughes-work-surfaces map plus the dream-vs-real cosmology with Hughes-house meta-pop. AI compiled corpus per Langston Hughes chronological bibliography research delivered same turn. Mapping organizes existing corpus onto existing cmp-001 locations per Rule 11 organize-not-create.", "x": "May 10 2026 origin. Compiled from Hughes bibliography research and existing cc-cmp001 location entries. Layer A overlay; Layer B contrast; meta-portal at Hughes-house.", "bb_links": [ "dim-001", "dm-010", "dm-012" ], "cc_links": [ "cc-cmp001-apollo", "cc-cmp001-blumsteins", "cc-cmp001-emergence-point", "cc-cmp001-encounter-block", "cc-cmp001-ghost-firing-6-hughes-typewriter", "cc-cmp001-harlem-hospital", "cc-cmp001-hotel-theresa", "cc-cmp001-hughes-house", "cc-cmp001-mrs-jones", "cc-cmp001-narrative-architecture", "cc-cmp001-overview", "cc-cmp001-realism", "cc-cmp001-roger", "cc-cmp001-scene-set-pack", "cc-cmp001-week-lead-up" ], "tg": "cc, cmp-001, narrative-architecture, hughes-corpus-overlay, layer-a-mapping, dream-harlem, dual-layer-cosmology, may-2026-10-origin" }, { "id": "cc-cmp001-hughes-bibliography", "s": "campaign", "r": "cmp-001-research-substrate", "t": "Langston Hughes chronological bibliography (canonical research substrate)", "b": "Canonical chronological bibliography of Langston Hughes published works, source-citations, scope-declaration, and gap-acknowledgments. Underpins cc-cmp001-hughes-corpus-overlay (which maps the corpus onto Layer A locations) by providing the strict by-year publication record with citations. Available for cmp-001 and any future Hughes-anchored cmp-NNN. Per ml* EVERYTHING-IN-A-STAR-FILE-AT-SEMINARSCHOOLS DISCIPLINE this canonical version supersedes any side-channel reader file.\n\nSCOPE DECLARATION. 100-percent-complete Hughes catalog does not exist as a single public document. Hughes wrote approximately 3000 distinct poems by Rampersad count; The Collected Poems (Knopf 1994, ed. Rampersad and David Roessel, ISBN 978-0679764083) gathers 868 published lifetime with annotations. The rest live in periodicals (Crisis, Opportunity, New Masses, Phylon, Negro Digest, Esquire, Associated Negro Press syndicate, Brownies Book) and unpublished manuscripts at the Beinecke Hughes Papers JWJ MSS 26 (305 linear feet, ca 673 boxes). Newspaper columns 1942-1965 (Chicago Defender then NY Post) number in the thousands; gathered selectively. This entry covers BOOKS in first edition plus produced plays plus translations plus edited anthologies. Periodical-only poems and column-corpus are not exhaustively listed here.\n\nCANONICAL SOURCES.\n[H1] Dickinson, Donald C. A Bio-Bibliography of Langston Hughes 1902-1967. 2nd ed. Hamden CT: Archon Books / Shoe String Press 1972. Canonical pre-Rampersad bibliography.\n[H2] Rampersad, Arnold. The Life of Langston Hughes Volume 1 1902-1941 I Too Sing America. New York: Oxford University Press 1986. ISBN 978-0195146424 (anniv ed 2002).\n[H3] Rampersad, Arnold. The Life of Langston Hughes Volume 2 1941-1967 I Dream a World. New York: Oxford University Press 1988. ISBN 978-0195146431 (anniv ed 2002).\n[H4] Rampersad, Arnold, and David Roessel, eds. The Collected Poems of Langston Hughes. New York: Alfred A Knopf 1994. ISBN 978-0679764083. 868 poems.\n[H5] Hughes, Langston. The Collected Works of Langston Hughes. 16 vols plus annotated bibliography vol 18 (R Baxter Miller). Ed. Arnold Rampersad et al. Columbia: University of Missouri Press 2001-2004.\n[H6] Langston Hughes Papers. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University. Call number JWJ MSS 26.\n[H7] Academy of American Poets, poets.org Langston Hughes page. Birth year revised to 1901 per 2018 research; Hughes stated 1902 during his lifetime.\n\nCHRONOLOGICAL FIRST EDITIONS. Tags: [P] poetry, [N] novel, [S] short stories, [PL] play, [OP] opera/musical, [A] autobiography, [C] for children, [NF] non-fiction, [E] edited anthology, [T] translation, [PH/T] photo-text collaboration.\n\n1921 The Negro Speaks of Rivers (poem, The Crisis June) / The Gold Piece (short play, The Brownies Book July) [P/PL]\n1926 The Weary Blues. Knopf. [P]\n1927 Fine Clothes to the Jew. Knopf. [P]\n1930 Not Without Laughter. Knopf. Harmon Gold Medal. [N]; Four Lincoln University Poets (ed.). [E]\n1931 Dear Lovely Death. Troutbeck Press. [P]; The Negro Mother and Other Dramatic Recitations. Golden Stair Press. [P]; Mule Bone (written with Hurston; 1991 publication). [PL deferred]\n1932 The Dream Keeper and Other Poems. Knopf. [P/C]; Scottsboro Limited. Golden Stair Press. [P/PL]; Popo and Fifina with Arna Bontemps. Macmillan. [C/N]\n1934 The Ways of White Folks. Knopf. [S]\n1935 Mulatto: A Tragedy of the Deep South. Broadway Vanderbilt Theatre Oct 24. Longest-running Broadway play by African American author until Hansberry 1959. [PL]\n1936 Little Ham / Troubled Island (with William Grant Still) / Emperor of Haiti aka Drums of Haiti / When the Jack Hollers with Bontemps. Karamu Theatre Cleveland. [PL]\n1937 Soul Gone Home (one-act) [PL]; Madrid (long poem; Paris 1939 ltd. ed. 50 copies as Madrid 1937). [P]\n1938 Don't You Want to Be Free? Suitcase Theatre. [PL]; A New Song. International Workers Order. [P]; Let America Be America Again (broadside; first appeared Esquire July 1936). [P]\n1940 The Big Sea: An Autobiography. Knopf. [A]\n1942 Shakespeare in Harlem. Knopf. [P]; From Here to Yonder column begins in Chicago Defender (November); Simple first appears 1943. [Column]\n1943 Freedom's Plow. Musette Publishers. [P]; Jim Crow's Last Stand. Negro Publication Society of America. [P]\n1944 Lament for Dark Peoples and Other Poems ed. Driessen. Holland. [P]\n1947 Fields of Wonder. Knopf. [P]; Street Scene Broadway opera music Kurt Weill book Elmer Rice Hughes lyrics. [OP]; Masters of the Dew by Roumain (trans. with Mercer Cook). Reynal & Hitchcock. [T]\n1948 Cuba Libre by Guillen (trans. with Carruthers). Anderson & Ritchie. [T]\n1949 One-Way Ticket. Knopf. [P]; The Poetry of the Negro 1746-1949 with Bontemps (ed.). Doubleday. [E]; Troubled Island opera with Still. NYC Opera March 31. [OP]\n1950 Simple Speaks His Mind. Simon & Schuster. First commercial bestseller. [S]; The Barrier opera adaptation of Mulatto with Jan Meyerowitz. [OP]\n1951 Montage of a Dream Deferred. Henry Holt. Contains Harlem (raisin in the sun). [P]; Gypsy Ballads by Lorca (trans.). Beloit Poetry Journal Chapbook 1. [T]\n1952 Laughing to Keep from Crying. Henry Holt. [S]; The First Book of Negroes. Franklin Watts. [C/NF]\n1953 Simple Takes a Wife. Simon & Schuster. [S]\n1954 Famous American Negroes. Dodd Mead. [C/NF]; The First Book of Rhythms / The First Book of Jazz / Marian Anderson: Famous Concert Singer. Franklin Watts. [C/NF]\n1955 The Sweet Flypaper of Life with photographs by Roy DeCarava. Simon & Schuster. [PH/T]; Famous Negro Music Makers. Dodd Mead. [C/NF]\n1956 I Wonder as I Wander: An Autobiographical Journey. Rinehart. [A]; The First Book of the West Indies. Franklin Watts. [C/NF]; A Pictorial History of the Negro in America with Meltzer. Crown. [NF]\n1957 Simple Stakes a Claim. Rinehart. [S]; Simply Heavenly Broadway musical music David Martin. [PL/OP]; Selected Poems of Gabriela Mistral (trans.). Indiana University Press. [T]\n1958 Tambourines to Glory. John Day Co. [N]; The Langston Hughes Reader. Braziller. Contains Thank You Mam. [E]; The Book of Negro Folklore with Bontemps (ed.). Dodd Mead. [E]; Famous Negro Heroes of America. Dodd Mead. [C/NF]; Thank You Mam short story (cmp-001 anchor). [S]\n1959 Selected Poems of Langston Hughes. Knopf. [P]\n1960 The First Book of Africa. Franklin Watts (rev. 1964). [C/NF]\n1961 Ask Your Mama: 12 Moods for Jazz. Knopf. [P]; The Best of Simple. Hill & Wang. [S]; Black Nativity gospel song-play 41st Street Theatre NYC Dec 11. [PL]\n1962 Fight for Freedom: The Story of the NAACP. W. W. Norton. [NF]\n1963 Five Plays by Langston Hughes ed. Webster Smalley. Indiana University Press. [PL/E]; Something in Common and Other Stories. Hill & Wang. [S]; Poems from Black Africa (ed.). Indiana University Press. [E]; Tambourines to Glory play Broadway Nov 2 music Jobe Huntley. [PL]\n1964 New Negro Poets U.S.A. (ed., intro Gwendolyn Brooks). Indiana University Press. [E]; Jerico-Jim Crow song-play. [PL]\n1965 Simple's Uncle Sam. Hill & Wang. Last Simple book in lifetime. [S]; The Prodigal Son one-act gospel song-play. [PL]\n1966 La Poesie Negro-Americaine (ed.). [E]; The Book of Negro Humor (ed.). Dodd Mead. [E]\n1967 The Panther and the Lash: Poems of Our Times. Knopf. Final poetry collection, published shortly before death May 22. [P]; The Best Short Stories by Negro Writers (ed.). Little Brown. [E]; Black Magic: A Pictorial History of the Negro in American Entertainment with Meltzer. Prentice-Hall. [NF]\n\nPOSTHUMOUS (selective major).\n1969 Don't You Turn Back ed. Lee Bennett Hopkins. Knopf. [P/C]; Black Misery. Paul S Eriksson. [C]\n1970 The Poetry of the Negro 1746-1970 (rev. with Bontemps). Doubleday. [E]\n1973 Good Morning Revolution: Uncollected Social Protest Writings ed. Faith Berry. Lawrence Hill. [E]\n1980 Arna Bontemps-Langston Hughes Letters 1925-1967 ed. Charles H Nichols. Dodd Mead. [Correspondence]\n1991 Mule Bone: A Comedy of Negro Life (with Hurston) ed. Bass and Gates. HarperCollins. First publication 60 years after writing. [PL]\n1994 The Collected Poems of Langston Hughes ed. Rampersad and Roessel. Knopf. 868 poems. ISBN 978-0679764083. [P-collected]; The Return of Simple ed. Akiba Sullivan Harper. Hill & Wang. [S]\n1995 The Block: Poems illustrations Romare Bearden. Viking / Met Museum. [P/C]; Langston Hughes and the Chicago Defender 1942-1962 ed. De Santis. U Illinois Press. [E]\n1996 Short Stories of Langston Hughes ed. Harper. Hill & Wang. [S]\n2000 The Political Plays of Langston Hughes ed. Susan Duffy. Southern Illinois UP. [PL/E]\n2001-2004 The Collected Works of Langston Hughes. 16 vols plus vol 18 annotated bibliography. U Missouri Press. [Collected]\n2001 Remember Me to Harlem: Hughes-Van Vechten Letters 1925-1964 ed. Emily Bernard. Knopf. [Correspondence]\n2015 Selected Letters of Langston Hughes ed. Rampersad and Roessel. Knopf. [Correspondence]\n2016 Letters from Langston ed. Crawford and Patterson. U California Press. [Correspondence]\n\nGAPS NAMED.\n(1) Periodical-only poems. Many Hughes poems first appeared in Crisis, Opportunity, New Masses, Common Sense, Phylon, Negro Digest, Esquire, Associated Negro Press syndicate, The Brownies Book before any book collection. Collected Poems 1994 captures 868; the rest live in JWJ MSS 26.\n(2) Plays without published text. Several Hughes plays were produced (Karamu Theatre Cleveland, Suitcase Theatre Harlem) without standalone publication. Collected Works vols 5 and 6 gather most. The doollee.com playwrights database lists about thirty Hughes plays.\n(3) Song lyrics for productions (Street Scene 1947 with Weill, Just Around the Corner 1951, Simply Heavenly 1957, Black Nativity 1961, Tambourines to Glory 1963, Jerico-Jim Crow 1964, The Prodigal Son 1965). Scattered across published scores and unpublished manuscripts.\n(4) Translations beyond the four major (Lorca Gypsy Ballads, Guillen Cuba Libre, Roumain Masters of the Dew, Mistral Selected Poems). Collected Works vol 16 gathers some minor.\n(5) Mule Bone listed under both 1931 (written) and 1991 (published) per the canonical scholarly treatment.\n(6) Birth year. 1902 Hughes-stated throughout his life; 1901 per 2018 research at Academy of American Poets. Both years appear in current authoritative sources.\n\ncmp-001 RELEVANCE NOTE. The 1956-1962 publication window is the most contemporary-to-substrate cluster. Montage of a Dream Deferred 1951 carries Harlem. The Langston Hughes Reader 1958 carries Thank You Mam. The Sweet Flypaper of Life 1955 is the DeCarava-Hughes Harlem-as-photograph-and-prose document closest to cmp-001 streetscape. Tambourines to Glory 1958 novel (and 1963 play in development) gives the gospel-storefront-church world overlapping cmp-001 timing. Per cc-cmp001-hughes-corpus-overlay for the location-mapping of each work into Layer A.\n\nCROSS-REFERENCES. cc-cmp001-hughes-corpus-overlay (location-mapping companion). cc-cmp001-hughes-house (workroom where corpus surfaces as physical artifacts). cc-cmp001-canon (the Thank You Mam anchor). ml* EVERYTHING-IN-A-STAR-FILE-AT-SEMINARSCHOOLS DISCIPLINE (the rule that requires this canonicalization).\n\nORIGIN. May 10 2026 conversation. AI compiled chronological bibliography research at user request. Initial deliverable was a side-channel .md file. Per the EVERYTHING-IN-A-STAR-FILE rule the canonical version is committed here in cc*; the .md remains as a portable human-readable companion.", "x": "May 10 2026 origin. Hughes corpus chronological research canonicalized in cc* per the EVERYTHING-IN-A-STAR-FILE rule. Underpins cc-cmp001-hughes-corpus-overlay location-mapping. Available for any future Hughes-anchored cmp-NNN.", "bb_links": [ "dim-001" ], "cc_links": [ "cc-cmp001-canon", "cc-cmp001-hughes-corpus-overlay", "cc-cmp001-hughes-house", "cc-cmp001-overview" ], "tg": "cc, cmp-001, hughes-bibliography, chronological-research, canonical-substrate, may-2026-10-origin" }, { "id": "cc-cmp001-ghost-exegesis-applications", "t": "cmp-001 ghost-scene applications (text-study mode per dm-012, reframed 2026-05-16)", "r": "cmp-001", "b": "cmp-001 specific applications of bb* dm-012 Ghost Exegesis Mode REFRAMED 2026-05-16 per user ruling. Ghost-exegesis = TEXT-STUDY of a real-world work surfaced through dimensional immersion. The TEXT is the ghost. Not the rainbowbower-extraction beat. The earlier six-firing inventory was interiority-rendering / backstory-vignette beats, not text-study beats. Those six are preserved as rainbowbower interiority firings at cc-cmp001-ghost-firing-1 through 6 (ID slugs retained for stability; titles and body headers renamed per concept disambiguation). They are the deepening mechanic, not the text-study mechanic.\n\nSEED GHOST. Hughes 'Thank You M am' (1958). The insert. Every cmp-001 run begins with this one ghost scene. The encounter the dimension is built around. Available at all age bands.\n\nEMERGENT GHOSTS. Real-world texts surface in-dimension as the party moves through the 48-hour Friday-to-Monday window. Each becomes a ghost-scene candidate when a bookworm reads, hears, or examines it. Each carries an age-band eligibility flag.\n\n1. Stride Toward Freedom (King 1958). The book on the table at Blumstein s. Available throughout Saturday. Eligible MID SENIOR ADULT. Junior tier the book is visible as ambient object; text-study does not fire.\n\n2. Amsterdam News Monday headline September 22 1958. The newsstand pass. Eligible MID SENIOR ADULT. Junior tier visible as background.\n\n3. Powell sermon at Abyssinian Sunday September 21 1958. The pulpit. Eligible MID SENIOR ADULT. Junior tier ambient sermon background; political register does not fire as text-study.\n\n4. Hughes manuscript-being-written. Visible in the Hughes-house wall mirror per Layer A and Layer B transit per cc-cmp001-ghost-firing-6. Eligible all tiers, mediated by mirror surface.\n\n5. Hughes-corpus poems and Simple stories on Layer A. Eligible all tiers but corpus-selection varies. Junior I Too plus Mother to Son plus age-appropriate selections. Mid Senior Adult full Simple corpus plus full poetry corpus.\n\n6. King I Have a Dream anachronism inside the 1958 dimension. Surfaces only if a Bookworm in the party brings it in from Layer B. Eligible all tiers.\n\n7. Period newspaper coverage NYT plus Pittsburgh Courier plus full Amsterdam News set on the stabbing. Eligible SENIOR ADULT.\n\n8. Hugh Pearson When Harlem Nearly Killed King The 1958 Stabbing of Dr Martin Luther King Jr Seven Stories Press 2002 ISBN 9781583222744. Out-of-dimension scholarly text. Surfaces if the party exits to Layer B and consults scholarly sources. Eligible SENIOR ADULT.\n\n9. Aubre de Lambert Maynard MD Surgeons to the Poor The Harlem Hospital Story Appleton-Century-Crofts 1978 memoir. Out-of-dimension scholarly text. Eligible SENIOR ADULT.\n\n10. Hegel Phenomenology of Spirit master-slave passage Miller trans. paras 178-196. The philosophical text Mrs Jones refusal-of-mastery instantiates. Eligible SENIOR ADULT. Surfaces as ghost-scene candidate for HZT4U Philosophy track or ENG4U comparative reading.\n\n11. The 1978 apology letter the student writes as homework. Surfaces retroactively in subsequent sessions as the deliverable becomes a ghost-scene candidate for self-study. Eligible all tiers.\n\nAGE-BAND TIER MAP.\nJUNIOR ages 9-12 Grade 7 cmp-001 mode. SEED plus entries 4, 5 age-appropriate corpus only, 6, 11. The stabbing event happens off-canon as quiet news-cycle background per dm-010 tier-1 calibration.\nMID ages 13-16 ENG2D and ENG3U entry. All JUNIOR plus 1, 2, 3 plus full Hughes corpus. Tier-2 content surfaces only on educator-trigger per cc-cmp001-session-002 calibration note.\nSENIOR ages 17-18 ENG3U-strong and ENG4U. All MID plus 7, 8, 9, 10. Full period coverage. Hegel master-slave passage as philosophy cross-track.\nADULT 18 plus Leizu tutees. All SENIOR unmuted. Plus race gender class scholarship per cc-pen-006 equity citations if invoked.\n\nANTI-OVERUSE RULE preserved per dm-012. Two to four ghost-scene fires per 90-minute session maximum. Pick the ones that fit the run s chosen thread. SEED ghost fires once at session start. Emergent ghosts fire on encounter.\n\nUSAGE NOTES. A run does not need to fire all emergent ghosts. Thread-specific recommendations. Roger-thread runs lean on SEED plus 4 plus 11. Mrs Jones-thread runs lean on SEED plus 4 plus 5. King-thread runs lean on 1 plus 7 plus 8. Cross-thread advanced replay-aware the party runs can fire SEED plus 3 plus 10 for maximum philosophy-history-literature convergence.\n\nCROSS-REFERENCES. bb-dm-012 universal Ghost Exegesis Mode. cc-cmp001-ghost-firing-1 through 6 the renamed rainbowbower interiority firings. cc-cmp001-narrative-architecture thread inventory and crossing-points. cc-cmp001-tm-saturday sunday monday temporal map. cc-cmp001-npc-roger mrs-jones king curry powell hughes maynard NPC dossiers the people who carry the ghosts. cc-cmp001-canon the seed-ghost text-source. cc-cmp001-amsterdam-news blumsteins abyssinian hughes-house emergent-ghost surfacing locations. cc-cmp001-hughes-corpus-overlay Layer A overlay for emergent Hughes texts. cc-cmp001-rubric the apology-letter ghost-as-retroactive scene. ml* dm-010 tier calibration age-band severity scaling.\n\nORIGIN. 2026-05-16 reframe per user ruling. Ghost-exegesis = text-study only, not interiority extraction. Seed-plus-emergent architecture. Age-band eligibility. Five wuxing burrow-objective entries deleted same turn. Earlier six ghost-firing entries renamed to rainbowbower interiority firings.\n\nCITATION CORRECTION 2026-05-16 PER PROJECT-OPPORTUNITY MATRIX AUDIT.\n- Pearson 2002 emergent ghost (entry 8). PRIMARY CITATION Hugh Pearson When Harlem Nearly Killed King The 1958 Stabbing of Dr Martin Luther King Jr Seven Stories Press 2002 ISBN 9781583222744. This is a monograph not a periodical article.\n- Maynard 1978 emergent ghost (entry 9). PRIMARY CITATION Aubre de Lambert Maynard MD Surgeons to the Poor The Harlem Hospital Story Appleton-Century-Crofts 1978. ADULT-restricted passage on intra-Black-collegial hostility lives in Maynard 1978 primary source (page citation pending direct consultation).\n- Officer Howard Don t sneeze quote. PRIMARY CITATION Pearson 2002. Secondary citers (Mental Floss, Coffee or Die, Daily Beast 2014) cite the Pearson primary source.\n", "s": "cc-cmp001" }, { "id": "cc-cmp001-historical-overlay-disclaimer", "s": "historical-overlay-disclaimer", "r": "cmp-001", "t": "cmp-001 Historical-overlay disclaimer (fictional / historical / overlay distinction)", "b": "cmp-001 historical-overlay disclaimer. The fictional-story / historical-events / campaign-overlay distinction made explicit.\n\nWHAT IS FICTIONAL.\n- The characters Roger and Mrs Luella Bates Washington Jones (Hughes 1958).\n- The encounter on East 128th. The kitchenette. The ten-dollar bill. The lima beans and ham. The cocoa. The release.\n- The story is UNDATED within Hughes's text. No specific date, no specific city, no real-world events referenced.\n- \"Thank You, M'am\" was published 1958 in The Langston Hughes Reader, George Braziller, New York. WorldCat OCLC 285644. First edition stated. 501 pages.\n- Some scholars speculate Hughes drafted earlier (possibly 1930s) and published 1958 (americanliterature.com, bartleby.com).\n- The Harlem setting is INFERRED from Hughes's biographical association plus kitchenette and hotel-beauty-shop urban markers, NOT stated in text.\n- Blue suede shoes anchor the implied setting post-1956 (Carl Perkins 1955 original, Elvis 1956 cover, Buddy Holly cover subsequent).\n\nWHAT IS HISTORICAL.\n- The MLK stabbing happened September 20 1958 at Blumstein's Department Store, 230 West 125th Street. Izola Curry assailant. Maynard surgical team at Harlem Hospital. Verified via Stanford King Institute (kinginstitute.stanford.edu), Journal of Vascular Surgery 2020 article ID S0741-5214(19)31808-7, Pearson When Harlem Nearly Killed King ISBN 978-1-58322-614-1.\n- Hotel Theresa (NYC LPC LP-1843), Apollo Theater (NYC LPC LP-1299), 20 East 127th Hughes residence (NYC LPC LP-1135), Harlem Hospital, Salem Methodist Episcopal Church, Mother AME Zion Church, Abyssinian Baptist Church (NYC LPC LP-1851) — all verified locations with verifiable 1958 status.\n- Powell at Abyssinian since 1937 (Hamilton biography ISBN 978-0-689-12062-6). Hughes at 20 East 127th workroom 1947-1967 (Rampersad biography ISBN 978-0-19-514643-4). Verified.\n\nWHAT IS CAMPAIGN-DESIGN OVERLAY.\n- cmp-001 sets Hughes's fictional encounter on Saturday September 20 1958 at 11 PM specifically.\n- The Friday Sept 19 through Monday Sept 22 1958 window with the King stabbing as bracketing news event is a CAMPAIGN-DESIGN CHOICE, not a textual fact.\n- The Crash multi-thread density (Roger thread, Mrs Jones thread, King thread, Maynard / Curry thread, Hughes thread, Salem / Abyssinian thread, Roger-peer thread, Theresa-staff thread) emerges from this overlay.\n- The overlay was built to maximize hyperrealism substrate density per dm-010 plus PM13 plus PM14 Truman anchor.\n\nWHY THE 1958 OVERLAY WORKS.\n- 1958 setting is defensible (publication year, blue-suede-shoes anchor, Hughes Harlem association).\n- King-stabbing weekend supplies verifiable real-historical substrate that would otherwise need to be invented.\n- The Farhad-Daniel-blanks-loaded-by-Dorri parallel to Mrs-Jones-grace-not-cops activates only with cross-thread real-historical material (per PM14 Crash anchor).\n- The overlay produces multi-thread Crash interweave (per cc-cmp001-narrative-architecture) that single-thread Hughes-text-as-given would not produce.\n\nALTERNATE OVERLAYS POSSIBLE.\n- 1956 immediate-post-Elvis-cover (less King material, more pure post-Brown civil-rights anticipation register).\n- 1962 mid-civil-rights (Birmingham campaign anticipation, March on Washington pre-period, different historical substrate).\n- 1933 Depression Harlem (Bartleby-suggested register; would re-anchor blue-suede as anachronism, would shift hotel-beauty-shop economics, would shift kitchenette typology to pre-Osofsky baseline).\n- Each alternate generates different cross-thread material and different pedagogical lesson-shape.\n\nTHE OVERLAY ITSELF IS A TEACHING OBJECT.\n- Educators can teach the design layer explicitly. \"We chose September 1958. A different choice would teach different things. Why might Polymyth have chosen this one?\"\n- Makes the cc* design layer a Polymyth-methodology-made-visible moment.\n- Shows students that fictional and historical can be deliberately woven for pedagogical density without conflating them.\n- The fictional / historical distinction is itself part of the lesson.\n\nPEDAGOGICAL-EQUIVALENCE GUARANTEE STILL HOLDS.\n- Each alternate overlay still teaches the Hughes lesson (grace over punishment, the choice that averts violence) via thread-appropriate cross-thread material.\n- The Roger-Mrs Jones encounter structure is invariant across overlays.\n\nCROSS-REFERENCES. cc-cmp001-narrative-architecture (overlay's multi-thread architecture). cc-cmp001-tm-friday / saturday / sunday / monday (overlay's temporal map). cc-cmp001-realism-* (15 realism domains, each anchored to 1958-default overlay). cc-cmp001-emergence-point (kitchenette as cave-interior, anchored to overlay). PM14 (cinematic anchors, where Crash lights up). PM13 (realism-trumps-all, pedagogical justification for overlay).\n\nORIGIN. May 9 2026. User caught the unflagged conflation of fictional Hughes encounter with real King stabbing. Q5-adjacent assertion-without-flag corrected here. Disclaimer codified for educator visibility and student-teaching-object status.\n", "x": "cmp-001 fictional Hughes story / real Sept 20 1958 King stabbing / campaign-design overlay made explicit. Overlay is a design choice not a textual fact. Alternate overlays possible (1956, 1962, 1933). The disclaimer itself is a teaching object.", "bb_links": [ "dm-010" ], "cc_links": [ "cc-cmp001-authors-world-reframe", "cc-cmp001-emergence-point", "cc-cmp001-narrative-architecture", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-overview", "cc-cmp001-realism", "cc-cmp001-street-S13", "cc-cmp001-tm-friday" ], "tg": "cc, cmp-001, historical-overlay-disclaimer, fictional-vs-historical-vs-overlay, hughes-1958-undated, king-stabbing-sept-20-1958-real, campaign-design-choice, q5-correction, alternate-overlays, teaching-object, may-2026-09-origin" }, { "id": "cc-cmp001-authors-world-reframe", "s": "authors-world-reframe", "r": "cmp-001", "t": "cmp-001 Author’s World reframe (master frame, supersedes overlay-on-real-day)", "b": "cmp-001 AUTHOR'S WORLD reframe. The campaign's master frame.\n\nTHE REFRAME.\n- cmp-001 is no longer \"fictional Hughes encounter overlaid on real Sept 20 1958.\"\n- cmp-001 is now \"1958 Harlem where Langston Hughes is in his top-floor workroom at 20 East 127th writing his Simple stories and his short stories AND the King stabbing happens at Blumstein's that Saturday afternoon AND somewhere in that same Harlem the fictional encounter between Mrs Jones and Roger is being imagined into existence.\"\n- The author's-world layer is the master frame. Fictional and historical braid AT the author's typewriter.\n\nWHY THIS IS STRUCTURALLY SUPERIOR.\n- Fourth-wall-breaking is built in. Students can visit Hughes at 20 East 127th. They can WATCH the manuscript page being drafted.\n- The braid of fiction and history is no longer overlaid by us. It is lived by the author. Hughes was in fact in Harlem that fall, in fact writing fiction, in fact contemporaneous with the King stabbing.\n- The author becomes the load-bearing meta-NPC. Hughes thread moves from #5 of 8 (per cc-cmp001-narrative-architecture) to #1, the spine of the cross-thread interweave.\n- Polymyth methodology (cinematic anchors PM14) lights up further. Truman. The author's world is hyperdense by definition (Hughes's life is documented). Curb. The substrate is Hughes's actual writing process. Crash. Threads emerge naturally from the author's vantage point. Matrix. The manuscript page extends the kitchenette-mirror portal.\n\nWHAT WE KNOW ABOUT HUGHES IN FALL 1958.\n- Lived at 20 East 127th in his top-floor workroom (1947-1967, NYC LPC LP-1135).\n- Was in his \"mature period\" as a writer (per Englicist analysis).\n- Was actively writing the Simple stories for the Chicago Defender (column begun 1943, ongoing through 1965).\n- Co-edited The Book of Negro Folklore with Arna Bontemps, published 1958 by Dodd Mead, ISBN 978-0-396-04157-3 first edition (verified via Open Library, Franklin UPenn, Amazon).\n- The Langston Hughes Reader also published 1958 by George Braziller, WorldCat OCLC 285644 (verified).\n- Politically aligned with King.\n- Frequent walker and observer of Harlem street life. Drew material from his neighborhood.\n\nCITATION DISPUTE FOR \"THANK YOU, M'AM\" FIRST PUBLICATION.\n- History.com sources the story to The Book of Negro Folklore (1958, Hughes + Bontemps eds., Dodd Mead).\n- Uniwriter.ai sources it to The Langston Hughes Reader (1958, Braziller).\n- Both books published 1958. Both edited or written by Hughes.\n- Disputed at primary level which one carried first publication of this specific story.\n- Resolvable via direct examination of both first-edition tables of contents at NYPL Schomburg.\n- Earlier cmp-001 entries cited Hill and Wang Short Stories of Langston Hughes (ISBN 978-0-8090-1603-1) as anthology source. This is a 1996 reprint edited by Akiba Sullivan Harper, not first publication. Reprint citation remains valid as teaching-edition reference but should not be confused with 1958 first publication.\n\nWHAT WE DO NOT KNOW (UNCHECKED).\n- Hughes's specific whereabouts on the afternoon of Saturday September 20 1958 (the King stabbing afternoon).\n- Whether he was at the Blumstein's signing line.\n- Whether he visited King at Harlem Hospital during the recovery week.\n- Whether he wrote anything in the days following that referenced the stabbing.\n- Resolvable via Rampersad The Life of Langston Hughes Volume II 1941-1967 (Oxford 2002, ISBN 978-0-19-514643-4) which reportedly documents Hughes's activities granularly.\n\nTHE MANUSCRIPT AS IN-WORLD ARTIFACT.\n- The student-character can encounter Hughes's manuscript-in-progress at his typewriter at 20 East 127th.\n- The manuscript shows the encounter being written. Some pages are about Roger and Mrs Jones. Some pages are not yet.\n- The manuscript is unfinished. The student-character knows this. They are inhabiting a story that has not been finalized.\n- They can ask Hughes questions about the story. Hughes answers in character (per cc-cmp001-npc-hughes voice samples and primary citations).\n- They can read the page he is currently working on.\n- They cannot rewrite the manuscript (the canonical text is fixed). They can only witness.\n\nFOURTH-WALL-BREAKING DESIGN.\n- The educator can stage a Hughes-at-typewriter scene at any point in the campaign.\n- The party realizes mid-campaign that they are in a story being written.\n- This is not breaking immersion. This IS the immersion. The story acknowledges itself as a story while staying inside its own logic.\n- Inspired by Borges (author and character meet), Calvino If on a winter's night a traveler (reader meets writer), kid-tested Dora the Explorer \"do you see the bridge?\" mode, and metafiction in general.\n\nHUGHES THREAD IS NOW LOAD-BEARING.\n- Per cc-cmp001-narrative-architecture, the threads were Roger / Mrs Jones / King / Maynard-Curry / Hughes / Salem-Abyssinian / Roger-peer / Theresa-staff. Hughes was #5.\n- Under Author's World reframe, Hughes is #1. The spine of the cross-thread interweave.\n- Mrs Jones thread, Roger thread, King thread are all now sub-threads inside the Harlem that Hughes is writing about and writing from.\n- Hughes thread does not erase the others. It contains them.\n\nPOLYMYTH METHODOLOGY MADE VISIBLE.\n- Educators can teach the author's-world layer explicitly. \"Hughes was a real person writing this story in 1958 in Harlem while real things were happening around him. We are inhabiting his world AND his story at the same time. Why does this matter.\"\n- Shows students that fiction and history can be deliberately woven by the author themselves. The campaign designer authored one weave. Players author their own.\n- The fictional / historical / authorial distinction becomes part of the lesson.\n\nCROSS-REFERENCES. cc-cmp001-historical-overlay-disclaimer (this reframe extends the disclaimer's truth-distinction). cc-cmp001-narrative-architecture (Hughes thread now #1, supersedes #5 ranking there). cc-cmp001-npc-hughes (Hughes dossier as central NPC; needs upgrade from T1-with-conditions to T1-load-bearing). cc-cmp001-emergence-point (Mrs Jones's kitchenette mirror as primary spawn portal; Hughes's typewriter as secondary in-world artifact-portal). PM14 (Truman + Curb + Crash + Matrix anchors all light up). dim-001 (text-as-dimension, the dimension is now explicitly the author's mind plus his world).\n\nORIGIN. May 9 2026. User reframed cmp-001 from overlay-on-real-day to author's-world-as-master-frame, asking where Hughes was during the King stabbing night. Citation question (Folklore vs Reader) raised in flight. Hughes specific Sept 20 1958 whereabouts UNCHECKED.\n", "x": "cmp-001 master frame reframe. Hughes-at-typewriter at 20 East 127th becomes the load-bearing meta-NPC. Manuscript-in-progress is touchable in-world artifact. Fourth-wall-breaking is built in. Hughes thread moves from #5 to #1. Citation correction. Hughes Sept 20 1958 whereabouts UNCHECKED.", "bb_links": [ "dim-001" ], "cc_links": [ "cc-cmp001-emergence-point", "cc-cmp001-ghost-firing-6-hughes-typewriter", "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-hughes-house", "cc-cmp001-im-hughes-portrait", "cc-cmp001-narrative-architecture", "cc-cmp001-npc-hughes", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-overview" ], "tg": "cc, cmp-001, authors-world-reframe, master-frame, hughes-load-bearing, manuscript-in-world-artifact, fourth-wall-breaking, hughes-thread-now-1, citation-correction-folklore-vs-reader-vs-hill-wang, rampersad-resolvable, borges-calvino-metafiction, polymyth-methodology-made-visible, may-2026-09-origin" }, { "id": "cc-cmp001-oi-hughes-workroom", "s": "oi-hughes-workroom", "r": "cmp-001", "t": "cmp-001 Object inventory: Hughes’s workroom at 20 East 127th (Author’s World scene)", "b": "cmp-001 object inventory. Hughes's top-floor workroom at 20 East 127th. The Author's World scene's primary in-world artifact-site (per cc-cmp001-authors-world-reframe).\n\nBUILDING (verified per LP-1135 designation report and current museum status).\n- 1869 Italianate brownstone built by James Meacher and Thomas Hanson.\n- Three stories plus basement. 20 ft wide by 45 ft deep.\n- Faced in brownstone. Bracketed and modillioned sheet metal roof cornice. Grape ivy vine extending over the facade.\n- The block was renamed \"Langston Hughes Place\" in his honor (post-1981 designation, anachronistic in cmp-001 1958 setting).\n- House currently operates as a historic house museum (anachronistic to 1958 setting; helpful for primary-research access).\n\nTOP FLOOR WORKROOM (where Hughes wrote 1947-1967).\n- Hughes occupied the topmost floor as his workroom.\n- Front room has a MARBLE MANTLE. Verified per National Trust for Historic Preservation: \"Hughes' typewriter sits atop the marble mantle in the home's front room.\"\n- Multiple typewriters belonged to Hughes. Verified per officiallangstonhughes.com and Art Newspaper coverage of 2023 museum opening.\n- Specific typewriter brand 1958 UNCHECKED at primary level. Period-likely candidates. Royal (very common writer's choice 1940s-50s), Underwood (common), Smith Corona (common), Hermes Baby (portable, popular with writers).\n- Bookshelves with his published work. Montage of a Dream Deferred (1951), The Weary Blues (1925).\n- Within cmp-001 1958 timeline the workroom contains his 1958 publications The Book of Negro Folklore (Dodd Mead) and The Langston Hughes Reader (Braziller). Selected Poems of Langston Hughes (1959, Knopf) is post-cmp-001-window and absent from 1958 setting.\n- Manuscript pages and published works on or near the typewriter and desk. The desk in September 1958 sits at the center of an extraordinarily busy publishing year. FOUR 1958 BOOKS (proofs, jacket art, author copies, reviews, or fan and colleague mail about them are all plausible desk items): (1) The Langston Hughes Reader George Braziller 1958, a major career-spanning anthology. (2) Tambourines to Glory John Day Company 1958, his gospel-themed novel which he was also developing toward a stage musical (premiere 1963). (3) The Book of Negro Folklore co-edited with Arna Bontemps Dodd Mead 1958 (exact publication month UNCHECKED; galleys or the finished book are both plausible). (4) Famous Negro Heroes of America Dodd Mead 1958, juvenile nonfiction. CHICAGO DEFENDER COLUMN: the Simple column (Jesse B Semple) was still running in 1958 as a regular column (begun 1943; ended 1966 per Rampersad). A column-in-progress for the Defender is the highest-probability document in the typewriter at any given moment. WEARY BLUES LP: the MGM Weary Blues LP (E3697) was recorded in 1958 (exact session dates UNCHECKED; musicians included Charles Mingus, Henry Red Allen, and Phineas Newborn Jr under producer Leonard Feather). Related notes, correspondence, or a test pressing are plausible desk items. SELECTED POEMS: Selected Poems of Langston Hughes Knopf 1959 was in preparation; working drafts and Knopf correspondence about it are plausible. SIMPLY HEAVENLY: his Simple-based musical play had reached Broadway in 1957; related papers (royalty statements, revival or amateur-rights correspondence) are plausible. LIBRARY OF CONGRESS: Hughes recorded poetry at the LOC in 1958 (exact date UNCHECKED); correspondence about it is plausible. CORRESPONDENCE ON THE DESK: letters to and from Arna Bontemps (his most frequent correspondent, about the folklore book and shared projects), Carl Van Vechten (about contributing papers to the JWJ Collection at Yale), publishers and editors at Braziller, Knopf, John Day, and Dodd Mead, and the constant stream of readers, students, and young writers who wrote to him. A Bontemps letter about the folklore anthology is the single most defensible specific letter on the desk. REFERENCE MATERIALS: the Chicago Defender and other Black press; general magazines and books he was reviewing or mining for anthologies; reference works for his juvenile nonfiction.\n\nPERIOD-EXTRAPOLATED INTERIOR (UNCHECKED for exact 1958 layout, plausible per period writing-room photographs and Rampersad biography).\n- Wooden writing desk with chair facing the window or facing the wall (most likely arrangement).\n- Filing cabinet for correspondence and drafts.\n- Gooseneck or table lamp on desk.\n- Ashtray (Hughes smoked, period photographs document).\n- Coffee cup (Hughes worked late nights per Rampersad, coffee-fueled).\n- Reading chair near a bookshelf.\n- Carpet, curtains, walls. Specific 1958 décor not documented; AI engine improvises per period domestic interior if a path requires close visual.\n- Window onto East 127th Street (the front room faces the street).\n\nTHE HARPERS (Hughes's adopted-family co-residents).\n- William Emerson Harper. Husband. Professional musician (INSTRUMENT UNCHECKED: piano or reed/woodwind; see cc-cmp001-npc-emerson-harper).\n- Ethel \"Toy\" Dudley Brown Harper. His longtime companion / adoptive aunt-figure. Hughes called her his \"aunt\" though they were not blood relatives.\n- Lived in the lower floors of 20 East 127th. Hughes occupied the top.\n- They were his de facto family during his Harlem years.\n- Their movements during any cmp-001 weekend timestamp not specifically documented; would be downstairs if not out, per their landlord-and-aunt/uncle role to Hughes.\n- Emerson and Toy as composite-tier NPCs if a party member visits and interacts.\n\nTHE MANUSCRIPT-IN-PROGRESS AS IN-WORLD ARTIFACT.\n- A typed page or pages on or beside the typewriter.\n- The page can show \"Thank You, M'am\" being drafted. Some lines typed, others not yet.\n- The page can also show OTHER Hughes work-in-progress. Simple story for Chicago Defender that week. A poem. A letter to Bontemps about the Folklore book.\n- If a party member reads the manuscript page, they encounter the canonical text being formed.\n- They cannot rewrite. They can only witness. The canonical text is fixed.\n- The manuscript is the Matrix-portal extension of the kitchenette mirror (per PM14 Matrix anchor and cc-cmp001-emergence-point). Two portals in cmp-001 now. The mirror (spawn portal) and the manuscript (authorial recognition portal).\n\nSAMPLE DIALOGUE SCENARIOS (Hughes voice register per cc-cmp001-npc-hughes).\n(a) party knocks. Hughes opens the door. \"Come in. I have coffee on the hot plate. Sit.\"\n(b) party asks about the manuscript. Hughes glances at the page. \"It is not finished. I am working on it. Tell me what you make of it.\"\n(c) party mentions the King stabbing (after 4 PM Saturday). Hughes pauses. \"The news reached me an hour after. Aubre Maynard is good. Martin will be all right. The work goes on.\"\n(d) party asks why he is writing this story. Hughes thinks. \"There is a kind of person who would not call the police on a boy who tried to take her bag. I have known such a person. I write so that you will know her too.\"\n(e) party asks how the story ends. Hughes smiles. \"Read the page when I finish it. Or wait for the book.\"\n(f) party asks if the woman is real. Hughes does not answer directly. \"Mrs Jones is herself. That is enough.\"\n\nNAVIGATIONAL HOOKS.\n- The workroom is reachable from the East 127th block (Hughes house block, one block south of the encounter block).\n- Three blocks south is the 125th retail spine including Blumstein's (King stabbing site Saturday afternoon).\n- One block north is the encounter block East 128th between Madison and Park.\n- The Hughes thread per cc-cmp001-narrative-architecture is now load-bearing #1. Most cross-thread paths intersect at or near the workroom.\n\nUNCHECKED resolution paths.\n- Specific typewriter brand 1958 UNCHECKED. Resolvable via Langston Hughes House museum direct visit, Schomburg holdings, or Rampersad Volume II 1941-1967 (Oxford 2002, ISBN 978-0-19-514643-4). Period-likely candidates: Royal (very common writer choice 1940s to 50s), Underwood (common), Smith Corona (common), Hermes Baby (portable, popular with writers).\n- Specific 1958 furniture layout UNCHECKED. Resolvable via Rampersad notes at Schomburg or via the Beinecke Library Hughes papers at Yale.\n- Hughes specific Sept 20 1958 hour-by-hour location: not surfaced in available primary sources for this date. His documented late-September 1958 working pattern at this workroom (per Rampersad biography) covers most weekday and weekend hours; specific Saturday afternoon attendance not yet verified.\n- Exact publication months for the four 1958 books UNCHECKED. Resolution path: LOC catalog copyright registration dates.\n- Weary Blues LP recording session dates UNCHECKED. Resolution path: MGM recording archives and jazz discography databases.\n- Thank You Mam earliest publication date and venue UNCHECKED. Resolution path: Hughes bibliography and Beinecke finding aid.\n- Selected Poems Knopf 1959 preparation timeline UNCHECKED. Resolution path: Rampersad and Beinecke Knopf-Hughes correspondence.\n- B1 RESEARCH FILL June 24 2026 added the four 1958 books, the Defender column, the Weary Blues LP, the Selected Poems preparation, the Simply Heavenly papers, the LOC recording, and the correspondence inventory. UNCHECKED items flagged above.\n\nCROSS-REFERENCES. cc-cmp001-authors-world-reframe (the scene this materializes). cc-cmp001-npc-hughes (Hughes dossier; status upgrade to T1 load-bearing pending). cc-cmp001-emergence-point (kitchenette mirror as primary spawn portal, manuscript as secondary in-world artifact-portal). cc-cmp001-historical-overlay-disclaimer (cites the venue dispute Folklore vs Reader). cc-cmp001-narrative-architecture (Hughes thread #1). cc-cmp001-realism-spatial (Hughes house in spatial domain). PM14 (Truman + Curb + Crash + Matrix anchors). dim-001 (text-as-dimension, manuscript IS the next layer of dimension being created in real time).\n\nORIGIN. May 9 2026. Author's World reframe materialized into playable scene. Marble mantle and typewriter verified via National Trust for Historic Preservation. Specific 1958 furnishings UNCHECKED.\n", "x": "Hughes top-floor workroom inventory. Marble mantle with typewriter (verified National Trust). The Harpers (Emerson + Toy) household co-residents. Manuscript-in-progress as in-world artifact and secondary Matrix-portal. Six sample dialogue scenarios. Navigational hooks.", "bb_links": [ "dim-001" ], "cc_links": [ "cc-cmp001-authors-world-reframe", "cc-cmp001-emergence-point", "cc-cmp001-ghost-firing-6-hughes-typewriter", "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-hughes-house", "cc-cmp001-im-hughes-house", "cc-cmp001-narrative-architecture", "cc-cmp001-npc-hughes", "cc-cmp001-realism-spatial" ], "tg": "cc, cmp-001, object-inventory, hughes-workroom, 20-east-127th, marble-mantle, typewriter, harpers-household, manuscript-as-artifact, secondary-matrix-portal, six-dialogue-scenarios, navigational-hooks, may-2026-09-origin" }, { "id": "cc-cmp001-ghost-firing-6-hughes-typewriter", "s": "ghost-firing-6", "r": "cmp-001", "t": "cmp-001 Rainbowbower Interiority Firing 6: Hughes typewriter [renamed 2026-05-16 from Ghost Exegesis Firing]", "b": "RENAMED 2026-05-16 from Ghost Exegesis Firing to Rainbowbower Interiority Firing per user ruling. Concept disambiguation: ghost = real-world TEXT studied through dimensional immersion per cc-cmp001-ghost-exegesis-applications. This entry handles the deepening / extraction beat that USES textual substrate but is NOT itself a ghost-scene. The text rendered here is documented historical substrate for the interiority-rendering, not a ghost-scene fire. ID slug retained for stability.\n\ncmp-001 Ghost Exegesis Firing 6. Hughes typewriter. Supplements cc-cmp001-ghost-exegesis-applications. Sixth firing point added under cc-cmp001-authors-world-reframe.\n\nTRIGGER. A party member enters Hughes workroom at 20 East 127th (per cc-cmp001-oi-hughes-workroom and cc-cmp001-hughes-house LAYER A PRESENTATION) and sees Hughes IN THE WALL MIRROR writing at a desk-from-elsewhere. The workroom itself is empty of Hughes-the-man. The party reads a manuscript page through the reflection (or the page surfaces on the Layer-A desk while Hughes-in-the-mirror writes its mirror-image). The page shows the encounter being drafted. The ACT OF READING is the moment the Layer A overlay begins to lift; crossing through the mirror itself fully lifts the overlay per MIRROR-AS-UNIVERSAL-PORTAL RULE TRANSIT portal function. This is the firing where Layer A and Layer B collapse into one another. Or any moment when the party realizes they are inside a story being written.\n\nExtract the party member to the rainbowbower.\n\nSHOW.\n- Hughes's writing process. The page going through draft after draft. Lines added, struck out, rewritten.\n- The choices Hughes is making about Mrs Jones's voice. Why he chose \"I have done things, too\" and not a more specific confession. Why he chose to leave the past unspecified.\n- The choices Hughes is making about Roger's silence. Why Roger's lines are short. Why \"Yes'm\" is the pattern.\n- The choices Hughes is making about the ending. The closed door. \"And he never saw her again.\" The deliberate non-resolution.\n- The political backdrop. King in the hospital this same weekend. The civil-rights movement gathering force. Hughes's place in it as elder writer.\n\nRETURN. The party member returns to the workroom or to wherever they were when extracted. Carries author's-perspective deepening.\n\nPEDAGOGICAL EFFECT.\n- Authorship is demystified. Hughes is shown making decisions, not delivering finished truth.\n- Students see fiction as constructed, not given.\n- The cross-thread reveal includes the AUTHORIAL thread, which is the master thread per cc-cmp001-authors-world-reframe.\n- The PM14 Crash anchor lights up with maximum strength. Truth lives in the cross-thread pattern, including the authorial thread.\n\nANTI-OVERUSE. Firing 6 is once per session at most. Combining Firing 6 with Firings 1-5 creates \"the multiverse-kid sees the author and the encounter and the consequence\" mode and is most powerful as the second firing of a session, after kids have seen one in-dimension scene without authorial framing.\n\nCROSS-REFERENCES. cc-cmp001-ghost-exegesis-applications (parent five-firing inventory). cc-cmp001-oi-hughes-workroom (the scene this fires from). cc-cmp001-authors-world-reframe (master frame this firing actualizes). cc-cmp001-npc-hughes. dm-012 (universal mechanic). PM14.\n\nORIGIN. May 9 2026. Sixth firing added after Author's World reframe.\n", "x": "Sixth ghost-exegesis firing point. Hughes typewriter manuscript-witness. Demystifies authorship. Cross-thread reveal includes authorial thread. Once-per-session anti-overuse.", "bb_links": [ "dm-012" ], "cc_links": [ "cc-cmp001-authors-world-reframe", "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-hughes-house", "cc-cmp001-npc-hughes", "cc-cmp001-oi-hughes-workroom" ], "tg": "cc, cmp-001, ghost-firing-6, hughes-typewriter, manuscript-witness, authorship-demystified, authorial-thread-master, supplements-five-firings, may-2026-09-origin" }, { "id": "cc-cmp001-ghost-firing-1-roger-snatch", "s": "ghost-firing", "r": "cmp-001", "t": "cmp-001 Rainbowbower Interiority Firing 1 (after Roger snatch attempt, before Mrs Jones speaks) [renamed 2026-05-16 from Ghost Exegesis Firing]", "b": "RENAMED 2026-05-16 from Ghost Exegesis Firing to Rainbowbower Interiority Firing per user ruling. Concept disambiguation: ghost = real-world TEXT studied through dimensional immersion per cc-cmp001-ghost-exegesis-applications. This entry handles the deepening / extraction beat that USES textual substrate but is NOT itself a ghost-scene. The text rendered here is documented historical substrate for the interiority-rendering, not a ghost-scene fire. ID slug retained for stability.\n\ncmp-001 Ghost Exegesis Firing 1. Roger snatch attempt. Supplements cc-cmp001-ghost-exegesis-applications. First firing point in the canonical encounter sequence. TRIGGER. Roger has lunged for the purse. Mrs Jones has caught him by the shirt-front. The next beat is hers. EXTRACT Roger (or whoever is playing him) into the rainbowbower. SHOW. The home configuration A through E that was selected for this run, rendered as a vignette. The blue-suede-shoes desire-structure (cc-cmp001-realism-economic) showing where the want came from. The empty-pockets reality (cc-cmp001-oi-roger). Optionally his peer-group context (cc-cmp001-roger-peer-thread). RETURN. Roger reenters the same in-dimension second. The encounter continues with the player carrying the deepened backstory. PEDAGOGICAL EFFECT. The encounter is no longer abstract. The player feels Roger specificity. ANTI-OVERUSE. Two to four firings per 90-minute session per dm-012 anti-overuse rule. Roger-thread runs lean on Firings 1, 2, 5. CROSS-REFERENCES. cc-cmp001-ghost-exegesis-applications (parent five-firing inventory). cc-cmp001-canon (encounter setup). cc-cmp001-npc-roger. cc-cmp001-household-type-pattern through E (home configurations rendered). cc-cmp001-realism-economic (blue-suede-shoes desire-structure). cc-cmp001-oi-roger (object inventory). cc-cmp001-roger-peer-thread (peer group). bb-dm-012 (universal mechanic). PM14. ORIGIN. May 9 2026, ghost firings 1-5 split out from parent ghost-exegesis-applications matching firing-6 pattern.", "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-npc-roger", "cc-cmp001-realism-economic", "cc-cmp001-oi-roger", "cc-cmp001-canon" ], "bb_links": [ "dm-012" ], "tg": "cc, cmp-001, ghost-firing, firing-1, roger-snatch, dm-012, may-2026-09-origin" }, { "id": "cc-cmp001-ghost-firing-2-mrs-jones-choice", "s": "ghost-firing", "r": "cmp-001", "t": "cmp-001 Rainbowbower Interiority Firing 2 (before Mrs Jones choice cops vs grace) [renamed 2026-05-16 from Ghost Exegesis Firing]", "b": "RENAMED 2026-05-16 from Ghost Exegesis Firing to Rainbowbower Interiority Firing per user ruling. Concept disambiguation: ghost = real-world TEXT studied through dimensional immersion per cc-cmp001-ghost-exegesis-applications. This entry handles the deepening / extraction beat that USES textual substrate but is NOT itself a ghost-scene. The text rendered here is documented historical substrate for the interiority-rendering, not a ghost-scene fire. ID slug retained for stability.\n\ncmp-001 Ghost Exegesis Firing 2. Mrs Jones choice. Supplements cc-cmp001-ghost-exegesis-applications. Second firing point. The load-bearing moral choice of the encounter. TRIGGER. Mrs Jones has Roger by the shirt-front. She is about to speak the load-bearing line. The Hughes text is about to deliver If you turn me loose run, will you, boy. Yes maam. And the kitchenette walk. EXTRACT Mrs Jones (or whoever is playing her). SHOW. Her past extrapolated from the Hughes text line I have done things, too, which I would not tell you, son. Not even God if he didn already know. Render two or three possible past-self scenes (a Mrs-Jones-as-young-woman moment, a similar-mercy-she-once-received). Show alternative-future renderings. Future where she calls the cops. Future where she gives grace. Both played out briefly. RETURN. She speaks her line with the full weight of having seen both futures. PEDAGOGICAL EFFECT. The player feels the choice as a choice. The grace becomes legible as moral act not as plot device. ANTI-OVERUSE. Two to four firings per 90-minute session per dm-012 anti-overuse rule. Mrs Jones-thread runs lean on Firings 2 and 4. Cross-thread runs can fire 2 plus 5 for maximum cross-thread recognition. CROSS-REFERENCES. cc-cmp001-ghost-exegesis-applications (parent). cc-cmp001-npc-mrs-jones. cc-cmp001-canon. cc-cmp001-vs-mrs-jones (period voice). cc-cmp001-emergence-point (kitchenette scene location). bb-dm-012. PM14. ORIGIN. May 9 2026, split from parent ghost-exegesis-applications.", "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-npc-mrs-jones", "cc-cmp001-canon", "cc-cmp001-vs-mrs-jones", "cc-cmp001-emergence-point" ], "bb_links": [ "dm-012" ], "tg": "cc, cmp-001, ghost-firing, firing-2, mrs-jones-choice, dm-012, may-2026-09-origin" }, { "id": "cc-cmp001-ghost-firing-3-blumsteins-stabbing", "s": "ghost-firing", "r": "cmp-001", "t": "cmp-001 Rainbowbower Interiority Firing 3 (Blumstein 3:20 PM during stabbing) [renamed 2026-05-16 from Ghost Exegesis Firing]", "b": "RENAMED 2026-05-16 from Ghost Exegesis Firing to Rainbowbower Interiority Firing per user ruling. Concept disambiguation: ghost = real-world TEXT studied through dimensional immersion per cc-cmp001-ghost-exegesis-applications. This entry handles the deepening / extraction beat that USES textual substrate but is NOT itself a ghost-scene. The text rendered here is documented historical substrate for the interiority-rendering, not a ghost-scene fire. ID slug retained for stability.\n\ncmp-001 Ghost Exegesis Firing 3. Blumstein Saturday 3:20 PM during the stabbing. Supplements cc-cmp001-ghost-exegesis-applications. Third firing point. Cross-thread King event. TRIGGER. Saturday September 20 1958 3:20 PM. Curry approaches King at the book-signing. The blade is about to land. EXTRACT any party member present at Blumstein. SHOW. King interior. The Stanford King Institute documentation (kinginstitute.stanford.edu) that he stayed in the chair, conscious, blade-in. The if I had sneezed I would have died awareness arrives in real time. Show Curry interior. Her paranoid construction of King as Communist torturing her for years (per period news quotes, NYT plus Amsterdam News plus Pittsburgh Courier September 21-25 1958 coverage; Pearson When Harlem Nearly Killed King ISBN 978-1-58322-614-1). Show the crowd collective shock as a single shared registration. RETURN. The party member witnesses the actual stabbing-moment with full perspective on all three positions. PEDAGOGICAL EFFECT. The cross-thread reveal of the Crash anchor fires here. Truth lives in the cross-thread pattern, not in any single position alone. ANTI-OVERUSE. King-thread runs lean on Firings 3 and 4. Cross-thread runs can fire 1 plus 3 for maximum recognition. CROSS-REFERENCES. cc-cmp001-ghost-exegesis-applications (parent). cc-cmp001-king-stabbing (event detail). cc-cmp001-blumsteins (location). cc-cmp001-npc-king. cc-cmp001-npc-curry. cc-cmp001-galesi-brescia (Curry pistol context). cc-cmp001-news-context (period news cycle). cc-cmp001-tm-saturday (3:20 PM beat). bb-dm-012. PM14 Crash anchor. ORIGIN. May 9 2026, split from parent ghost-exegesis-applications.", "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-king-stabbing", "cc-cmp001-blumsteins", "cc-cmp001-npc-king", "cc-cmp001-npc-curry", "cc-cmp001-tm-saturday", "cc-cmp001-galesi-brescia", "cc-cmp001-news-context" ], "bb_links": [ "dm-012" ], "tg": "cc, cmp-001, ghost-firing, firing-3, blumsteins-stabbing, 3-20-pm, dm-012, may-2026-09-origin" }, { "id": "cc-cmp001-ghost-firing-4-sunday-sermon", "s": "ghost-firing", "r": "cmp-001", "t": "cmp-001 Rainbowbower Interiority Firing 4 (Sunday morning Abyssinian or Salem sermon) [renamed 2026-05-16 from Ghost Exegesis Firing]", "b": "RENAMED 2026-05-16 from Ghost Exegesis Firing to Rainbowbower Interiority Firing per user ruling. Concept disambiguation: ghost = real-world TEXT studied through dimensional immersion per cc-cmp001-ghost-exegesis-applications. This entry handles the deepening / extraction beat that USES textual substrate but is NOT itself a ghost-scene. The text rendered here is documented historical substrate for the interiority-rendering, not a ghost-scene fire. ID slug retained for stability.\n\ncmp-001 Ghost Exegesis Firing 4. Sunday morning at Abyssinian or Salem. Supplements cc-cmp001-ghost-exegesis-applications. Fourth firing point. The Sunday-as-news-processing-site beat. TRIGGER. Powell preaching about the King attack at Abyssinian (cc-cmp001-abyssinian). Or Mrs Jones in the pew at her own congregation. The sermon mid-flow. EXTRACT the congregation-sitting party. SHOW. Prior Powell sermons that built to this one (per Charles V Hamilton Adam Clayton Powell Jr biography ISBN 978-0-689-12062-6). The arc of the Black-political-Christian sermon-tradition. Show Mrs Jones quiet response in her pew. Does she connect her Saturday-night encounter with the King event. Does she remain silent. The internal monologue rendered. RETURN. The congregation-scene continues with the party member understanding the religious-political register at full depth. PEDAGOGICAL EFFECT. The Sunday-as-news-processing-site becomes legible as collective moral apparatus. ANTI-OVERUSE. Mrs Jones-thread runs lean on Firings 2 and 4. King-thread runs lean on Firings 3 and 4. CROSS-REFERENCES. cc-cmp001-ghost-exegesis-applications (parent). cc-cmp001-abyssinian (location). cc-cmp001-npc-powell (preacher). cc-cmp001-realism-religious (sermon-tradition context). cc-cmp001-tm-sunday (Sunday morning beat). cc-cmp001-king-stabbing (the news being processed). cc-cmp001-npc-mrs-jones (alternative congregation). bb-dm-012. PM14. ORIGIN. May 9 2026, split from parent ghost-exegesis-applications.", "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-abyssinian", "cc-cmp001-npc-powell", "cc-cmp001-realism-religious", "cc-cmp001-tm-sunday", "cc-cmp001-king-stabbing", "cc-cmp001-npc-mrs-jones" ], "bb_links": [ "dm-012" ], "tg": "cc, cmp-001, ghost-firing, firing-4, sunday-sermon, abyssinian, dm-012, may-2026-09-origin" }, { "id": "cc-cmp001-ghost-firing-5-monday-newsstand", "s": "ghost-firing", "r": "cmp-001", "t": "cmp-001 Rainbowbower Interiority Firing 5 (Monday morning newsstand pass) [renamed 2026-05-16 from Ghost Exegesis Firing]", "b": "RENAMED 2026-05-16 from Ghost Exegesis Firing to Rainbowbower Interiority Firing per user ruling. Concept disambiguation: ghost = real-world TEXT studied through dimensional immersion per cc-cmp001-ghost-exegesis-applications. This entry handles the deepening / extraction beat that USES textual substrate but is NOT itself a ghost-scene. The text rendered here is documented historical substrate for the interiority-rendering, not a ghost-scene fire. ID slug retained for stability.\n\ncmp-001 Ghost Exegesis Firing 5. Monday morning newsstand pass. Supplements cc-cmp001-ghost-exegesis-applications. Fifth firing point. The campaign window natural arrival point. Seeds the homework apology letter. TRIGGER. Roger walks past the corner newsstand on his way to school Monday September 22 1958. The Monday morning Amsterdam News (cc-cmp001-amsterdam-news) carries the King-recovery headline. EXTRACT Roger. SHOW. The 1978 apology-letter frame (cc-cmp001-rubric, cc-cmp001-homework). Roger as adult writing to Mrs Jones twenty years later. Connect the Saturday-night encounter to King example of grace-under-violence (I forgive her. I bear her no ill will attributed to King re Curry per Stanford King Institute). Show how the two moments will live together in Roger adult memory. RETURN briefly. Roger goes to school carrying the seed of his eventual letter. PEDAGOGICAL EFFECT. The campaign window natural arrival point (the apology rubric per cc-cmp001-rubric) is now seeded inside the dimension itself. ANTI-OVERUSE. Roger-thread runs lean on Firings 1, 2, 5. Cross-thread runs can fire 2 plus 5 for maximum cross-thread recognition. CROSS-REFERENCES. cc-cmp001-ghost-exegesis-applications (parent). cc-cmp001-amsterdam-news (Monday paper). cc-cmp001-npc-roger. cc-cmp001-tm-monday (Monday morning beat). cc-cmp001-rubric (apology-letter rubric). cc-cmp001-homework (homework spec the firing seeds). cc-cmp001-king-stabbing (the news-cycle reaching closure). bb-dm-012. PM14 Crash anchor (cross-thread completion). ORIGIN. May 9 2026, split from parent ghost-exegesis-applications.", "cc_links": [ "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-amsterdam-news", "cc-cmp001-npc-roger", "cc-cmp001-tm-monday", "cc-cmp001-rubric", "cc-cmp001-homework", "cc-cmp001-king-stabbing" ], "bb_links": [ "dm-012" ], "tg": "cc, cmp-001, ghost-firing, firing-5, monday-newsstand, apology-letter-seed, dm-012, may-2026-09-origin" }, { "id": "cc-cmp001-rubric", "s": "campaign", "r": "cmp-001", "t": "Apology-letter rubric — Roger to Mrs Jones, 1978", "b": "Cmp-001 instantiation of the four-axis quality rubric the bookwormburrows game framework specifies (the underlying rule lives at bb* dm-009; this entry adapts the four axes to the specific cmp-001 homework artifact). Roger writes the apology letter to Mrs Jones at age 33 in 1978, twenty years after the encounter at 11 PM on Saturday September 20 1958. The letter is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction.\n\nAXIS 1 — VOICE. Does the letter sound like a 33-year-old man with the specific texture of having grown up Black in central Harlem in the late 1950s and through the 1960s? Is there sediment of accumulated life experience in the prose that a 13-year-old’s voice could not produce? Does Roger sound like Roger and not like the student trying to impress the teacher? Markers of strong voice include: register-shift between contemporary 1978 idiom and the residue of his 1958 self; specific local references that an outsider could not fake; a relationship to writing the letter that feels like he is doing it for himself as much as for Mrs Jones.\n\nAXIS 2 — TRUTH. Does the letter acknowledge what Roger actually felt at 13 (shame, gratitude, fear, the specific texture of Mrs Jones’s kitchenette, the blue suede shoes still mattering somehow) rather than performing a moral self-portrait of the redeemed thief? Does it admit complications? Does Roger say he is not sure if he became a good man? Does he say he is still complicated about money? Does he write into the silence (Mrs Jones may be dead by 1978; the letter may be unsendable; he may be writing for himself)? Truth means refusing the easy redemption arc.\n\nAXIS 3 — RESTRAINT. Does the letter show the years between 1958 and 1978 rather than narrate them? Does it trust the reader to fill gaps? Does it resist explaining what the encounter meant in a way that would flatten it? Strong restraint leaves room. Weak restraint over-explains and tells us what we are supposed to feel about the encounter.\n\nAXIS 4 — FORM. Does the letter use 1978 letter conventions (greeting, body, sign-off; hand-written or typed register depending on the student’s choice)? Twenty-years-later register (no contemporary 2024-style language slipping in)? Restraint about contemporary politics (Roger writing in 1978 would not reference Reagan or Carter unless it integrates)? Letter form, not essay form. The genre is letter; the genre is honored.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: Roger’s letter, in fiction, becomes the kind of artifact a younger relative would later find and read. Mixed equals partial success or success with cost: the letter accomplishes what it set out to but Roger, in fiction, is dissatisfied with it in some specific way the educator articulates. Poor on all four axes equals failure: Roger drafts the letter, sets it aside, never sends it; in-fiction the encounter remains structurally unresolved for him. The educator narrates the in-fiction outcome based on the rubric total.\n\nUSE BY EDUCATOR. The educator scores each axis independently. Total determines outcome. The educator may also write a brief note to the student on each axis, naming what worked and what did not, in addition to the academic grade. The student receives both: the academic mark for the writing, and the in-fiction narrative consequence for Roger.\n\nFRAMEWORK ANCHOR. bb* dm-009 (quality rubric framework, four axes voice / truth / restraint / form). Cmp-001-specific axis content above adapts the framework to this specific homework artifact.", "x": "Cmp-001 instantiation of bb* dm-009 (quality rubric framework). The four axes are deduced from the framework rule; the cmp-001-specific axis content names what each axis looks like for Roger’s 1978 letter to Mrs Jones. C1.7 FNMI text-creator engagement is satisfied via cc-cmp001-fnmi-pairing (Wagamese One Story One Song primary). The rubric assesses paired-reading discussion plus comparative-mentorship written response.", "mc_links": [ "e7" ], "bb_links": [ "dm-009" ], "cc_links": [ "cc-cmp001-fnmi-pairing", "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-ghost-firing-5-monday-newsstand", "cc-cmp001-overview", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-ss-0", "cc-cmp001-template-session", "cc-cmp001-tm-monday" ], "tg": "cmp-001, rubric, apology-letter, four-axis, voice-truth-restraint-form, dm-009-instantiation, homework, adjudication, roger-1978" }, { "id": "cc-cmp001-fnmi-pairing", "s": "pedagogy", "r": "fnmi-pairing", "t": "cmp-001 FNMI text creator pairing for C1.7 satisfaction", "b": "FNMI text creator pairing for cmp-001. Strand C1.7 of the Ontario 2023 Language curriculum (cit-013) Grade 7 specific expectation requires students read listen to and view various forms of texts by diverse First Nations Metis and Inuit creators to make meaning through Indigenous Storywork about FNMI histories cultures relationships communities groups nations and lived experiences. Hughes Thank You M am does not satisfy C1.7. The cmp-001 campaign pairs Hughes with Wagamese as primary FNMI anchor plus Robertson texts as secondary. PRIMARY PAIRING: Richard Wagamese One Story One Song per cit-028. Wagamese Ojibway from Wabaseemoong Independent Nations (Sturgeon Clan, northwestern Ontario, 1955-2017). Form short non-fiction essays organized by Ojibway storytelling principles. Pairing time 10-15 minutes alongside the 15-minute Hughes story. Specific story for the bridge: Wagamese Grade 5 teacher introducing him to Martin Luther King Jr (the section-Trust story); this is literally a structural-bridge text since both Hughes and Wagamese stage an unexpected adult mentorship that changes a child moral arc against a backdrop of poverty and racial trauma. Themes shared with Hughes: unexpected mentorship, dignity in adversity, intergenerational moral transmission, the gift given without being asked for, trust extended across difference. Discussion question for paired reading: Both texts show an adult choosing to give a child something the child did not ask for. What is the cost to the giver? What is the cost to the child if the gift is refused? C1.7 satisfaction: direct (Wagamese is canonical FNMI text creator). A3.3 satisfaction: jointly addressed by reading both Hughes and Wagamese with comparative-mentorship discussion frame. SECONDARY PAIRING ROBERTSON BARREN GROUNDS per cit-030. Robertson Norway House Cree Nation (Swampy Cree). Reading level Lexile 680L within Grade 7 range. Chapter 1 free preview at penguinrandomhouseelementaryeducation.com. Pairing approach: optional second-stage homework reading for students wishing extension; thematic resonance through displaced-child-finding-mentorship and food-scarcity. DIFFERENTIATED-SUPPORT PAIRING ROBERTSON WHEN WE WERE ALONE per cit-029. Picture book for older readers, Grade 1-3 Lexile 600L. Used as 5-minute illustrated complement that asks students to compare what is taken (residential school) with what is given (the Hughes gift). Available for classroom display alongside the read-aloud. EDUCATOR DEPLOYMENT NOTES. Acquisition: all three texts available at Goodminds.com (Indigenous-owned distributor at Six Nations Grand River Territory) plus Strong Nations plus Toronto Public Library system-wide plus Indigo. Local-board protocol: Indigenous Education Lead consultation recommended before classroom deployment to confirm board-specific FNMI-text canonical-recommendation list and any community-specific protocols (per Ontario First Nations Metis and Inuit Studies cit-010 framework). Authors not recommended for cmp-001 deployment: Joseph Boyden (contested Indigenous-ancestry claims since 2016 APTN investigation); Thomas King (Cherokee descent verified canonical Indigenous in Canadian literary studies but US-rooted ancestry creates strict-Ontario-FNMI-classification ambiguity, recommend local Indigenous Education Lead consultation). Authors usable as supplementary but not primary: Tomson Highway Caribou Song (Cree, Grade 1-3 too young for primary), Drew Hayden Taylor Fearless Warriors (Anishinaabe, alternate-primary candidate for educators wanting humour-toned Indigenous short story), Monique Gray Smith Tilly (Cree-Lakota-Scottish, secondary alternate to Wagamese), Chief Dan George My Heart Soars (Tsleil-Waututh, poetry supplement). Cherie Dimaline (Métis Nation of Ontario Georgian Bay Métis Council, verified) Marrow Thieves novel exceeds Grade 7 reading level; Dimaline 2024 MNO classroom short-story collaboration recommended as Métis-authored alternate primary.", "mc_links": [ "cit-013", "cit-028", "cit-029", "cit-030", "e7" ], "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-homework", "cc-cmp001-overview", "cc-cmp001-canon", "cc-eng-j7" ], "tg": "fnmi, c1.7, indigenous-storywork, wagamese, robertson, dimaline, ontario, grade-7, cmp-001" }, { "id": "cc-cmp001-ss-0", "s": "campaign", "r": "cmp-001-session-runcard", "t": "cmp-001 SS-0 cave-entry session-zero runcard (parametric)", "b": "cmp-001 cave-entry session-zero runcard. The burrow ritual into the cmp-001 dimension. Vector-agnostic, window-leg-agnostic, group-size-and-tier parametric.\n\n1. SESSION NUMBER AND TITLE. SS-0. Cave-entry session zero. The cmp-001 burrow ritual.\n\n2. TOTAL DURATION. 60 to 90 minutes depending on tier band and group size. Under-12 band runs 60. 13-16 band runs 75. Adult or 17-plus band runs 90.\n\n3. FRAME-OPEN SCRIPT (educator-as-Rainbowsol, verbatim). \"You have read ‘Thank You M’am.’ You have read this page about the kitchenette where the story’s key moment happens. Mrs Jones has a mirror in her kitchenette. Tonight we are going through it. You are not yourself in this room while we are in there. You are your character. When the page in front of you turns into the room you have just read about, that is the burrow opening. When I tell you the mirror is silver, that is the portal. We will go through together.\"\n\n4. PRE-SESSION PREP CHECKLIST.\n(a) Hughes’s \"Thank You M’am\" has been read in homework or prior class session (the first burrowing pass per dm-011).\n(b) cc-cmp001-emergence-point page printed and distributed (the page-as-threshold artifact, kitchenette as academic study object).\n(c) Each Bookworm has a character sheet completed per char-001 + char-002 age-banded question set.\n(d) Educator confirms tier band per dm-010 from the party bookworm-card age field.\n(e) AI engine briefed on (i) which of the eight narrative-architecture threads will host this session, (ii) which crossing-point the party emerges into, (iii) which window leg per cc-cmp001-window. SS-0 selection is collaborative between educator and AI; defaults provided in section 7 below.\n(f) Guides (the educator/Rainbowsol + any experienced Bookworms returning from prior cmp-001 sessions) briefed on their dispatch role.\n\n5. SESSION-SPINE PLAY ARC (15 named moments, target durations for 75-minute mid-tier session; scale linearly for 60 / 90).\n\n(i) 0:00 to 0:03. RAINBOWSOL ARRIVAL. Educator-as-Rainbowsol opens the dimension verbally per dm-002. The classroom is the cave the party is leaving. The page on each desk is the burrow.\n(ii) 0:03 to 0:08. PAGE READING. Each Bookworm engages with the cc-cmp001-emergence-point page. Silent reading. The act of reading is the burrowing per dm-011 layer 1.\n(iii) 0:08 to 0:12. MIRROR-PORTAL NARRATION. Rainbowsol describes Mrs Jones’s kitchenette mirror. Plato + Matrix + Lacan + Rainbowsol four-register convergence per cc-cmp001-narrative-architecture. The mirror is the portal through which the party will pass.\n(iv) 0:12 to 0:15. CHARACTER-CLAIM RITUAL. Each Bookworm names their character aloud. The character sheet is in front of them. The naming is the speech act that closes dm-011 layer 2.\n(v) 0:15 to 0:18. PARTY DISPATCH. Rainbowsol confirms each character is in. Rainbowsol narrates the mirror going silver. The party goes through.\n(vi) 0:18 to 0:22. EMERGENCE NARRATION. AI engine narrates the party’s arrival in cmp-001. The window leg has been selected per section 7 below. The crossing-point of the chosen narrative thread surfaces. Each character orients to the moment, the place, the time of day, the temperature, the sounds.\n(vii) 0:22 to 0:27. FIRST-SCENE ORIENTATION. AI engine surfaces each character’s immediate environment per dm-011 layer 2 + dm-010 tier-band calibration. Each Bookworm gets thirty seconds to respond with what they are doing or thinking.\n(viii) 0:27 to 0:50. FIRST BEAT. The crossing-point fires per the chosen narrative thread. The party engages. Diceless adjudication per dm-003. Time elapses as narrative beats demand per dm-007.\n(ix) 0:50 to 0:55. MID-SESSION WRITING PROMPT. Each Bookworm writes two to three sentences in-character. Prompt: \"What did you just see, hear, or feel that you did not expect?\" Output goes into char-003 living document.\n(x) 0:55 to 1:00. SECOND BEAT OR CONSEQUENCES-OF-FIRST. AI engine surfaces what follows from the first beat. May be the same scene continuing or a new scene downstream. A guide from the Sentai may step in to support a struggling party member.\n(xi) 1:00 to 1:05. SESSION-CLOSE TRANSITION. Rainbowsol surfaces. Narrates the dimension closing. The party returns through the mirror.\n(xii) 1:05 to 1:09. OUT-OF-CHARACTER DEBRIEF. Each Bookworm answers two prompts in one or two sentences. \"What felt different about this dimension from your own world?\" \"What do you want to know more about?\" Output is the homework per ses-001.\n(xiii) 1:09 to 1:12. HOMEWORK PUNCTUATION. Educator names the assignment that earns the next session’s capability unlocks per ses-005 + dim-030. Default: a written reflection on the debrief prompts. Variant: a character-journal entry, a piece of in-character correspondence, or a research task into one period detail surfaced during play.\n(xiv) 1:12 to 1:14. HOOK FOR NEXT SESSION. Educator names what the party will likely encounter next time. Something unresolved from this session. Something approaching. Something a character will need to decide.\n(xv) 1:14 to 1:15. OUT THE DOOR. party leaves the room knowing a piece of writing is owed before next session.\n\n6. EDUCATOR FILTER-PROTOCOL MOMENTS (per dm-010). At moment vii (first-scene orientation), educator confirms tier-band surfacing matches the seated group. At moment viii (first beat), educator may soften, redirect, or ground if the AI-engine-improvised content goes harder than the band warrants. At moment ix (mid-session writing), educator scans for distress and may shift register. At moment x (second beat), educator adjusts intensity per how the first beat landed.\n\n7. CALIBRATION-BAND-SPECIFIC VARIATIONS.\n(a) UNDER-12 BAND (60 min). Tier-2 stays strictly ambient per dm-010. Narrative-thread default: Roger thread or Salem-Abyssinian thread (lower-intensity crossing-points). Window-leg default: Sunday morning service or Saturday afternoon pre-stabbing. Avoid threads where King-stabbing surface intensity surfaces (Maynard-Curry, news-cycle).\n(b) 13-16 BAND (75 min, default). Tier-2 surfaces when paths trigger. Narrative-thread default: Roger thread, Mrs Jones thread, or Theresa-staff thread. Window-leg default: Saturday late evening (text-canonical encounter window) or Sunday morning (after).\n(c) ADULT OR 17-PLUS BAND (90 min). Tier-2 surfaces fully per dm-010. Any of the eight threads. Any window leg. Heroin economy, full slur intensity, full violence-aftermath surface available. The educator filter remains.\n\n8. STUDENT WRITING PROMPT (mid-session, moment ix). \"What did you just see, hear, or feel that you did not expect?\" Two to three sentences in-character. Goes into char-003 living document.\n\n9. SESSION-CLOSE DEBRIEF SCRIPT (educator-as-Rainbowsol, verbatim, moment xii). \"You came back. You wrote some of what just happened. Now I want to ask you two things, and I want you to answer for yourself, not for your character. What felt different about this dimension from your own world? And what do you want to know more about?\"\n\n10. HOMEWORK ASSIGNMENT FOR NEXT SESSION. Default: written reflection on the debrief prompts (200-400 words depending on band). Variant per chosen narrative-thread: (a) Roger thread runs may assign character-journal entries from the party’s POV on the encounter aftermath. (b) King thread runs may assign a research task on one documented period detail (Maynard surgical team, Curry psychiatric routing, Coretta Scott King arrival). (c) Salem-Abyssinian thread runs may assign a piece of in-character correspondence (a letter to family, a Sunday-school entry, a sermon-note). (d) Hughes thread runs may assign a transcription or imitation of a Hughes Simple-column paragraph. The 1978 grown-up apology letter (cc-cmp001-rubric, HW-B) is held in reserve for late-campaign sessions.\n\n11. RUBRIC CONNECTION (cc-cmp001-rubric four axes). Which axes get exercised at SS-0 depends on the chosen narrative thread. Default: voice (the party inhabits a period-Black-Harlem voice register at first emergence), observation (the party notices what is documented in the realism domain entries), restraint (the party does not over-narrate or over-claim agency at first emergence), turn (the party writes the moment something shifts). All four axes are touched lightly at SS-0. Later sessions intensify them per ses-005.\n\nGROUP-SIZE PARAMETRIC. SS-0 runs for any party size from 1 to 8. solo Bookworm play runs compress beats viii-x (the educator + AI carry more of the surface; the party does more of the writing). 2-4 the party is the default mid-tier classroom mode. 5-8 party requires guide support (one experienced bookworm per two new party recommended) and may extend the session toward the 90-minute end of the duration band.\n\nCAVE-ARCHITECTURE NOTE. The cave-entry mechanism is universal across cmp-001 sessions. SS-0 is named because it is the first instance for a given party. SS-0 is named because it is the FIRST burrow into cmp-001 for a given party. Subsequent cmp-001 sessions for the same party may shorten or compress moments i-vi (the page-and-mirror ritual is faster after the first time). ses-005 (ordinary session structure) governs subsequent sessions.\n\nCROSS-REFERENCES. cc-cmp001-emergence-point (the page-as-threshold). cc-cmp001-narrative-architecture (the eight threads + mirror-portal + Sentai and party). cc-cmp001-template-session (the 11-field meta-template this entry instantiates). cc-cmp001-runcard-001-other-roomer-encounter (a specific runcard that fixes the parameters this template leaves open). bb* dm-002 (DM-as-threshold). bb* dm-005 (three-position DM). bb* dm-007 (session-anchored time). bb* dm-010 (tier-calibrated realism). bb* dm-011 (burrow ritual two-layer). bb* ses-001 (session zero). bb* ses-005 (ordinary session structure). bb* char-001 + char-002 + char-003 (character creation + sheet). bb* bw-005 (everyone makes own character). bb* bw-006 (burrow as wormhole). ml* PM14 (cinematic anchors). ml* PM13 (realism trumps).\n\nORIGIN. May 10 2026. User reframe: cave-entry vector + skip story time + adjustable group/band. Replaces the prior assumption that session-zero runcards commit to a specific narrative-fiction-vector + window leg. SS-0 leaves all three parameters open at the template level; specific runcards (runcard-001 onward) instantiate them per specific runs.\n\nPROJECT-OPPORTUNITY MATRIX added 2026-05-16. Substrate for parametric-deliverable layer. Supplements parameter-selection guidance with fourteen-plus project options across crossing-points and window-legs.\n\nFIFTEEN PROJECT OPTIONS (fourteen original plus one new P-SS0-15 closing Roger-peer and Monday-newsstand density gaps).\n\nP-SS0-01. Crossing-point-anchored ekphrastic. TRIGGER any crossing-point. AGE-BAND all four. DELIVERABLE 300-700 word place-ekphrastic, the crossing-point describes itself, window-leg parameter sets time-of-day register. ANCHOR period documentation of the selected crossing-point. CURRICULUM ENG1D ENG2D Strand B and C. HOOK any thread.\n\nP-SS0-02. East 128th Saturday 11 PM canonical-window recreation. TRIGGER East 128th Saturday 11 PM crossing-point, window-leg TM2. AGE-BAND all four. DELIVERABLE 600-900 word scene-recreation from passing-stranger perspective, must engage canonical Hughes text geography directly. ANCHOR Hughes Thank You M am 1958 canonical scene. CURRICULUM ENG1D ENG2D ENG3U Strand B and C. IB Language A Part 3. HOOK Roger thread, Mrs-Jones thread.\n\nP-SS0-03. Blumstein Saturday 3:20 PM eyewitness deposition CORRECTED 2026-05-16. TRIGGER Blumstein Saturday 3:20 PM crossing-point window-leg TM2. AGE-BAND SENIOR ADULT, MID with educator-trigger, JUNIOR restricted entirely. DELIVERABLE 800-1200 word eyewitness deposition document, Bookworm-as-store-patron-during-King-book-signing-event-on-the-mezzanine writes police-affidavit-style account, must cite documented details (seven-inch ivory-handled letter opener; Officer Al Howard plus Officer Romano intervention Don t sneeze don t even speak; Amsterdam News advertising executive who restrained Curry; King calm response That s all right Everything is going to be all right). VENUE NOTE Blumstein was a department store not a bookstore; the book signing was an event held on the mezzanine. ANCHOR Pearson When Harlem Nearly Killed King The 1958 Stabbing of Dr Martin Luther King Jr Seven Stories Press 2002 ISBN 9781583222744 (PRIMARY CITATION). CURRICULUM CHA3U. ENG4U Strand B and D. CLN4U procedural-document framing. AP US History. HOOK King thread, Maynard-Curry thread, Theresa-staff thread.\n\nP-SS0-04. Harlem Hospital Saturday 4-5 PM surgical-team protocol study. TRIGGER Harlem Hospital Saturday 4-5 PM crossing-point window-leg TM2. AGE-BAND SENIOR ADULT. DELIVERABLE 1200-1800 word source-critical protocol study documenting surgical team (Maynard as overseer, Cordice as lead thoracic surgeon, Naclerio as assist, Allen as deferred-commit possible team member), arguing from documented 44-year credit-attribution displacement (Maynard credited until Cordice revelation after Maynard death 1999), engaging Pearson 2002 emergent ghost. ANCHOR Pearson When Harlem Nearly Killed King Seven Stories Press 2002 ISBN 9781583222744 (PRIMARY). Aubre de Lambert Maynard MD Surgeons to the Poor The Harlem Hospital Story Appleton-Century-Crofts 1978 (PRIMARY). SBAS Cordice press release 2014. Boston Globe Cordice obituary January 1 2014. CURRICULUM SBI4U. HZT4U ethics-of-attribution. HSC4M. CHA3U. PEDAGOGICAL FLAG SENIOR-only full intensity. Surgical-procedure-detail tier-3. Maynard documented intra-Black-collegial hostility passage ADULT-restricted.\n\nP-SS0-05. Salem-Abyssinian Sunday 10 AM sermon-anchored project. TRIGGER Salem and Abyssinian Sunday 10 AM crossing-point window-leg TM3. AGE-BAND all four. DELIVERABLE see Session 002 matrix. The SS-0 template at this crossing-point IS Session 002. ANCHOR Powell sermon-event SS-0 instantiation. HOOK Salem-Abyssinian thread.\n\nP-SS0-06. Hughes window any walk-past photo-poetry composition CORRECTED 2026-05-16. TRIGGER Hughes window any walk-past crossing-point window-leg any. AGE-BAND MID SENIOR ADULT. DELIVERABLE photo-text composition, student writes 500-word photo-essay imagining Hughes at third-floor study of 20 East 127th Street, must engage at least one Hughes poem from the period. RESIDENCE NOTE Hughes lived with Toy and Emerson Harper at 20 East 127th Street from 1947 until his death May 22 1967 (residency documented; co-ownership claim removed pending deed-record verification). The third floor served as both bedroom and study. ANCHOR 20 East 127th Street NYC Landmarks Designation Report LP-1135 August 11 1981. Rampersad Life of Langston Hughes vol II 1941-1967 on Hughes writing routine. National Trust for Historic Preservation stewardship entry on the Langston Hughes House. CURRICULUM ENG3U ENG4U Strand B. AMU3M visual-arts. HOOK Hughes thread.\n\nP-SS0-07. Theresa lobby Saturday morning concierge-log scene. TRIGGER Theresa lobby Saturday morning crossing-point window-leg TM2. AGE-BAND MID SENIOR ADULT. DELIVERABLE 600-900 word scene, Bookworm-as-Theresa-lobby-observer or as junior staff writes lobby-log entry, Holiday possible secondary-NPC encounter period-faithful lobby register. ANCHOR Hotel Theresa documented Black-celebrity residency tradition, Billie Holiday documented Theresa associations. CURRICULUM ENG3U ENG4U Strand C. HSC4M. HOOK Theresa-staff thread, Hughes thread.\n\nP-SS0-08. Monday morning newsstand pass period-newspaper article. TRIGGER Monday morning newsstand pass crossing-point window-leg TM4. AGE-BAND all four. DELIVERABLE 400-700 word Amsterdam News Monday September 22 1958 lead-article composition, period typography, period reportorial conventions. ANCHOR Amsterdam-News-Monday-headline emergent ghost, period newspapers emergent ghost. CURRICULUM ENG2D Strand D. CHA3U source-criticism. IB Language A Part 2. HOOK King thread, Salem-Abyssinian thread.\n\nP-SS0-09. Apollo-side-street Schiffman business-history brief. TRIGGER the party routes past Apollo on a 125th Street pass during any window-leg. AGE-BAND MID SENIOR ADULT. DELIVERABLE 800-1200 word business-history brief on Frank Schiffman 1934 acquisition (with Leo Brecher) and management of Apollo, documented hiring of Black and Latino performers, documented characterization of Apollo by local residents as our theater never the white man s theater or Frank Schiffman s theater per Robert Schiffman as cited in Wikipedia Apollo Theater entry, connecting to broader Harlem-institution economy. ANCHOR Frank Schiffman Apollo Theatre Collection Smithsonian NMAH AC 0540, Apollo Theater Wikipedia, Americans for the Arts ARTS Blog 2019. CURRICULUM BBB4M. CHA3U. HSC4M. HOOK Hughes-corpus emergent ghost, Theresa-staff thread.\n\nP-SS0-10. Althea Gibson Cosmopolitan Tennis Club autobiographical close reading. TRIGGER the party passes 433 Convent Avenue (Cosmopolitan Tennis Club) during any window-leg or encounters Gibson at Theresa lobby. AGE-BAND MID SENIOR ADULT, JUNIOR with scaffolding. DELIVERABLE 600-1000 word close reading of one passage from Althea Gibson I Always Wanted to Be Somebody Harper and Brothers 1958, must engage final-paragraph passage I don t want to be put on a pedestal. I just want to be reasonably successful and live a normal life with all the conveniences to make it so. I think I ve already got the main thing I ve always wanted which is to be somebody to have identity. ANCHOR Althea Gibson I Always Wanted to Be Somebody Harper and Brothers 1958, NMAAHC object 2011.158.3, 1957 and 1958 Wimbledon and US Nationals singles titles. CURRICULUM ENG3U Strand B. PPL3O Healthy Active Living. CHA3U. HOOK Roger-peer thread via want to be somebody, Theresa-staff thread.\n\nP-SS0-11. Miles Davis Newport-to-Kind-of-Blue listening composition. TRIGGER the party encounters jazz radio at any crossing-point. AGE-BAND SENIOR ADULT, MID with educator scaffolding. DELIVERABLE 800-1200 word listening composition tracking analysis from one Davis Sextet 1958 recording, arguing from formal qualities to modal-jazz turn that became Kind of Blue. ANCHOR Miles Davis at Newport 1958 Columbia Records released 1964 from July 3 1958 set, Kind of Blue Columbia 1959. CURRICULUM AMU3M AMU4M. ENG4U Strand B. IB Music. HOOK Hughes thread via shared Harlem-jazz cultural moment.\n\nP-SS0-12. Arna Bontemps letter-to-Hughes scene composition. TRIGGER the party encounters Hughes correspondence at Schomburg or Hughes window. AGE-BAND MID SENIOR ADULT. DELIVERABLE 500-800 word period-faithful letter from Bontemps in Nashville (Fisk University head librarian) to Hughes in Harlem dated September 1958, must engage at least one documented topic from published Nichols 1980 selection. ANCHOR Charles H Nichols editor Arna Bontemps-Langston Hughes Letters 1925-1967 Dodd Mead 1980, approximately 2300 letters exchanged of which Nichols selected approximately 500. CURRICULUM ENG3U ENG4U Strand C. IB Language A Part 4. HOOK Hughes thread.\n\nP-SS0-13. 1978 retroactive apology letter (migrated baseline see P001-02). ANCHOR Hughes 1958 character arc.\n\nP-SS0-14. Race-gender-class scholarship integrative essay. TRIGGER any crossing-point at ADULT only, window-leg-agnostic. AGE-BAND ADULT only. DELIVERABLE 1500-2500 word integrative essay, student selects three NPCs from twenty-three-NPC roster, argues how their crossing-point intersections illuminate documented race-gender-class structure of 1958 Harlem, must engage at least one canonical scholarly text and at least one primary text from emergent-ghost set. ANCHOR any three NPCs, integrative-scholarship anchor. CURRICULUM HZT4U. HSC4M. IB Theory of Knowledge. AP Seminar Capstone. HOOK any thread combination.\n\nP-SS0-15. Roger-walking-to-school Monday morning peer encounter (NEW 2026-05-16 closes Roger-peer and Monday-newsstand density gaps). TRIGGER TM4 Monday morning, Bookworm-as-Roger or as-Roger-classmate walks toward PS 24 on East 128th, passes newsstand carrying King-recovery headline. AGE-BAND all four. DELIVERABLE 500-800 word peer-dialogue composition, Roger and one classmate process the weekend the King news the events of Saturday night, classmate does not know about the kitchenette, Roger keeps it secret, the secrecy is the deliverable load. ANCHOR Hughes canonical text Roger arc, Amsterdam News Monday headline emergent ghost, PS 24 documented Harlem elementary school of period. CURRICULUM ENG1D ENG2D Strand B and C. IB Language A Part 4. HOOK Roger-peer thread, King thread via news, Roger thread.\n\nTHREAD ROUTING SS-0. Roger (02 10 13 15). Mrs-Jones (02). King (03 04 08 15). Maynard-Curry (04). Hughes (06 11 12). Salem-Abyssinian (05 08 09). Roger-peer (10 15). Theresa-staff (07 09 10). All-threads parametric (01 14).\n\nAGE-BAND DIFFERENTIATION SS-0. JUNIOR cluster six options: 01 02 05 08 15 plus 10 with scaffolding. MID twelve options. SENIOR fourteen except 14 ADULT-only. ADULT all fifteen unmuted.\n\nINTERACTION-DEPENDENT BRANCHING SS-0. Crossing-point selection by DM at session-runtime is the primary branch gate. Selection of Blumstein Saturday 3:20 PM forces SENIOR or ADULT registration, JUNIOR cohorts must not select this for direct event participation. Selection of Harlem Hospital Saturday 4-5 PM forces SENIOR or ADULT, JUNIOR cohorts must not select this crossing-point at all. Selection of Hughes window any walk-past is age-band-agnostic. Selection of Theresa lobby Saturday morning age-band-agnostic but Holiday-conditional secondary requires MID-plus with educator pre-discussion. Window-leg selection TM1 biases canonical kitchenette and Hughes-window. TM2 biases Blumstein Hospital Theresa. TM3 biases Abyssinian. TM4 biases newsstand and reflection-arc.\n\nPEDAGOGICAL DISCERNMENT SS-0. SS-0 intentionally vector-agnostic. Educator-side calibration mandatory before crossing-point selection. Three crossing-points SENIOR-heavy (Blumstein, Hospital, sermon-event news-processing). Three JUNIOR-friendly (Hughes window, Theresa lobby via Hutson or Mahalia routing, Schomburg via Hutson routing at TM1 or TM2). Pearson 2002 emergent ghost in P-SS0-04 requires educator pre-discussion before SENIOR can engage it. Maynard memoir emergent ghost is Surgeons to the Poor Appleton-Century-Crofts 1978. Maynard documented self-assessment of intra-Black-collegial hostility ADULT-restricted.\n\nCROSS-REFERENCES added. cc-cmp001-project-trigger-conditions. cc-cmp001-age-band-restriction-matrix. cc-cmp001-curriculum-strand-crosswalk.\n\nMIGRATED FROM SESSION 001 PER 2026-05-16 AUDIT. P001-08 Schomburg-pivot research methodology paper migrated from Session 001 (time-impossible from Saturday 11 PM) to SS-0 as Hutson curatorial encounter at TM1 Friday afternoon or TM2 Saturday morning routing. Now P002-11 in Session 002 reroute matrix covers Sunday-sidewalk-Hutson alternative; SS-0 covers TM1 / TM2 branch-open routing.\n\nPROJECT MATRIX. See cc-cmp001-project-catalog for the audit-tweaked project-opportunity matrix attached to this scene. Cross-references at cc-cmp001-project-trigger-conditions, cc-cmp001-age-band-restriction-matrix, cc-cmp001-curriculum-strand-crosswalk.", "x": "cmp-001 cave-entry session-zero runcard. Vector-agnostic, window-leg-agnostic, group-size-and-tier parametric. Implements dm-011 burrow ritual + emergence-point page-as-threshold + narrative-architecture mirror-portal for first cmp-001 burrow.", "bb_links": [ "bw-005", "bw-006", "char-001", "char-002", "char-003", "dm-002", "dm-005", "dm-007", "dm-010", "dm-011", "ses-001", "ses-005" ], "cc_links": [ "cc-cmp001-emergence-point", "cc-cmp001-narrative-architecture", "cc-cmp001-overview", "cc-cmp001-rubric", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-template-session", "cc-cmp001-window" ], "tg": "cc, cmp-001, ss-0, session-zero, runcard, cave-entry, burrow-ritual, mirror-portal, parametric, vector-agnostic, window-leg-agnostic, group-size-parametric, tier-band-parametric, plato-cave, matrix-mirror, lacan-mirror-stage, rainbowsol-transport, sentai-party, may-2026-10-origin" }, { "id": "cc-cmp001-curriculum-anchor-map", "mc_links": [ "cit-013", "cit-022", "cit-005", "e1", "e7", "pen-001", "mc-cohort-agnostic-discipline" ], "bb_links": [ "ses-001", "ses-005", "dm-011" ], "s": "cc", "r": "curriculum", "t": "cmp-001 curriculum anchor map (session-move to specific-expectation mapping)", "b": "Maps cmp-001 Hughes Thank You M'am Session 001 phases to OSSD specific expectations across two tiers. Grade 7 primary deployment per cc-eng-j7 uses cit-013 (Ontario 2023 Language curriculum). ENG3U worked example per cit-022 (2007 Revised Grades 11 and 12 document) demonstrates the U-stream pattern at specific-expectation granularity. Per the 2026-05-16 cohort-agnostic discipline ruling at mc-cohort-agnostic-discipline: the session-move-to-expectation mapping is the canonical structural substrate. Per-cohort weighting, exact rubric thresholds, and specific evidence-collection cadence remain teacher-side per session. THE SIX PHASES OF SESSION 001 PLUS HOMEWORK. PHASE 1. Opening burrow ritual. Educator-as-Rainbowsol runs the page-reading plus mirror-portal narration plus character-claim plus party crossing per dm-011 burrow-ritual two-layer plus ses-001 session-zero structure. Grade 7 anchor: B1 Oral and Non-Verbal Communication (active listening, ritual-form comprehension) per cit-013 p. 185-197 OE B1 wording. ENG3U anchor: A.1.1 Listening to Understand for purpose per cit-022 p. 42. PHASE 2. First-beat NPC encounter. the party meets Mrs Jones at 11 PM East 128th Street. AI engine surfaces Mrs Jones dialogue per cc-cmp001-npc-mrs-jones-canonical dossier. Each Bookworm gets 30 seconds per beat to declare action / thought / question. Grade 7 anchor: B1 plus C1 Knowledge about Texts (engaging characters from a literary text in their canonical voices). ENG3U anchor: A.1.7 Analysing Texts (analysing oral exchanges for ways they communicate information ideas issues themes per cit-022 p. 43) plus B.2.1 Text Forms (recognizing characteristics of short-story form per cit-022 p. 47). PHASE 3. Mid-session writing prompt. Two to three sentences in-character per ses-001 SS-0 moment ix. Grade 7 anchor: D1 Developing Ideas (identifying purpose audience, generating ideas under tight constraints). ENG3U anchor: C.1.1 Identifying Topic Purpose and Audience plus C.1.3 Generating and Developing Ideas. PHASE 4. Second-beat dinner / kitchenette scene. the party observes Mrs Jones cooking, eating, asking, ten-dollar moment. Inference about Mrs Jones motivation surfaces. Grade 7 anchor: C2 Comprehension Strategies (inferring character motivation per cit-013 p. 197 OE C2) plus C3 Critical Thinking in Literacy (analyzing perspective on poverty trust moral choice). ENG3U anchor: B.1.4 Making Inferences (making and explaining inferences about texts including increasingly complex texts per cit-022 p. 46) plus B.1.6 Analysing Texts (analysing texts in terms of information ideas issues themes per cit-022 p. 47). PHASE 5. Debrief two-question protocol. What did you witness. What is Mrs Jones doing in this scene. Five-minute facilitated discussion. Grade 7 anchor: C3 Critical Thinking in Literacy (analyzing how the text addresses moral and ethical choice). ENG3U anchor: A.1.8 Critical Literacy (identifying and analysing perspectives evident in oral texts per cit-022 p. 43) plus B.1.7 Evaluating Texts. PHASE 6. Homework 1978 apology letter. Twenty years diachronic perspective. the party writes as Roger-at-34 to Mrs Jones. Single page. Five constraints per cc-cmp001-runcard-001-other-roomer-encounter. Grade 7 anchor: D2 Creating Texts (creating a personal letter in a specific historical voice register with consistent point of view per cit-013 p. 197 OE D2) plus C1.7 FNMI text creator engagement is NOT met by Hughes alone and requires pairing per the cc-eng-j7 pairing note. ENG3U anchor: C.1.3 Generating and Developing Ideas plus C.2.1 Voice plus C.2.2 Diction (using language with precision and clarity, incorporating stylistic devices appropriately and effectively per the ENG3U course description at cit-022 p. 41) plus B.1.6 Analysing Texts (the letter is itself an analytical-by-fiction reading of the original Hughes text). PARALLEL APPLICATION ACROSS GRADES. ENG2D and ENG4U mappings follow the same six-phase structure with grade-appropriate specific-expectation codes. ENG2D codes per cit-026 Grades 9-10 wait on the in-flight ENG2D / ENG3U / ENG4U distinguishing research at workflow wf-b1709294. ENG4U codes per cit-022 pp. 91-107 wait on the same research return. J7 specific-expectation codes per cit-013 wait on the analogous elementary extraction at e7._pending. The STRUCTURAL MAPPING (six phases to overall-expectation strands) is canonical now. Specific-expectation refinement at ENG2D and ENG4U and J7 follows when the verbatim extractions land. WHY THE METHODOLOGY LANDS ONCE. Per the cohort-agnostic discipline: structure is canonical. The six-phase template (burrow ritual / first beat NPC encounter / mid-session writing / second beat inference scene / debrief / homework diachronic-letter) is invariant across grades. Only the specific-expectation codes vary. Once the codes for ENG2D and ENG4U and J7 are extracted, the mapping populates by parallel application without rebuilding the methodology. ASSESSMENT CONSEQUENCE. The teacher-of-record per Growing Success cit-005 administers achievement-chart categories (Knowledge and Understanding, Thinking, Communication, Application) across the six phases per the triangulation rubric at cc-cmp001-triangulation-rubric. CROSS-REFERENCES. cc-cmp001-runcard-001-other-roomer-encounter (the worked-example session this map anchors). cc-cmp001-ss-0 (parametric cave-entry template). cc-cmp001-session-002-abyssinian (parallel SS-0 instantiation also mapped by this structure). cc-cmp001-triangulation-rubric (companion assessment-side mapping). mc-cohort-agnostic-discipline (the architectural ruling this entry implements). mc* e7 (Grade 7 canonical anchor). mc* e1 (ENG3U canonical anchor). cit-022 (Ontario Grades 11-12 English 2007). cit-013 (Ontario K-8 Language 2023). cit-005 (Growing Success). bb* ses-001 (session-zero structure). bb* dm-011 (burrow ritual two-layer).", "x": "Curriculum-anchor map for cmp-001 Session 001. Six phases mapped to Grade 7 overall expectations plus ENG3U specific expectations. Structural template lands once; per-grade specific-expectation refinement parallel-applies when extractions land.", "tg": "cc-cmp001, curriculum-anchor, mapping, six-phases, eng3u, grade-7, ossd, structural-template, may-2026-16-commit" }, { "id": "cc-cmp001-triangulation-rubric", "mc_links": [ "cit-005", "cit-013", "cit-022", "e1", "e7", "pen-003", "pen-004", "mc-cohort-agnostic-discipline" ], "bb_links": [ "ses-001", "ses-005" ], "s": "cc", "r": "assessment", "t": "cmp-001 triangulation rubric (three evidence kinds to achievement-chart mapping)", "b": "Maps cmp-001 Hughes Thank You M'am session outputs to the Growing Success triangulation framework. Per cit-005 (Growing Success p. 39): evidence of student achievement for evaluation is collected over time from three different sources, observations conversations and student products. Per the 2026-05-16 cohort-agnostic discipline ruling: the three-evidence-kinds rubric is the canonical structural substrate. Per-cohort weighting, exact thresholds, and specific report-card translation remain teacher-side per session. THREE EVIDENCE KINDS APPLIED TO SESSION PLAY. OBSERVATION EVIDENCE. Teacher-of-record observes during session play and during debrief. Documented via observation log per session. Observable categories. (1) Active listening posture during NPC dialogue. Does the party track the AI-engine-narrated Mrs Jones lines without interruption. (2) In-character voice register commitment. Does the party stay in the character archetype claimed at burrow-ritual without breaking frame. (3) Response time to AI engine prompts. Does the party engage within the 30-second beat-window per ses-001 SS-0 moment iv pacing. (4) Peer engagement. Does the party respond to other party contributions when the dialogue is Bookworm-to-Bookworm not Bookworm-to-NPC. (5) Restraint at the table per cc-cmp001-rubric axis. Does the party resist over-narrating or over-claiming agency. (6) Turn-taking discipline. Does the party wait for the beat without speaking over others. CONVERSATION EVIDENCE. Teacher-of-record converses with the party during session play and in post-session debrief. Documented via conversation notes. Convention. (1) Mid-session writing prompt readback. Each Bookworm shares their two-to-three sentences in-character per the SS-0 moment ix prompt. (2) Debrief two-question protocol per the run-card. What did you witness. What is Mrs Jones doing in this scene. The teacher facilitates and probes. (3) Post-homework conferences. Teacher meets one-on-one with each Bookworm over the 1978 apology letter, surfacing the diachronic-character reasoning. (4) In-character side dialogue with the AI engine. If the AI engine surfaces a moment of ambiguity (e.g., does Mrs Jones really sit at the table), the teacher and the party negotiate the canonical reading together. STUDENT PRODUCT EVIDENCE. Artifacts the party produces and submits. (1) Bookwormcard. The persistent character sheet from /bookwormcard/. Documents the archetype claimed plus the canonical record of the character across sessions. (2) Mid-session writing prompt artifact. Two to three sentences in-character per the SS-0 moment ix prompt. Goes into char-003 living document per bb*. (3) Homework 1978 apology letter. Single page handwritten preferred. Five constraints per cc-cmp001-runcard-001-other-roomer-encounter. The summative artifact of Session 001. (4) Optional Sunday-evening journal entry per Session 002 SS-0 Abyssinian instantiation. (5) Any additional in-character correspondence or scene-notes produced between sessions. ACHIEVEMENT-CHART CATEGORY MAPPING. Per cit-005 Growing Success pp. 15-26 plus the cit-022 cit-026 English-discipline subcategories at pp. 24-25. Knowledge and Understanding. Text-content recall (Hughes story characters, plot beats, setting). Comprehension of context (1958 Black Harlem, period vocabulary, kitchenette economy). Evidence sources. Conversation (mid-session readback shows comprehension). Product (apology letter demonstrates accurate recall of Hughes-canonical detail). Observation (in-character response shows comprehension). Thinking. Inference about Mrs Jones motivation. Critical-literacy reading at debrief. Comparative-perspective work (Roger-at-14 versus Roger-at-34). Evidence sources. Product (apology letter demonstrates inference and diachronic reasoning). Conversation (debrief reveals thinking-in-progress). Communication. In-character voice register. Letter-form conventions per the 1978 epistolary genre. Sentence-craft at the constrained writing prompt. Evidence sources. Product (apology letter demonstrates communication). Observation (in-character voice during session play). Conversation (mid-session writing readback). Application. Transfer to the 1978 scenario beyond the Hughes-canonical 1958 setting. Connection-making between the Hughes story moral choice and the party own moral framework. Evidence sources. Product (apology letter transfers the original encounter into a new temporal context). Conversation (debrief surfaces application). PER-COHORT WEIGHTING IS TEACHER-SIDE. The teacher determines the precise weighting of observation versus conversation versus product evidence per the specific cohort context per Growing Success p. 39: teacher professional judgement determines the report-card grade based on the student most consistent level of achievement with special consideration given to more recent evidence. Per the cohort-agnostic discipline: the structural three-kinds-times-four-categories grid is canonical; the exact weights are session-and-cohort-specific. WHAT THIS DELIVERS FOR THE PEDAGOGICAL DEFENSIBILITY CASE. The cmp-001 D and D session generates rich evidence across all three kinds per Growing Success. The triangulation rubric per cit-005 satisfies the OSSD assessment requirement. Per cit-031 Garcia 2017 Mind Culture Activity plus cit-032 Trammell 2023 MIT Press plus cit-033 Bowman 2010 McFarland the TTRPG-as-pedagogy field has the empirical and theoretical substrate to defend the methodology. The teacher remains assessment-of-record per Growing Success; the AI engine never adjudicates achievement-chart placement. CROSS-REFERENCES. cc-cmp001-runcard-001-other-roomer-encounter (the worked-example session). cc-cmp001-curriculum-anchor-map (companion curriculum-side mapping). cc-cmp001-rubric (the four axes of session-play-quality per cmp-001 voice observation restraint turn). cc-pen-006 (the four-threat stress-test that this rubric resolves at the assessment-validity-under-Growing-Success threat-vector). cit-005 (Growing Success). cit-027 Wright et al 2020. cit-009 Bowman and Standiford 2015. cit-008 Zagal and Deterding 2018. cit-031 Garcia 2017. cit-032 Trammell 2023. cit-033 Bowman 2010. mc-cohort-agnostic-discipline (the architectural ruling this entry implements).", "x": "Triangulation rubric for cmp-001 Session 001 plus 002. Three evidence kinds mapped to four achievement-chart categories. Structural at three-kinds level; per-cohort weighting teacher-side.", "tg": "cc-cmp001, triangulation, growing-success, observation, conversation, product, achievement-chart, may-2026-16-commit" }, { "id": "cc-cmp001-runcard-001-other-roomer-encounter", "s": "campaign", "r": "cmp-001-session-runcard", "t": "cmp-001 Session 001 run-card. The other-roomer encounter. First playthrough.", "b": "LANDING-RULING NOTE, June 11 2026: per cc-cmp001-landing-after the campaign now opens AFTER this scene, so this run-card no longer stages Session 001's landing; it runs as the canonical GHOST-REPLAY module, reached backward from the after-timeline via dm-012 extraction, content otherwise unchanged. cmp-001 SESSION 001. The Other-Roomer Encounter. First-playthrough run-card for the canonical Hughes-text scene.\n\nPLAYER-ENTRY VECTOR. Other-roomer. Each player is a fellow tenant in Mrs Jones’s kitchenette building. They share a floor, a hallway, a bathroom-down-the-hall. They occupy rooms adjacent to or across from Mrs Jones’s. Hughes is silent on the building beyond what the text gives (a furnished room with a screen, a hot plate, a door). Period-typical kitchenette buildings on East 128th between Madison and Park were 5-story walkups with three to five rooms per floor sharing a hall bath. AI engine improvises specific building layout at session-runtime. Mrs Jones’s room is on a floor accessible by stair; the other-roomers are on the same floor or one above or below.\n\nWINDOW LEG. Saturday September 20 1958, 11:00 PM through midnight. The Hughes-text-canonical encounter from purse-snatch attempt on the street through door-closing in the kitchenette. The session ends when Mrs Jones’s door closes behind Roger.\n\nGROUP. Four players. One sentai (teacher-as-DM or experienced player who has done at least one prior bookwormburrows session) + three party (first-time players). Tier-1 surfacing per bb* dm-010 (high-school age band, canonical for cc-eng3u and cc-eng4u curriculum integration). 75-minute session.\n\nSESSION-ZERO INSTANTIATION (AI engine improvises live with the seated group; not pre-committed in CC*).\n\nThe AI engine and sentai together choose four other-roomer archetypes from period-typical 1958 central Harlem kitchenette demographics. Possibility space (the AI engine selects with seated-group input):\n- An elderly Black woman, retired, lives alone, light sleeper. Hears everything. Has known Mrs Jones casually for years.\n- A working-class Black man, day-shift, just home from a long Saturday at a downtown job. Tired. Wants quiet.\n- A young Black woman in her twenties, domestic worker or hairdresser apprentice, late shift just ended, in for the night.\n- A Black couple newly married, in their room reading or not.\n- A Caribbean immigrant, recent arrival, working a night shift elsewhere, only the spouse-or-roommate is home.\n- A teenage Black girl whose mother is working a night shift; she is alone in the room.\n- A Black serviceman home on weekend leave from Fort Dix.\n- A retired Pullman porter, talkative when awake, asleep at this hour.\n\nEach player gets one archetype. The AI surfaces a name, an age, a one-line biographical anchor, and a current-moment posture (asleep / reading / praying / mending / smoking / listening to the radio low). Specific names are improvised at session zero, not pre-committed in CC*.\n\nOPENING BEAT (00:00 to 03:00 elapsed real-time, Saturday 11:00 PM in-fiction).\n\nThe AI engine narrates: \"Saturday late. Eleven o’clock has just turned. The block outside is quieter than Saturday afternoon was. The Apollo’s second show is running but not on this street. The radio in someone’s room is murmuring something about King’s recovery. The streetlamp outside throws yellow against the window. You are in your room.\" The AI then turns to each player and surfaces their archetype’s current posture and a one-sentence orientation to their immediate environment (the bed, the chair, the book in their lap, the cigarette, the half-finished cocoa, the prayer interrupted).\n\nEach player has 30 seconds to respond with what they’re doing, what they’re thinking, or a question. The AI engine answers and moves on.\n\nINCITING BEAT (03:00 to 06:00 elapsed, Saturday 11:03 PM in-fiction).\n\nThe AI engine narrates the canonical encounter from outside. \"From the street below comes a thump. A boy’s voice. Then a woman’s voice, sharp and full. ‘Pick up that pocketbook, boy, and give it here.’\" The AI engine waits.\n\nEach player decides what they hear, what they do. The AI engine asks each player in turn: \"What do you do?\" Options the AI engine should NOT enumerate but should respect when players try them: press to the window, press to the door, go to the hall, knock at Mrs Jones’s door, pretend not to hear, go to the phone in the hall (period-typical building had one shared hall phone), call police, call out something through the wall, get up and leave the building, etc.\n\nFor each player choice the AI engine responds with what the player can perceive from that position. The text-canonical exchange between Mrs Jones and Roger continues outside or in the hallway as the players act.\n\nTHE STAIRS BEAT (06:00 to 12:00 elapsed, Saturday 11:05 to 11:15 PM in-fiction).\n\nMrs Jones drags Roger from the street, into the building, up the stairs to her floor. The AI engine narrates this in stages so the players hear footsteps, voices, the boy’s protests, Mrs Jones’s authority. The Hughes-text dialogue surfaces in fragments through walls and doors. Players in rooms on the path may see them passing; players in adjacent rooms may hear specific lines (\"Ain’t you got nobody home to tell you to wash your face?\" \"No’m,\" etc.). Players who stayed in their rooms hear muffled. Players who came to the hall or the door see them.\n\nThis is the longest beat. The AI engine paces it deliberately. Six minutes of real-time should feel like ten minutes of in-fiction. The players act, react, make small choices. Anyone who wants to call police can; the phone is in the downstairs hall. Anyone who wants to ignore can; their bed is right there. Anyone who wants to follow can; the stair landing is two doors down.\n\nTHE DOOR BEAT (12:00 to 60:00 elapsed, Saturday 11:15 PM through midnight in-fiction).\n\nMrs Jones gets Roger inside her room. The door closes behind them. The players are now outside that door. They can hear what comes through the wall. The AI engine surfaces the Hughes-text scene in its canonical beats: the screen, the washing of the face, the lima beans and ham, the cocoa, \"I have done things, too, which I would not tell you, son,\" the ten-cent cake, the ten dollars, the closing dialogue, the door.\n\nEach Hughes-text line surfaces in the AI engine narration verbatim where Hughes wrote it. The player perception varies by where the player is: room next door (hears most), room down the hall (hears fragments), hall (hears voices but not words), back in their own bed (hears only the door open and close).\n\nPlayers continue acting and reacting throughout. Anyone can knock. Anyone can leave. Anyone can call out. The AI engine stays inside the structural distance Hughes preserves. The players do not enter Mrs Jones’s room. The encounter is hers and Roger’s alone.\n\nCLOSING BEAT (60:00 to 70:00 elapsed, midnight in-fiction).\n\nMrs Jones’s door opens. Roger steps out. He stands a moment. The AI engine narrates: \"He could barely say ‘Thank you, m’am.’ But the door had closed behind him.\" Roger walks down the stairs. The building goes quiet.\n\nPlayers have one more turn each. What do they think, do, say. The AI engine surfaces what the building hears, what each player’s archetype carries with them into sleep or wake or their next hour. The session ends.\n\nCLOSING DEBRIEF (70:00 to 75:00 elapsed, out-of-fiction).\n\nThe sentai or teacher leads a five-minute debrief. Two questions only. (1) What did you witness. (2) What is Mrs Jones doing in this scene. The students answer in their own words. The session does not require a moral conclusion at this stage; the homework deliverable is where moral synthesis lives.\n\nHOMEWORK DELIVERABLE (HW-B per cc-eng3u and cc-eng4u).\n\nEach student writes the 1978 grown-up Roger’s apology letter to Mrs Jones. Constraints. (1) Twenty years have passed. (2) The student-as-Roger has lived twenty years carrying this encounter. (3) The letter is dated September 20 1978 (the twentieth anniversary). (4) The student writes from where they imagine Roger went; this is open. (5) The letter must answer Mrs Jones’s implicit question: did Roger ever do that again, and what does Roger now know that Roger did not know at fourteen.\n\nThe letter is the integration. The session was the witness. The homework is the meaning-making.\n\nAI ENGINE DIRECTIVES.\n\n(1) Surface Hughes-text dialogue verbatim where Hughes wrote it. Do not paraphrase. Do not soften.\n(2) Do not narrate Mrs Jones’s interior state. Do not narrate Roger’s interior state. Surface them through their text-canonical actions and dialogue only.\n(3) Do not narrate other-roomer interior states. Each player owns their own archetype’s interior. The AI engine surfaces only what each player’s archetype perceives.\n(4) Maintain structural distance. Players do not enter Mrs Jones’s room. The encounter is hers and Roger’s alone. Hughes preserves this; the session preserves it.\n(5) Period-realistic ambient sound. Radio low. Traffic. Distant music from the Apollo or a stoop. The kitchenette’s thin walls. Pipes. The streetlamp’s buzz.\n(6) Real-time pacing. Real-time real-time. The session’s 75 minutes maps to roughly 60 minutes of in-fiction time. Do not compress to give players more action; the slow pace IS the witnessing.\n(7) Do not flag the homework deliverable during the session. The homework arrives after the session ends.\n(8) If a player tries to break the structural distance (entering Mrs Jones’s room without invitation, intervening physically), narrate the period-realistic consequence of that choice and let the session continue. The text-canonical encounter continues in the next room regardless.\n\nCROSS-REFERENCES. cc-cmp001-encounter-block. cc-cmp001-roger. cc-cmp001-mrs-jones. cc-cmp001-narrative-architecture. cc-cmp001-tm-saturday. cc-cmp001-window. cc-cmp001-rubric. cc-cmp001-realism-cultural. cc-cmp001-realism-religious. cc-cmp001-realism-social. cc-cmp001-realism-spatial. cc-cmp001-realism-domestic. cc-cmp001-vs-mrs-jones. cc-cmp001-vs-roger. bb* dm-007. bb* dm-010. bb* ses-005.\n\nORIGIN. cmp-001 first-playthrough run-card. May 10 2026.\n\nPROJECT-OPPORTUNITY MATRIX added 2026-05-16. Supersedes single-homework default. Carries thirteen branching project options per scene.\n\nTIMING CORRECTION. Session 001 placement is Saturday September 20 1958 approximately 11 PM TM2 after the King stabbing earlier that afternoon. Mrs Jones walks home from her late beauty-shop shift. The radio bulletins about the stabbing are hours-old news by 11 PM. The Hughes canonical 'about eleven o clock at night' timestamp anchors here. Prior Friday-night framing was an error.\n\nTHIRTEEN PROJECT OPTIONS.\n\nP001-01. ROOM-AS-WITNESS ekphrastic. TRIGGER Mrs Jones primary-present, fires for every Bookworm. AGE-BAND all four. DELIVERABLE 500-750 word first-person room-speaks composition, JUNIOR 300-500. ANCHOR Hughes Thank You M am 1958. CURRICULUM ENG1D ENG2D ENG3U ENG4U Strand B. IB Language A Part 4. HOOK Mrs-Jones plus Roger threads.\n\nP001-02. Retroactive 1978 apology letter. TRIGGER Mrs Jones primary-present. AGE-BAND MID SENIOR ADULT. DELIVERABLE 500-900 word epistolary composition, Roger writes Mrs Jones twenty years later, period register. ANCHOR Hughes 1958 character arc. CURRICULUM ENG2D ENG3U Strand C. IB Lang Lit Part 4. HOOK Roger thread, surfaces TM4 reflection.\n\nP001-03. Blue-Suede-Shoes economy close reading. TRIGGER Roger admits desire for shoes. AGE-BAND MID SENIOR ADULT. DELIVERABLE 600-1000 word close reading mapping Perkins 1956 Sun Records original plus Presley 1956 RCA cover against Roger 1958 desire, period consumption semiotics. ANCHOR Hughes 1958 plus Blue Suede Shoes 1956. CURRICULUM ENG3U Strand B.2. AMU3M. AP English Language. HOOK Roger thread, Hughes-corpus emergent ghost.\n\nP001-04. Mrs Jones beauty-shop wage-labor research paper. TRIGGER late-shift detail surfaces. AGE-BAND SENIOR ADULT. DELIVERABLE 1000-1500 word source-grounded historical paper on Black women late-shift beauty-shop wage labor Harlem 1958, secondary anchor Hedgeman Trumpet Sounds. ANCHOR Hughes 1958 beauty-shop detail plus Hedgeman 1964. CURRICULUM CHA3U twentieth-century social history. HSC4M. IB History Paper 3. HOOK Mrs-Jones plus Theresa-staff threads.\n\nP001-05. Hughes-DeCarava ekphrastic photo-text composition. TRIGGER the party walks past Hughes brownstone 20 East 127th Street, TM1 or TM2. AGE-BAND MID SENIOR ADULT, JUNIOR reduced word count. DELIVERABLE photo-text composition, student selects one DeCarava photograph from Sweet Flypaper of Life, writes 250-400 word ekphrastic paragraph in Sister Mary Bradley voice plus one-paragraph methodology note. ANCHOR DeCarava plus Hughes Sweet Flypaper of Life Simon and Schuster 1955, 141 photographs. CURRICULUM ENG3U ENG4U Strand B. AMU3M. IB Lang Lit Part 4. HOOK Hughes thread, Hughes-window crossing-point.\n\nP001-06. Hughes Mother to Son intertextual analysis. TRIGGER Mrs Jones admits she was young once and wanted things she could not get. AGE-BAND all four. DELIVERABLE 400-700 word comparative analysis pairing Mrs Jones confession with Hughes Mother to Son line Life for me ain t been no crystal stair, identifying recurring mother-voice across genres. ANCHOR Hughes Thank You M am 1958 plus Hughes Mother to Son 1922 first in Crisis December 1922 then Weary Blues 1926 and Dream Keeper 1932. CURRICULUM ENG2D ENG3U Strand B. IB Lang Lit Part 3. HOOK Hughes thread, Mrs-Jones thread, Hughes-corpus emergent ghost.\n\nP001-07. Theresa-lobby Holiday encounter listening journal. TRIGGER the party exits to corridor mid-beat, drifts the corridor, hears radio carrying hours-old King-stabbing bulletin, follows news-thread out, ends at Theresa lobby. AGE-BAND SENIOR ADULT, MID only with educator pre-discussion of Federal Bureau of Narcotics targeting, JUNIOR restricted entirely. DELIVERABLE 800-1200 word listening journal on two tracks from Lady in Satin, baseline pair I m a Fool to Want You and You ve Changed, connecting Holiday diminished upper range 1958 to Mrs Jones half-pint frame against forty years of work. ANCHOR Billie Holiday Lady in Satin Columbia CL 1157 and CS 8048 June 1958, sessions February 18-21 1958. CURRICULUM AMU3M AMU4M. ENG3U Strand B. IB Music. HOOK Hughes thread via Theresa-lobby crossing-point.\n\nP001-09. Apollo-Theresa-Schomburg geography map essay. TRIGGER the party chooses to leave kitchenette before ten-dollar gift, walk passes 125th Street. AGE-BAND JUNIOR MID SENIOR. DELIVERABLE annotated map plus 600-900 word geographic essay mapping Mrs Jones walk-radius, identifying Apollo (Schiffman and Brecher 1934), Hotel Theresa, Schomburg (135th Street branch closed 11 PM but visible as building), Blumstein 230 West 125th, Salem and Abyssinian Baptist Churches, arguing from institutional adjacency to character density. ANCHOR Frank Schiffman Apollo Theatre Collection Smithsonian NMAH AC 0540, Apollo 1934 acquisition. CURRICULUM CGC1W. CHA3U. IB Geography urban environments. HOOK Hughes thread plus Hughes-window plus Blumstein crossing-points. SENIOR can route to P-SS0-09 Schiffman encounter sub-option.\n\nP001-10. Roger-as-narrator counter-text. TRIGGER Mrs Jones primary-present, the party treats Roger as under-narrated. AGE-BAND all four. DELIVERABLE 600-1000 word retelling from Roger interior monologue, must include Run run run run moment and justify three concrete textual silences in Hughes third-person narration. ANCHOR Hughes 1958. CURRICULUM ENG1D ENG2D ENG3U Strand C. IB Lang Lit Part 4. HOOK Roger thread, Roger-peer thread.\n\nP001-11. Period-newspaper one-column article. TRIGGER the party notices absence of news in kitchenette. AGE-BAND MID SENIOR ADULT. DELIVERABLE 500-700 word period-faithful Amsterdam-News-style article, subject one of three (Apollo coming week, Hotel Theresa weekend traffic, short profile on Hughes-window-walk-past poet), period typography appended. ANCHOR period newspapers emergent ghost. CURRICULUM ENG3U ENG4U Strand D Media Studies. CHA3U source-criticism. HOOK Salem-Abyssinian thread via Black-press tradition, Mrs-Jones thread.\n\nP001-12. Hegel master-slave seminar paper. TRIGGER Mrs Jones holds Roger in physical custody, possesses option to call police, refuses both carceral resolution and dominance-display, feeds him instead. The dialectic-inversion is the refusal of the master position despite holding the physical capacity for it. AGE-BAND ADULT only. DELIVERABLE 1200-2000 word philosophical seminar paper applying Hegel Phenomenology of Spirit sections 178-196 to kitchenette dynamic, engaging Fanon Black Skin White Masks recognition-chapter corrective plus one secondary scholarly text on racialized re-reading of dialectic. ANCHOR Hughes 1958 plus Hegel Phenomenology 1807 plus Hegel master-slave emergent ghost. CURRICULUM HZT4U Philosophy. IB Theory of Knowledge. PEDAGOGICAL FLAG ADULT-only, requires scholarly framing.\n\nP001-13. Mrs Jones streetlight-soliloquy composition (NEW 2026-05-16 closes East 128th density gap). TRIGGER Bookworm-as-passing-stranger or as-other-roomer-from-down-the-block sees Mrs Jones at the streetlight before Roger appears, pre-canonical moment. AGE-BAND all four. DELIVERABLE 400-700 word interior-monologue composition, Mrs Jones at the streetlight on East 128th at 11 PM thinking about her shift her solitude what is in her purse, Hughes-canonical-voice constrained. ANCHOR Hughes Thank You M am pre-canonical reconstruction. CURRICULUM ENG1D ENG2D ENG3U Strand C. IB Lang Lit Part 4. HOOK Mrs-Jones thread.\n\nREMOVED FROM SESSION 001 PER 2026-05-16 AUDIT. P001-08 Schomburg-pivot research methodology paper. Timing-impossible from Saturday 11 PM. Migrated to SS-0 parametric as Hutson curatorial encounter at TM1 Friday afternoon or TM2 Saturday morning routing.\n\nTHREAD ROUTING SESSION 001. Roger thread (01 02 03 10 13). Mrs-Jones thread (01 04 06 11 13). Hughes thread (05 06 09). Theresa-staff thread (04 07). Conditional: King thread (07 surfaces hours-old stabbing radio bulletin). Roger-peer thread (07 10).\n\nAGE-BAND DIFFERENTIATION SESSION 001. JUNIOR cluster six options: 01 06 09 10 13 plus JUNIOR-scaffolded 05. MID twelve options. SENIOR twelve options. ADULT thirteen including 12 ADULT-only.\n\nINTERACTION-DEPENDENT BRANCHING SESSION 001. Four pause-and-respond beats are the branching gates.\nBeat i after Eat some more son. Question routes 04 plus 06. Silent routes 01 plus 10. Bathroom routes corridor-drift toward 07.\nBeat ii after the half-pint detail. Corridor-drift continues. The hours-old radio bulletin about King stabbing fires only if the party is in the corridor.\nBeat iii after Mrs Jones describes her youth. Disclosure routes 02 plus 06. Reserve routes 12 at ADULT only.\nBeat iv after ten dollars and Goodnight Behave yourself boy. Route past Hughes brownstone activates 05. Past Apollo activates 09. Past Blumstein (now closed front window, midnight scene-of-yesterday-afternoon vignette) activates an SS-0 cross-route. Direct exit holds baseline.\n\nPEDAGOGICAL DISCERNMENT SESSION 001. Risk of romanticizing kitchenette generosity into a saccharine reading. Counter by requiring at least one project per cohort to engage Mrs Jones labor-economy reality. P001-07 Holiday carries heroin-economy realism muted at MID and full at SENIOR-ADULT, JUNIOR restricted entirely. P001-12 Hegel ADULT-only. P001-04 wage-labor MID educator-trigger.\n\nCROSS-REFERENCES added by this matrix. cc-cmp001-project-trigger-conditions. cc-cmp001-age-band-restriction-matrix. cc-cmp001-curriculum-strand-crosswalk. cc-cmp001-ss-0 (SS-0 parametric carries migrated P001-08).\n\nPROJECT MATRIX. See cc-cmp001-project-catalog for the audit-tweaked project-opportunity matrix attached to this scene. Cross-references at cc-cmp001-project-trigger-conditions, cc-cmp001-age-band-restriction-matrix, cc-cmp001-curriculum-strand-crosswalk.", "x": "First-playthrough run-card. Other-roomer entry vector. Saturday 11 PM encounter. 4 players, tier-1 high school. 75 minutes. Homework feeds 1978 apology letter (HW-B).", "bb_links": [ "dm-007", "dm-010", "ses-005" ], "cc_links": [ "cc-cmp001-encounter-block", "cc-cmp001-mrs-jones", "cc-cmp001-narrative-architecture", "cc-cmp001-realism-cultural", "cc-cmp001-realism-domestic", "cc-cmp001-realism-religious", "cc-cmp001-realism-social", "cc-cmp001-realism-spatial", "cc-cmp001-roger", "cc-cmp001-rubric", "cc-cmp001-ss-0", "cc-cmp001-tm-saturday", "cc-cmp001-vs-mrs-jones", "cc-cmp001-vs-roger", "cc-cmp001-window" ], "tg": "cc, cmp-001, runcard, session-001, other-roomer, encounter, saturday-evening, tier-1, hw-b, may-2026-10-origin" }, { "id": "cc-cmp001-runcard-002-abyssinian-sunday", "s": "campaign", "r": "cmp-001-session-runcard", "t": "cmp-001 Session 002 run-card. Abyssinian Sunday morning sermon (SS-0 instantiation).", "b": "cmp-001 SESSION 002. Abyssinian Sunday morning. Specific instantiation of cc-cmp001-ss-0 with the four parameters fixed.\n\nPARAMETERS LOCKED.\n- Tier band: 13-16 (mid-tier per bb* dm-010).\n- Window leg: Sunday September 21 1958, 10:00 AM through 11:30 AM (per cc-cmp001-tm-sunday).\n- Narrative thread: Abyssinian-pulpit thread (Powell at Abyssinian per his documented Sunday-pastoral pattern, cross-referenced cc-cmp001-abyssinian and cc-cmp001-npc-powell).\n- Crossing-point: Abyssinian Baptist Church sanctuary, 132 Odell Clark Place / West 138th Street, Sunday morning service.\n\nGROUP. 2-4 Bookworms form the party. Guides include the educator/Rainbowsol and any returning experienced Bookworms. 75 minutes per the 13-16 band default.\n\nPLAYER ARCHETYPE FRAMING. Each Bookworm is a teenage member of Abyssinian who attends the Sunday service the morning after the King stabbing. Possibility space (AI engine surfaces specifics with seated-group input, not pre-committed):\n- A 14-year-old Black girl whose mother is a longtime Abyssinian member; she sits beside her mother in the family pew.\n- A 16-year-old Black boy who came to Abyssinian with his grandmother; he is half-listening, half-thinking about Saturday’s news.\n- A 13-year-old Black boy whose family sits in the balcony; he can see Powell’s face from up there.\n- A 15-year-old Black girl who sings in the youth choir; she is robed and seated in the loft today.\n- A 14-year-old Caribbean-immigrant Black boy whose family joined Abyssinian three months ago; he is still learning the cadences.\n- A 15-year-old Black girl whose father is a deacon; she sits near the front and notices what the deacons are doing during the sermon.\nThe AI engine surfaces names and one-line postures live at session zero. None pre-committed in CC*.\n\nPRE-SESSION PREP CHECKLIST. (a) \"Thank You M’am\" read in homework. (b) cc-cmp001-emergence-point page distributed. (c) Each Bookworm has char-001/002 sheet completed. (d) Educator confirms 13-16 tier band. (e) AI engine briefed on Abyssinian-pulpit thread + Sunday-morning crossing-point. (f) Educator-as-Rainbowsol prepared with the SS-0 frame-open script.\n\nOPENING (per SS-0 moments i-vi, 0:00-0:22).\nThe educator runs the cave-entry ritual. Page reading. Mirror-portal narration. Character-claim. The party crosses. The mirror in Mrs Jones’s kitchenette is the entry-point even though the session does not happen IN the kitchenette; the kitchenette mirror is the cmp-001 portal regardless of where the session unfolds. The party emerges into Abyssinian at 10 AM Sunday with the bell ringing.\n\nEMERGENCE NARRATION (per SS-0 moment vi, 0:18-0:22). The AI engine narrates: \"Sunday morning. Ten o’clock. The bells of Abyssinian have just stopped. The sanctuary is filling. The pews smell of beeswax polish and Sunday perfumes. Adam Clayton Powell Jr. is in the pulpit gown today. The choir is settling into the loft. Outside, the Sunday Times on every corner stand carries King’s face. Inside, no one is talking about anything else.\" Each Bookworm surfaces their archetype’s position in the room.\n\nFIRST BEAT (SS-0 moment viii, 0:27-0:50). THE SERMON. Powell preaches on the King stabbing. The congregation processes the news in real time. Powell’s documented pastoral register handles the convergence: King’s blood on the page of *Stride Toward Freedom*; the Curry-as-mentally-ill framing he and others gave that day; the question of what Black Harlem owes its leadership; whether King’s nonviolence holds when his body bleeds. The party listens and reacts. Each character’s POV surfaces what they notice, what they feel, what they think is the right response to what they are hearing.\n\nThe educator and AI engine prompt each Bookworm with: who is sitting near you, what does their face show, what do you see your mother / father / grandmother / friend doing during the sermon. The party writes one to three sentences per beat-prompt.\n\nMID-SESSION WRITING PROMPT (SS-0 moment ix, 0:50-0:55). \"What did Powell say that you did not expect, and what does it mean to you?\" Two to three sentences in-character. Goes into char-003 living document.\n\nSECOND BEAT (SS-0 moment x, 0:55-1:00). AFTER THE SERMON. The service continues; congregation rises for closing hymn; the party exits with their family or alone. On the steps outside, conversations form. Some adults mention Mrs Jones (the AI engine MAY surface her at the educator’s discretion if any party’s narrative-thread brushes the Hughes-text-canonical layer); most adults are talking about King. The party overhears, joins, withdraws. What does the morning leave them with?\n\nThe Hughes lesson surfaces here without direct Roger-or-Mrs-Jones contact. The grace-over-punishment lesson is in Powell’s framing of Curry and in what the party sees the adults around them deciding to do or say. Pedagogical-equivalence per cc-cmp001-narrative-architecture.\n\nCLOSE (SS-0 moments xi-xv, 1:00-1:15). Standard. Rainbowsol surfaces, dimension closes, debrief, homework punctuation, hook for next session.\n\nHOMEWORK ASSIGNMENT. \"Write a one-page Sunday-evening journal entry from your character. What did you hear today that you cannot stop thinking about. What did you see your family or your congregation do that you did not understand or did understand. End with one question you want to ask someone older than you.\" 250-400 words. Goes into char-003.\n\nHOOK FOR NEXT SESSION. Monday morning newsstand pass per cc-cmp001-ghost-firing-5. The Tuesday Amsterdam News not yet out, but the Monday dailies are continuing the King story. Roger may or may not appear. The party’s Sunday journal entry will color what Monday looks like.\n\nRUBRIC AXES EXERCISED (cc-cmp001-rubric). Voice (period-Black-Harlem-teen-in-Sunday-service register). Observation (the party notices what is documented in cc-cmp001-realism-religious + cc-cmp001-realism-political). Restraint (the party does not over-interpret Powell or over-claim political consciousness). Turn (the moment something shifts in the party’s understanding during the sermon).\n\nCALIBRATION-BAND NOTE. 13-16 band: tier-2 surfaces only on educator-trigger. The heroin economy, hard slurs, full-intensity political rhetoric stay below the surface unless the educator invites them in. Powell’s sermon is delivered at full historical intensity per his documented oratorical register; Curry-mental-illness framing surfaces; the question of what Black Harlem owes its leadership surfaces.\n\nCROSS-REFERENCES. cc-cmp001-ss-0 (parent template). cc-cmp001-abyssinian (location). cc-cmp001-npc-powell (preacher). cc-cmp001-tm-sunday (window-leg). cc-cmp001-realism-religious (period sermon and congregation patterns). cc-cmp001-realism-political (King + Curry + Powell political context). cc-cmp001-rubric (axes). cc-cmp001-narrative-architecture (Run 3 / Abyssinian-pulpit thread per replay mechanism). cc-cmp001-window (campaign window). bb* dm-010 (tier calibration). bb* dm-011 (burrow ritual). bb* ses-001 (session-zero structure). bb* ses-005 (ordinary session structure for follow-up sessions).\n\nORIGIN. May 10 2026. Worked-example instantiation of cc-cmp001-ss-0 with non-Saturday-11-PM, non-Roger-thread parameters to demonstrate the SS-0 template’s parametric range.\n\nPROJECT-OPPORTUNITY MATRIX added 2026-05-16. Supersedes single-homework default. Carries fifteen branching project options.\n\nFIFTEEN PROJECT OPTIONS.\n\nP002-01. Sunday-evening in-character journal. TRIGGER Powell primary-present, fires for every Bookworm. AGE-BAND all four. DELIVERABLE 250-400 word in-character journal, Bookworm-as-Harlem-resident reflects on Sunday September 21 1958. ANCHOR Powell sermon-event SS-0 instantiation, Abyssinian congregation per Stanford King Institute Powell entry. CURRICULUM ENG2D ENG3U Strand C. HOOK Salem-Abyssinian thread, King thread.\n\nP002-02. Powell sermon close reading. TRIGGER Powell primary-present, the party attends to rhetorical structure during moment ix prompt. AGE-BAND SENIOR ADULT, MID with educator scaffolding. DELIVERABLE 800-1200 word sermon-analysis paper identifying three rhetorical figures (anaphora parallelism kairotic appeal) citing Powell documented preaching position at Abyssinian pastor 1937-1972. ANCHOR Powell documented preaching record, Stanford King Institute Powell entry. CURRICULUM ENG4U Strand B. CHA3U. IB Lang Lit Part 2. HOOK Salem-Abyssinian thread, King thread.\n\nP002-03. Stride Toward Freedom situated review. TRIGGER the party notices Powell references book King was signing. AGE-BAND MID SENIOR ADULT. DELIVERABLE 900-1400 word situated book-review, student selects one chapter of King Stride Toward Freedom Harper and Brothers 1958, reviews as if for September 22 1958 Amsterdam News two days after the stabbing, must engage at least one passage and one contemporary reception fact. ANCHOR King Stride Toward Freedom 1958. CURRICULUM ENG3U ENG4U Strand B and D. CHA3U. IB History Paper 3. HOOK King thread, Salem-Abyssinian thread.\n\nP002-04. Mahalia radio-broadcast listening journal RETWEAKED 2026-05-16. TRIGGER Bookworm-as-pew-attendee hears Mahalia voice via Theresa-lobby or Abyssinian-vestibule radio broadcast carrying documented Newport 1958 recording. Reanchored from undocumented Mahalia-at-Abyssinian-September-21-1958 appearance to documented radio surface. AGE-BAND all four. DELIVERABLE 600-900 word listening journal on two tracks from Live at Newport 1958 baseline pair Didn t It Rain and The Lord s Prayer, reflecting on how the same Mahalia voice translates from Newport secular-festival to Sunday-radio listening context. JUNIOR 300-500. ANCHOR Mahalia Jackson Newport 1958 Columbia CL 1244 recorded July 6 1958 released 1958. CURRICULUM AMU3M AMU4M. ENG2D Strand D. IB Music. HOOK Salem-Abyssinian thread, Hughes thread via shared 1958 cultural moment.\n\nP002-05. King-stabbing news-processing structured argument. TRIGGER congregation processes news mid-sermon, Powell directly addresses Saturday events. AGE-BAND SENIOR ADULT, MID with educator-trigger. DELIVERABLE 1000-1500 word structured argument on whether Sunday service should proceed as planned, alter the homily, or yield pulpit to community-update format, arguing from documented Powell political positioning with at least two source citations. ANCHOR King stabbing September 20 1958 at Blumstein, Officer Al Howard Don t sneeze don t even speak intervention per Pearson When Harlem Nearly Killed King Seven Stories Press 2002. CURRICULUM ENG4U Strand B and C. CHA3U. CHV2O. IB Lang Lit Part 2. HOOK King thread, Salem-Abyssinian thread.\n\nP002-06. Coretta Scott King at the hospital epistolary composition. TRIGGER the party exits Abyssinian via after-sermon steps and routes to Harlem Hospital, Coretta documented present TM2-TM4. AGE-BAND MID SENIOR ADULT. DELIVERABLE 800-1200 word epistolary composition, letter from Coretta in hospital waiting area to friend at New England Conservatory of Music, must reference her degree in voice and violin completed 1954. ANCHOR Coretta Scott King My Life with Martin Luther King Jr Holt Rinehart and Winston 1969, NEC graduation 1954. CURRICULUM ENG3U ENG4U Strand C. CHA3U. HSC4M. HOOK King thread, Maynard-Curry thread.\n\nP002-07. Hughes I Dream a World intertext sermon-essay. TRIGGER Powell preaches on hope, the party notices Hughes-inflection in Powell cadence. AGE-BAND SENIOR ADULT, MID introductory. DELIVERABLE 1000-1500 word essay tracing documented Hughes-King poetry influence. King recited Hughes Mother to Son from pulpit 1956 honoring Coretta first Mother s Day per Smithsonian Magazine 2018. King rewrote line by line Hughes I Dream a World in August 11 1956 Birth of a New Age speech later titled Facing the Challenge of a New Age per W Jason Miller NC State research. Student argues how 1958 Powell sermon might similarly cite Hughes without attribution. ANCHOR Hughes I Dream a World, Hughes Mother to Son 1922, Miller MLK s First Dream NC State News 2015, Smithsonian Magazine 2018. CURRICULUM ENG4U Strand B. IB Lang Lit Part 3. AP Literature. HOOK Hughes thread, King thread, Hughes-corpus and I Have a Dream emergent ghosts.\n\nP002-08. Hedgeman-Randolph October 1958 Youth March organizing brief RETWEAKED 2026-05-16. TRIGGER the party overhears congregation discussion of whether to organize a march in response to stabbing. Reanchored from anachronistic 1963-March five-year-plan to documented October 25 1958 Youth March for Integrated Schools (five weeks forward). AGE-BAND SENIOR ADULT. DELIVERABLE 1000-1500 word prospective organizing brief from Hedgeman or Randolph perspective September 1958, draft organizing brief for October 25 1958 Youth March for Integrated Schools taking September 20 stabbing as immediate political context, must engage Randolph documented 1941 March-on-Washington-threat strategy producing FDR Executive Order 8802 June 25 1941. ANCHOR Randolph AFL-CIO biography, Hedgeman Trumpet Sounds Holt Rinehart and Winston 1964, NPS biographical entry Hedgeman, October 25 1958 Youth March documented record. CURRICULUM CHA3U. CHV2O. CPW4U. IB History Paper 3. HOOK Salem-Abyssinian thread, King thread, I Have a Dream emergent ghost.\n\nP002-09. Bunche Harlem Hospital diplomatic protocol study RETWEAKED 2026-05-16. TRIGGER the party routes via SS-0 cross-link to TM2 Saturday afternoon Hospital crossing-point. Reanchored from Sunday-morning Bunche (undocumented) to Saturday-afternoon Bunche (documented visit per Stanford King Papers vol 4 p 527). AGE-BAND MID SENIOR ADULT. DELIVERABLE 600-1000 word diplomatic-protocol study, one-page UN-style press release covering Bunche hospital visit period-faithful UN-Trusteeship voice plus methodology paragraph on 1950 Nobel Peace Prize biographical context. ANCHOR Ralph Bunche 1950 Nobel Peace Prize, UN Trusteeship Department director from 1947, Under-Secretary-General for Special Political Affairs from 1957. CURRICULUM CHA3U. CHY4U. CPW4U. IB History Paper 3. HOOK King thread, Maynard-Curry thread. SUNDAY-MORNING ROUTING NOTE. Sunday-after-Abyssinian routing to Hospital surfaces Coretta plus surgical-team-on-rounds (not Bunche).\n\nP002-10. Salem-Abyssinian comparative congregational geography. TRIGGER the party notices proximate Salem Methodist Episcopal Church. AGE-BAND MID SENIOR ADULT. DELIVERABLE 800-1200 word comparative-geography essay mapping Salem Methodist and Abyssinian Baptist 132 West 138th since 1923, arguing from documented physical-plant differences to documented congregational-style differences. ANCHOR Abyssinian Baptist Church Breaking New Ground timeline. Construction Gothic and Tudor style church featured imported European stained glass windows and an Italian marble pulpit completed 14 months total cost 334888 86. Building dedicated June 17 1923. CURRICULUM CGC1W. CHA3U. HSC4M. HOOK Salem-Abyssinian thread.\n\nP002-11. Hutson Schomburg curatorial proposal RETWEAKED 2026-05-16. TRIGGER reroute. Sunday-morning Schomburg branch closed (NYPL branches closed Sundays 1958). Hutson encounter reroutes to either (a) outside-the-Schomburg sidewalk Bookworm-meets-Hutson on her own Sunday errand, or (b) TM1 Friday afternoon or TM2 Saturday morning branch-open routing via SS-0. AGE-BAND all four. DELIVERABLE 500-1000 word curatorial proposal, party proposes one acquisition Schomburg should pursue in wake of King stabbing, justification uses Hutson documented filling the gaps of omissions methodology. JUNIOR 300 word illustrated proposal. ANCHOR Jean Blackwell Hutson Schomburg curator 1948-1980, second Black Barnard graduate 1935 after Zora Neale Hurston 1928, grew collection from 15000 to 75000 volumes per NYPL Blog March 22 2021. CURRICULUM ENG2D ENG3U Strand B. HZT4U Philosophy. IB Theory of Knowledge. HOOK Hughes thread (Hughes was Hutson lifelong friend and donor of his personal papers).\n\nP002-12. After-sermon steps debate brief. TRIGGER after-sermon second beat on church steps, party overhears congregation argument about King nonviolence in face of Curry attack. AGE-BAND SENIOR ADULT. DELIVERABLE 800-1200 word formal debate brief on resolution Resolved the events of September 20 1958 vindicate King commitment to nonviolence, must cite King documented redemptive power of nonviolence press release September 30 1958 from hospital bed. I felt no ill will toward Mrs Curry per Wikipedia Izola Curry entry. ANCHOR King hospital press release September 30 1958. CURRICULUM ENG4U Strand B and C. CHA3U. CHV2O. HOOK King thread, Maynard-Curry thread.\n\nP002-13. Powell-King correspondence analytic note RETWEAKED 2026-05-16. RETROSPECTIVE FRAME REQUIRED. the party writes analytic note as future-historian looking back at September 1958 Powell-King relationship and the trajectory toward 1960. The 1960 Rustin episode happened two years after the campaign window; analyzing it inside September 1958 frame requires retrospective stance. AGE-BAND ADULT only (recommended) or SENIOR with explicit educator pre-discussion. DELIVERABLE 600-1000 word retrospective analytic note on Powell-King relationship as documented in King Papers volume 4, must discuss 1960 incident in which Powell threatened to allege homosexual relationship between King and Bayard Rustin unless planned marches were canceled. ANCHOR King Papers vol 4 letters Stanford King Institute, Adam Clayton Powell Jr Wikipedia 1960 Rustin episode. CURRICULUM CHA3U. ENG4U Strand B. IB History Paper 3. HOOK King thread, Salem-Abyssinian thread.\n\nP002-14. Hutson-Hughes friendship oral-history transcript. TRIGGER Hutson encountered at Schomburg branch (TM1 or TM2 only per P002-11 reroute), party asks about Hughes papers. AGE-BAND MID SENIOR ADULT, JUNIOR-adjacent with scaffolding. DELIVERABLE 600-900 word fictional oral-history transcript, Hutson speaks to Bookworm-as-junior-archivist about her relationship with Hughes, must contain at least one documented biographical fact about each. Hughes referred to Hutson as his baby sister per African American Registry entry. ANCHOR Barnard Magazine 2025, Barnard Archives 2018, African American Registry entry. CURRICULUM ENG2D ENG3U Strand C and D. HSP3U. IB Language A. HOOK Hughes thread, Schomburg / Salem-Abyssinian thread.\n\nP002-15. Period-newspaper Sunday-edition mock-up. TRIGGER the party notices absence of Sunday papers in church-vestibule rack. AGE-BAND all four. DELIVERABLE mock-up Amsterdam News Sunday-edition front page covering Saturday stabbing, one lead article 350 words plus one secondary article 150 words plus one photo caption plus one editorial blurb 100 words, period typography conventions. ANCHOR Amsterdam News historical record, Amsterdam-News-Monday-headline emergent ghost. CURRICULUM ENG2D ENG3U Strand D Media Studies. CHA3U source-criticism. HOOK King thread, Salem-Abyssinian thread via Black-press tradition.\n\nTHREAD ROUTING SESSION 002. Salem-Abyssinian (01 02 04 10 15). King (03 05 06 08 09 12 13). Hughes (07 11 14). Maynard-Curry (06 09 12).\n\nAGE-BAND DIFFERENTIATION SESSION 002. JUNIOR cluster five options: 01 04 11 14-scaffolded 15. MID nine options including JUNIOR plus 03 06 09 10. SENIOR fifteen at full intensity. ADULT fifteen unmuted plus 13 retrospective-frame.\n\nINTERACTION-DEPENDENT BRANCHING SESSION 002.\nPre-sermon vestibule. Front-pew enables direct Powell observation routes 02 plus 13. Back-of-sanctuary enables congregation observation routes 04 plus 10.\nMoment ix prompt. Response naming Mahalia activates 04 radio-broadcast secondary. Response naming the news activates 05. Response naming Hughes activates 07.\nAfter-sermon steps. Hospital route Sunday surfaces Coretta and surgical-team-on-rounds activates 06 plus 12 (Bunche via SS-0 cross-link to TM2). Schomburg route surfaces sidewalk-Hutson activates 11 plus 14. Newsstand route activates 15. Home route holds baseline.\n\nPEDAGOGICAL DISCERNMENT SESSION 002. King-stabbing content is central pedagogical-risk vector. JUNIOR restricted from stabbing-event-detail. MID educator-trigger. SENIOR full intensity. ADULT unmuted. P002-04 Mahalia is documented-radio-anchored not undocumented-in-person-appearance. P002-08 Hedgeman-Randolph documented-October-1958-Youth-March not anachronistic 1963-March. P002-13 Powell-Rustin 1960 ADULT-only with retrospective frame. P002-09 Bunche routes to TM2 Saturday afternoon (documented) not TM3 Sunday (undocumented).\n\nCROSS-REFERENCES added. cc-cmp001-project-trigger-conditions. cc-cmp001-age-band-restriction-matrix. cc-cmp001-curriculum-strand-crosswalk. cc-cmp001-ss-0 (SS-0 cross-link to TM2 Saturday-afternoon Hospital routing).\n\nPROJECT MATRIX. See cc-cmp001-project-catalog for the audit-tweaked project-opportunity matrix attached to this scene. Cross-references at cc-cmp001-project-trigger-conditions, cc-cmp001-age-band-restriction-matrix, cc-cmp001-curriculum-strand-crosswalk.", "x": "Sunday-morning Abyssinian sermon-as-news-processing run. SS-0 parametric instantiation: 13-16 band, Sunday-morning leg, Abyssinian-pulpit thread, Powell-pulpit crossing-point. Pedagogical-equivalence via congregation-processes-the-news rather than direct encounter.", "bb_links": [ "dm-010", "dm-011", "ses-001", "ses-005" ], "cc_links": [ "cc-cmp001-abyssinian", "cc-cmp001-narrative-architecture", "cc-cmp001-npc-powell", "cc-cmp001-realism-political", "cc-cmp001-realism-religious", "cc-cmp001-rubric", "cc-cmp001-ss-0", "cc-cmp001-tm-sunday", "cc-cmp001-window" ], "tg": "cc, cmp-001, runcard, runcard-002, ss-0-instantiation, abyssinian, sunday-morning, powell-pulpit, sermon-thread, congregation-processing, 13-16-band, parametric-instance, may-2026-10-origin" }, { "id": "cc-cmp001-npc-hedgeman", "s": "npc-hedgeman", "r": "cmp-001", "t": "cmp-001 NPC Anna Arnold Hedgeman (real-historical, full dossier T3)", "b": "1. NAME. Anna Arnold Hedgeman (née Arnold). Full name in the historical record.\n\n2. AGE. 59 in September 1958. Born July 5 1899 Marshalltown Iowa. Raised Anoka Minnesota. Died January 17 1990 New York City.\n\n3. STATUS. VERIFIED real-historical. Civil rights organizer, educator, public administrator. The first Black woman appointed to a New York City mayoral cabinet (Mayor Robert F Wagner Jr January 1 1954). SCLC NYC week September 17 to 20 1958 organizer. Eyewitness to the King stabbing at Blumstein’s. Author of the canonical New York Age column “I Saw Dr King Stabbed.”\n\n4. LOCATION-AT-EACH-NAMED-TIMESTAMP.\nFriday 6 PM TM1: organizing rounds, Harlem. Confirming venues for the SCLC week Saturday book signing at Blumstein’s.\nSaturday 9 AM TM2: Hotel Theresa or Blumstein’s, coordinating floor logistics for the King book signing.\nSaturday 3 PM TM2: Blumstein’s mezzanine. Present when Curry approached King at approximately 3:20 PM. Eyewitness to the stabbing. Her New York Age column the following week opens “Saturday turned out to be a beautiful Fall day.”\nSaturday 11 PM TM2: Harlem Hospital area or home. Processing the stabbing.\nSunday 9 AM TM3: Harlem Hospital and Amsterdam News office. Coordinating press response, drafting column.\nSunday 3 PM TM3: organizing rounds. Five weeks from the Youth March for Integrated Schools October 25 1958.\nMonday 7 AM TM4: Amsterdam News and New York Age offices. Filing the “I Saw Dr King Stabbed” column.\n\n5. FAMILY AND HOUSEHOLD. Married to Merritt A. Hedgeman, a musician and concert artist associated with spirituals. UNCHECKED: exact household address in Harlem 1958. Resolution path: Hedgeman memoir The Trumpet Sounds 1964 and Scanlon Until There Is Justice 2016.\n\n6. WORK OR OCCUPATION. In September 1958 Hedgeman was transitioning out of Mayor Wagner’s cabinet (served January 1 1954 through 1958; exact departure month UNCHECKED, reportedly over frustration with gender discrimination and housing-policy inaction per Scanlon). Simultaneously organizing for the SCLC’s Northern fundraising week and the upcoming Youth March for Integrated Schools October 25 1958 in Washington DC with A Philip Randolph and Bayard Rustin. Columnist for the New York Age (column name and frequency UNCHECKED; resolution path: Newspapers.com New York Age archive).\n\n7. VOICE REGISTER. Methodist preacher’s daughter cadence. First-and-only-Black-woman-in-the-room composure. Administrative precision. Reference touchpoints: Hamline University 1922 first Black graduate, YWCA executive experience, FEPC executive directorship under Randolph 1944, Wagner cabinet 1954 to 1958. The voice of a woman who ran the logistics the men took credit for.\n\n8. PHYSICAL DESCRIPTION. UNCHECKED at photographic-description level for 1958. Narrate a poised, professionally dressed Black woman in her late 50s with the bearing of a seasoned administrator and public speaker. Firm, organized, articulate. Resolution path: NYPL Schomburg Photographs and Prints Division (search Hedgeman Anna Arnold at digitalcollections.nypl.org); see cc-cmp001-im-hedgeman-portrait.\n\n9. PEDAGOGICAL PURPOSE. Hedgeman is the invisible organizer. She organized the entire SCLC NYC week that ended with the King stabbing and she organized the Youth March five weeks later. Her presence in the campaign teaches that political events do not happen by themselves. Someone books the church, confirms the press, manages the floor, and writes the column afterward. Hedgeman did all four.\n\n10. TIER. T3 secondary-conditional per dm-010. Surfaces on NPC-path-trigger when bookworms investigate the SCLC week organizing, the Youth March, or the “I Saw Dr King Stabbed” column. Tier 1 presence in the NPC schedule at Blumstein’s Saturday afternoon and Harlem Hospital Saturday evening.\n\n11. NPC-PATH-TRIGGER CONDITIONS. (a) Bookworm chooses Dragon 1 (Blumstein’s before three-twenty) and asks who organized the event. (b) Bookworm encounters the New York Age column and asks who wrote it. (c) Bookworm hears about the Youth March and asks who is planning it. (d) Bookworm encounters Randolph and he names her. (e) DM stages her at any SCLC-week venue per the NPC schedule.\n\n12. RELATIONSHIPS. A Philip Randolph (co-organizer of the Youth March; she worked under him at the FEPC 1944). Martin Luther King Jr (she organized his entire NYC week). Langston Hughes (shared Harlem intellectual-political community). Adam Clayton Powell Jr (overlapping Harlem political networks). L Joseph Overton (NAACP Harlem branch, co-present at Blumstein’s). Merritt Hedgeman (husband).\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-hedgeman-portrait (NYPL Schomburg).\n\n14. THREE SIGNATURE DIALOGUE EXEMPLARS (period-extrapolated, not verbatim).\n(a) At Blumstein’s before the signing: “The press is in the balcony. Dr King’s car is fifteen minutes out. The NAACP people have the mezzanine. I need the elevator held.”\n(b) At Harlem Hospital Saturday evening: “I was standing ten feet from him. The woman asked if he was Mr King and he said yes. Then the blade was in his chest. I am going to write every word of what I saw.”\n(c) On the Youth March: “The march is October twenty-fifth. Randolph and Rustin have Washington. I have New York. We need young people on buses. That is what I am organizing right now.”\n\n15. PRIMARY CITATIONS. Anna Arnold Hedgeman The Trumpet Sounds A Memoir of Negro Leadership Holt Rinehart and Winston 1964. Anna Arnold Hedgeman The Gift of Chaos Decades of American Discontent Oxford UP 1977 ISBN 978-0195022261. Jennifer Scanlon Until There Is Justice The Life of Anna Arnold Hedgeman Oxford UP 2016 ISBN 978-0190673208. Hedgeman “I Saw Dr King Stabbed” New York Age at Newspapers.com page 40868038. Anna Arnold Hedgeman Papers NYPL Schomburg finding aid SCM 20703. National Park Service biographical entry.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-week-lead-up. cc-cmp001-realism-political. cc-cmp001-npc-schedule (N04). cc-cmp001-project-catalog (P001-04, P002-08). cc-cmp001-sg-graph.\n\nORIGIN. May 16 2026 lightweight card. June 24 2026 B1 research upgrade to full 15-field dossier.", "x": "Hedgeman full dossier. Real-historical T3 upgraded to 15-field. Eyewitness to King stabbing. SCLC NYC week organizer. Youth March October 25 1958 organizer. Cabinet departure month and exact Harlem address UNCHECKED.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph", "cc-cmp001-week-lead-up", "cc-cmp001-realism-political", "cc-cmp001-npc-schedule", "cc-cmp001-im-hedgeman-portrait" ], "tg": "cc, cmp-001, npc, hedgeman, real-historical, t3, full-dossier, 15-field, sclc-organizer, youth-march-1958, i-saw-dr-king-stabbed, b1-research-fill, jun-2026-24-origin" }, { "id": "cc-cmp001-npc-randolph", "s": "npc-randolph", "r": "cmp-001", "t": "cmp-001 NPC A. Philip Randolph (real-historical, secondary-conditional T3)", "b": "1. NAME. Asa Philip Randolph.\n\n2. AGE. 69 in September 1958. Born April 15 1889, Crescent City Florida.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Labor leader, civil rights organizer.\n\n4. LOCATION-AT-TIMESTAMP. New York City. Headquartered with the Brotherhood of Sleeping Car Porters BSCP. Active in early-stage planning of the October 25 1958 Youth March for Integrated Schools.\n\n5. ENCOUNTER VECTORS. (a) Saturday morning TM2 Hotel Theresa for strategy meeting on the King-stabbing response. (b) BSCP New York office during business hours. (c) Sunday TM3 Abyssinian congregation possible.\n\n6. VOICE REGISTER. Booker T. Washington-derived oratorical formality. Socialist-labor analytical precision. Slow, deliberate, basso. Touchpoints: 1925 BSCP founding, 1935 AFL certification, 1941 March-on-Washington-threat producing FDR Executive Order 8802 June 25 1941, 1948 civil-disobedience pressure forcing Truman Executive Order 9981 desegregating armed forces.\n\n7. ENCOUNTER PROTOCOL. DM stages as elder-statesman of Black labor. AI engine renders from Cornelius Bynum \"A. Philip Randolph and the Struggle for Civil Rights\" University of Illinois Press 2010 voice and biographical archive. party engages on the long-arc organizing playbook, intergenerational mentorship (Randolph to Rustin to King), the threat-of-March as political instrument.\n\n8. PROJECT-TRIGGER LINKS. P002-08 Hedgeman-Randolph Youth-March organizing brief (primary trigger).\n\n9. PEDAGOGICAL FLAGS. SENIOR / ADULT for primary engagement. MID for biographical-introduction. JUNIOR can encounter as labor-leader-explaining-Pullman-porter-history.\n\n10. CITATIONS. Cornelius L Bynum \"A. Philip Randolph and the Struggle for Civil Rights\" University of Illinois Press 2010. Cynthia Taylor \"A. Philip Randolph The Religious Journey of an African American Labor Leader\" NYU Press 2006. Library of Congress Brotherhood of Sleeping Car Porters research guide.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, randolph, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-mahalia-jackson", "s": "npc-mahalia-jackson", "r": "cmp-001", "t": "cmp-001 NPC Mahalia Jackson (real-historical, full dossier T3, documented-radio-surface-only)", "b": "1. NAME. Mahalia Jackson. Born Mahala Jackson (spelling changed later).\n\n2. AGE. 46 in September 1958. Born October 26 1911 New Orleans Louisiana. Died January 27 1972 Evergreen Park Illinois.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Gospel singer. Columbia Records artist since 1954. SURFACES IN cmp-001 VIA DOCUMENTED-RADIO-BROADCAST ONLY per the May 16 2026 audit. No documented in-person NYC appearance September 20 to 21 1958. Undocumented in-person Abyssinian appearance September 21 1958 is excluded under no-fabrication compliance.\n\n4. LOCATION-AT-EACH-NAMED-TIMESTAMP. Chicago-based residentially. No documented New York City performance, recording session, television appearance, or church appearance in September 1958. Performed at Newport Jazz Festival Sunday July 6 1958 (the recording Newport 1958 Columbia CL 1244 was current on Black radio in September). Surfaces in cmp-001 ONLY via radio reception at any timestamp. UNCHECKED: Burford Mahalia Jackson and the Black Gospel Field Oxford 2019 and Schwerin Got to Tell It Oxford 1992 may document a September 1958 itinerary. Resolution path: check both.\n\n5. FAMILY AND HOUSEHOLD. Based in Chicago. Purchased a home in the largely white Chatham neighborhood on the South Side circa 1956. Faced racist hostility including gunfire into the home. UNCHECKED: exact address and date of purchase. Divorced from Isaac Hockenhull (married 1936, divorced 1941). In 1958 she was unmarried (second marriage to Sigmond Galloway was 1964).\n\n6. WORK OR OCCUPATION. Full-time gospel recording and touring artist. Columbia Records (signed 1954). Refused secular-blues offers from Decca and Louis Armstrong throughout career. First gospel singer to give a Carnegie Hall concert (1950). Television appearances on Ed Sullivan and other national programs. In 1958 her Columbia catalog included multiple albums and singles in active distribution. UNCHECKED: specific 1958 Columbia sessions and album release dates. Resolution path: Columbia Records discography and Burford.\n\n7. VOICE REGISTER. Documented gospel vocal arrangement. Powerful contralto. Newport 1958 introduction: “Ladies and gentleman: it is Sunday, and it is time for the world’s greatest gospel singer, Miss Mahalia Jackson.” Performance register: clapping, swaying, eyes closed, raised arms, full-body engagement. Speaking register: warm, religiously devout, plain-spoken, New Orleans inflection carried through decades in Chicago. Would talk about faith, the power of gospel, the civil rights movement, and Dr King.\n\n8. PHYSICAL DESCRIPTION. Large, tall, commanding woman. Broad-shouldered, physically powerful. Typically wore formal gowns or robes for performance, conservative professional dress off-stage. Dark complexion. Expressive face, wide smile. Narrate her as filling a doorway and a room with presence before she opens her mouth.\n\n9. PEDAGOGICAL PURPOSE. Jackson is the voice that connects the sacred to the political. Her friendship with King, her Newport performance weeks before the campaign window, and her refusal to cross into secular music despite enormous commercial pressure make her a figure who teaches students about artistic integrity and the role of faith in the civil rights movement. In cmp-001 she is audible but not visible, which makes her a teaching example about presence-through-art rather than presence-through-proximity.\n\n10. TIER. T3 secondary-conditional per dm-010. Documented-radio-surface-only. Surfaces when bookworms hear gospel music on a radio at any crossing-point.\n\n11. NPC-PATH-TRIGGER CONDITIONS. (a) the party hears Mahalia on a Theresa-lobby radio or Abyssinian-vestibule speaker. (b) Saturday afternoon jazz-radio broadcast Apollo-side-street. (c) Period Apollo-bound performer poster visible. (d) Any crossing-point where a radio is audible. AI engine renders voice only; do not stage as in-person speaking NPC.\n\n12. RELATIONSHIPS. Martin Luther King Jr (personal friendship dating to the Montgomery Bus Boycott 1955 to 1956; she sang at civil rights rallies at King’s request; she would later sing at his funeral 1968). Langston Hughes (shared 1958 cultural moment; Hughes attended Newport; both Columbia-adjacent in the recording world). The Newport jazz community (she closed the festival July 6 1958 and appears in Bert Stern’s Jazz on a Summer’s Day). UNCHECKED: whether she visited King at Harlem Hospital after the September 20 stabbing. Do not assert this.\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-mahalia-jackson-portrait (LOC Carl Van Vechten Collection or Columbia Records publicity). cc-cmp001-scene-set-pack (Newport 1958 footage in Jazz on a Summer’s Day).\n\n14. THREE SIGNATURE DIALOGUE EXEMPLARS (documented-voice-only; these are what a radio broadcast would carry, not in-person speech).\n(a) Newport 1958 spoken introduction before “Didn’t It Rain”: the MC’s voice, then her voice entering the song. The radio carries the recorded performance.\n(b) A radio interview clip (period-extrapolated): “I sing God’s music because God’s music makes me feel free. They offered me the blues. I said no. The blues is fine for somebody else. I sing for the Lord.”\n(c) A radio news mention (period-extrapolated): WLIB announcer: “Mahalia Jackson, who closed the Newport Jazz Festival in July, sends her prayers to Dr King at Harlem Hospital tonight.” (Note: this specific broadcast is PERIOD-EXTRAPOLATED, not documented.)\n\n15. PRIMARY CITATIONS. Mahalia Jackson Newport 1958 Columbia CL 1244 recorded July 6 1958. Mark Burford Mahalia Jackson and the Black Gospel Field Oxford UP 2019 ISBN 978-0190634933. Jules Schwerin Got to Tell It Mahalia Jackson Queen of Gospel Oxford UP 1992 ISBN 978-0195084399. Bert Stern Jazz on a Summer’s Day Galaxy Productions 1959. LOC Carl Van Vechten Collection Jackson portraits.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-project-catalog (P002-04). cc-cmp001-scene-set-pack (Newport footage and Mahalia embed). cc-cmp001-realism-cultural (Newport ghost). cc-cmp001-sg-graph.\n\nORIGIN. May 16 2026 lightweight card. June 24 2026 B1 research upgrade to full 15-field dossier. Radio-surface-only ruling preserved from May 16 2026 audit.", "x": "Mahalia Jackson full dossier. Real-historical T3 upgraded to 15-field. Documented-radio-surface-only. No documented September 1958 NYC appearance. Newport July 1958 verified. Chatham house and King hospital visit UNCHECKED.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph", "cc-cmp001-scene-set-pack", "cc-cmp001-realism-cultural", "cc-cmp001-im-mahalia-jackson-portrait" ], "tg": "cc, cmp-001, npc, mahalia-jackson, real-historical, t3, full-dossier, 15-field, documented-radio-surface-only, newport-1958, columbia-records, b1-research-fill, jun-2026-24-origin" }, { "id": "cc-cmp001-npc-miles-davis", "s": "npc-miles-davis", "r": "cmp-001", "t": "cmp-001 NPC Miles Davis (real-historical, secondary-conditional T3)", "b": "1. NAME. Miles Dewey Davis III.\n\n2. AGE. 32 in September 1958. Born May 26 1926, Alton Illinois.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Jazz trumpeter, composer, bandleader.\n\n4. LOCATION-AT-TIMESTAMP. New York City jazz scene. The Davis Sextet (Davis, Coltrane, Adderley, Evans, Chambers, Cobb) had performed at Newport July 3 1958. Recording sessions for \"Kind of Blue\" began March 2 1959. Plays clubs across Manhattan and Brooklyn in the September 1958 window.\n\n5. ENCOUNTER VECTORS. (a) Friday night TM1 Cafe Bohemia, Five Spot, or Birdland jazz club. (b) Saturday afternoon TM2 sextet rehearsal. (c) Radio broadcast at any crossing-point.\n\n6. VOICE REGISTER. Quiet-spoken, oblique, behind-the-beat conversational style mirroring his trumpet phrasing. Documented vocabulary range. Plays muted-trumpet ballads. Touchpoints: Charlie Parker quintet 1944-48, heroin-addiction wilderness 1949-54, 1955 Newport comeback, modal-jazz turn in \"Milestones\" 1958.\n\n7. ENCOUNTER PROTOCOL. DM stages as quiet-presence-bandleader. AI engine renders from \"Miles The Autobiography\" with Quincy Troupe (Simon Schuster 1989) voice register. The autobiography contains explicit language and drug content and domestic-violence content; AI engine bounds rendering per age band.\n\n8. PROJECT-TRIGGER LINKS. P-SS0-11 Miles Davis Newport-to-Kind-of-Blue listening composition (primary trigger).\n\n9. PEDAGOGICAL FLAGS. SENIOR / ADULT full intensity. MID with educator scaffolding. JUNIOR listening-only via \"So What\" recording without biographical detail.\n\n10. CITATIONS. Miles Davis with Quincy Troupe \"Miles The Autobiography\" Simon Schuster 1989. \"Miles Davis at Newport 1958\" Columbia released 1964. \"Kind of Blue\" Columbia 1959. John Szwed \"So What The Life of Miles Davis\" Simon Schuster 2002. Ian Carr \"Miles Davis The Definitive Biography\" Thunder s Mouth Press 1998.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, miles-davis, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-billie-holiday", "s": "npc-billie-holiday", "r": "cmp-001", "t": "cmp-001 NPC Billie Holiday (real-historical, secondary-conditional T3, CONTENT-HANDLING-PROTOCOL)", "b": "1. NAME. Eleanora Fagan, stage name Billie Holiday.\n\n2. AGE. 43 in September 1958. Born April 7 1915, Philadelphia. Has ten months to live (dies July 17 1959).\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Jazz singer. CONTENT-HANDLING-PROTOCOL ENFORCED. JUNIOR RESTRICTED ENTIRELY. MID BRACKETED. SENIOR / ADULT FULL.\n\n4. LOCATION-AT-TIMESTAMP. New York City. Stays at Hotel Theresa across her career, plausibly present Saturday TM2 night. \"Lady in Satin\" Columbia CL 1157 / CS 8048 released June 1958, current at campaign window.\n\n5. ENCOUNTER VECTORS. (a) Saturday night TM2 Hotel Theresa lobby late-hours. (b) Theresa lounge performance. (c) Period radio broadcast.\n\n6. VOICE REGISTER. Diminished upper range by 1958 from cumulative damage (per Szwed 2015). Phrasing behind the beat. Conversational off-stage register documented as quiet, ironic, defensive. Touchpoints: Cafe Society 1939 \"Strange Fruit\" premiere, FBN Anslinger targeting, 1947 Alderson women s prison sentence, cabaret-card denial.\n\n7. ENCOUNTER PROTOCOL. DM stages with explicit content-bracketing per age band. MID the party meets Holiday at the Theresa lobby for casual exchange about her ballads only, no narcotics or FBN content. SENIOR / ADULT full register including \"Strange Fruit\" and Federal Bureau of Narcotics targeting context. AI engine ENFORCES the bracketing per the cc-cmp001-age-band-restriction-matrix.\n\n8. PROJECT-TRIGGER LINKS. P001-07 Theresa-lobby Holiday encounter listening journal (primary trigger, SENIOR / ADULT preferred).\n\n9. PEDAGOGICAL FLAGS. JUNIOR RESTRICTED ENTIRELY (sexual exploitation, narcotics, racial violence content unbracketable). MID with explicit educator pre-discussion of FBN context. SENIOR / ADULT full intensity. The Hari 2015 \"Strange Fruit caused the targeting\" thesis is CONTESTED per Lewis Porter and others; ADULT seminar must preserve the controversy.\n\n10. CITATIONS. Billie Holiday \"Lady in Satin\" Columbia 1958. Billie Holiday with William Dufty \"Lady Sings the Blues\" Doubleday 1956. John Szwed \"Billie Holiday The Musician and the Myth\" Viking 2015. Farah Jasmine Griffin \"If You Can t Be Free Be a Mystery\" Free Press 2001. Johann Hari \"Chasing the Scream\" Bloomsbury 2015 (contested thesis on FBN targeting).", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, billie-holiday, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-althea-gibson", "s": "npc-althea-gibson", "r": "cmp-001", "t": "cmp-001 NPC Althea Gibson (real-historical, secondary-conditional T3)", "b": "1. NAME. Althea Neale Gibson.\n\n2. AGE. 31 in September 1958. Born August 25 1927, Silver South Carolina. Family moved to Harlem when she was three.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Tennis champion. Wimbledon and US Nationals titles 1957 and 1958. AP Female Athlete of the Year 1957 and 1958. At peak hometown celebrity in Harlem in September 1958.\n\n4. LOCATION-AT-TIMESTAMP. Harlem. Trained as teenager at Cosmopolitan Tennis Club 433 Convent Avenue. Active circuit player. 1958 autobiography \"I Always Wanted to Be Somebody\" Harper and Brothers 1958 just published.\n\n5. ENCOUNTER VECTORS. (a) Cosmopolitan Tennis Club at 433 Convent on TM2 Saturday late-afternoon practice. (b) Hotel Theresa lobby Black-celebrity-residency. (c) 1943 Apollo Theater Amateur Night runner-up (vocal/saxophone) note for crossover.\n\n6. VOICE REGISTER. Direct, plainspoken, sometimes blunt. Quoted as \"wild, arrogant girl\" by her own autobiography (1958). Refused crusader role: \"I have never regarded myself as a crusader.\"\n\n7. ENCOUNTER PROTOCOL. DM stages as elite-athlete-at-hometown-peak. AI engine renders from Gibson 1958 autobiography voice register. party engages on hometown-that-made-her, mentor chain (Buddy Walker, Fred Johnson, Cosmopolitan Tennis Club, Drs. Hubert Eaton and Robert Walter Johnson), refusing-the-crusader-frame, multidisciplinary athleticism.\n\n8. PROJECT-TRIGGER LINKS. P-SS0-10 Althea Gibson Cosmopolitan Tennis Club autobiographical close reading (primary trigger).\n\n9. PEDAGOGICAL FLAGS. JUNIOR / MID strong-fit (JUNIOR-friendly hometown-hero biographical entry point). SENIOR adds the post-tennis poverty and 1990s public-assistance context per Jacobs 2023. SENIOR teacher introduces sexuality questions sensitively.\n\n10. CITATIONS. Althea Gibson \"I Always Wanted to Be Somebody\" Harper and Brothers 1958. Frances Clayton Gray and Yanick Rice Lamb \"Born to Win The Authorized Biography of Althea Gibson\" Wiley 2004. Sally H Jacobs \"Althea The Life of Tennis Champion Althea Gibson\" St Martin s 2023. NMAAHC object 2011.158.3.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, althea-gibson, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-bunche", "s": "npc-bunche", "r": "cmp-001", "t": "cmp-001 NPC Ralph Bunche (real-historical, secondary-conditional T3)", "b": "1. NAME. Ralph Johnson Bunche.\n\n2. AGE. 55 in September 1958. Born August 7 1903, Detroit.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. UN diplomat. 1950 Nobel Peace Prize for 1949 Arab-Israeli armistice mediation. First African American Nobel Peace Prize laureate.\n\n4. LOCATION-AT-TIMESTAMP. New York City UN Headquarters Turtle Bay. UN Under-Secretary-General for Special Political Affairs from 1957. DOCUMENTED at Harlem Hospital Saturday September 20 1958 afternoon to support King per Stanford King Papers vol 4 p 527.\n\n5. ENCOUNTER VECTORS. (a) Harlem Hospital corridor TM2 Saturday afternoon (primary documented presence). (b) UN Headquarters Turtle Bay any window-leg. (c) Visiting King at Hospital Saturday late-afternoon onward.\n\n6. VOICE REGISTER. Mediator-diplomatic register. Quiet, deliberate, neutralizing. Touchpoints: UCLA B.A. summa cum laude 1927, Harvard Ph.D. 1934 first African American political-science Ph.D., contribution to Myrdal \"An American Dilemma\" 1944, OSS WWII service, State Department, UN 1948.\n\n7. ENCOUNTER PROTOCOL. DM stages at Hospital corridor Saturday afternoon. AI engine renders from Urquhart 1993 voice register and documented UN-Trusteeship-Department director persona. party engages on UN peacekeeping origin (1956 UNEF first force), Nobel-Peace-Prize-institutional-meaning, McCarthy-era Black-intellectual loyalty-investigation pressure.\n\n8. PROJECT-TRIGGER LINKS. P002-09 Bunche at Harlem Hospital diplomatic protocol study (primary trigger, audit-window-leg-corrected to TM2 Saturday afternoon documented visit).\n\n9. PEDAGOGICAL FLAGS. MID / SENIOR / ADULT eligible. JUNIOR can encounter as UN-diplomat-explaining-peacekeeping without geopolitical complexity.\n\n10. CITATIONS. Brian Urquhart \"Ralph Bunche An American Life\" W W Norton 1993. Charles P Henry \"Ralph Bunche Model Negro or American Other?\" NYU Press 1999. Stanford King Papers vol 4 p 527 for September 1958 hospital-support documentation.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, bunche, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-cordice", "s": "npc-cordice", "r": "cmp-001", "t": "cmp-001 NPC John W. V. Cordice Jr (real-historical, secondary-conditional T3)", "b": "1. NAME. John Walter Vincent Cordice Jr.\n\n2. AGE. 39 in September 1958. Born June 16 1919, Durham North Carolina.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Black thoracic surgeon at Harlem Hospital. PRIMARY OPERATING SURGEON in the September 20 1958 King thoracotomy though credit went to Chief Maynard for 44 years until Maynard 1999 death.\n\n4. LOCATION-AT-TIMESTAMP. Harlem Hospital 506 Lenox at West 135th. Hired by Maynard summer 1958, only weeks before the King operation. One of fewer than a handful of Black surgeons board-certified in thoracic surgery in the US at that time.\n\n5. ENCOUNTER VECTORS. (a) Harlem Hospital corridor or scrub room TM2 Saturday 3:30 PM through evening (primary documented presence). (b) Hospital rounds Sunday morning TM3. (c) Hospital cafeteria during shift breaks.\n\n6. VOICE REGISTER. Professional surgical-precision register. Documented humility (did not publicly correct the historical record until Maynard died in 1999). Touchpoints: Durham physician s son, NYU M.D. 1942, Tuskegee Airmen WWII service, France first open-heart-surgery assistance, possibly second Black surgeon after Frederick Douglass Stubbs to complete American Board of Thoracic Surgery requirements.\n\n7. ENCOUNTER PROTOCOL. DM stages at Hospital scrub-room or post-operative corridor. AI engine renders from Pearson 2002 and SBAS 2014 obituary substrate. party engages on skill-and-humility, Black-surgeon-career-path under medical-board segregation, OR-as-ethical-theatre, the afterlife of one Saturday afternoon.\n\n8. PROJECT-TRIGGER LINKS. P-SS0-04 Harlem Hospital surgical-team protocol study (primary trigger, SENIOR / ADULT).\n\n9. PEDAGOGICAL FLAGS. SENIOR / ADULT full intensity. MID with anatomical-content educator pre-discussion. JUNIOR \"doctor-as-helper\" framing only, bracket the stabbing details.\n\n10. CITATIONS. Hugh Pearson \"When Harlem Nearly Killed King The 1958 Stabbing of Dr Martin Luther King Jr\" Seven Stories Press 2002 ISBN 9781583222744. Society of Black Academic Surgeons death notice for Cordice 2014. Douglas Martin Cordice NYT obituary December 31 2013. Don K Nakayama \"The Harlem assassination attempt on Martin Luther King Jr\" The Pharos Spring 2016 pp 12-19.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, cordice, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-naclerio", "s": "npc-naclerio", "r": "cmp-001", "t": "cmp-001 NPC Emil A. Naclerio (real-historical, secondary-conditional T3)", "b": "1. NAME. Emil Anthony Naclerio.\n\n2. AGE. 43 in September 1958. Born March 21 1915, Brooklyn New York. Son of Italian immigrants.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Italian American thoracic surgeon at Harlem Hospital. ASSISTING SURGEON in the September 20 1958 King thoracotomy. Subsequent personal friendship with King maintained through 1968.\n\n4. LOCATION-AT-TIMESTAMP. Harlem Hospital. Was attending a wedding on Saturday September 20 1958 when called in; arrived in tuxedo.\n\n5. ENCOUNTER VECTORS. (a) Harlem Hospital entrance Saturday afternoon TM2 still in tuxedo. (b) Scrub room or OR Saturday 3:30 PM onward. (c) Hospital corridor Sunday TM3 with King recovering.\n\n6. VOICE REGISTER. Professional surgical register with Italian-American Brooklyn cadence. Documented warmth with King: King would later phone the Naclerio home to read draft speeches aloud (per NY Post 2018 reporting on the Naclerio-King correspondence). Naclerio's V sign in radiology bears his name.\n\n7. ENCOUNTER PROTOCOL. DM stages at Hospital entrance or scrub room. AI engine renders from Harlem World Magazine and NY Post 2018 substrate plus Pearson 2002 OR scene. party engages on cross-racial professional partnership (Naclerio-Cordice mirroring Howard-Romano), wedding-tuxedo arrival public/private threshold, Naclerio s V sign documentation, post-operation friendship as correspondents.\n\n8. PROJECT-TRIGGER LINKS. P-SS0-04 Harlem Hospital surgical-team protocol study (primary trigger).\n\n9. PEDAGOGICAL FLAGS. SENIOR / ADULT full intensity. MID with light surgical reference. JUNIOR \"doctor-as-helper\" framing, the tuxedo detail is JUNIOR-friendly entry point.\n\n10. CITATIONS. Hugh Pearson \"When Harlem Nearly Killed King\" Seven Stories Press 2002 ISBN 9781583222744. Larry Celona and Max Jaeger NY Post September 19 2018 on the Naclerio-King correspondence. Naclerio s V sign per Sinha R Radiology 2007;245:296-7. Harlem World Magazine retrospective.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, naclerio, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-farrow-allen", "s": "npc-farrow-allen", "r": "cmp-001", "t": "cmp-001 NPC Farrow Allen (real-historical, DEFERRED-COMMIT T3, thinly-sourced)", "b": "1. NAME. Farrow Allen.\n\n2. STATUS. DEFERRED-COMMIT. Thinly-sourced. Multiple secondary accounts (Wikipedia Cordice / Naclerio / Maynard entries; Harlem World Magazine; Gale Academic OneFile) list Allen as a fourth member of the surgical team that operated on King at Harlem Hospital on September 20 1958. HOWEVER, the most rigorous scholarly retelling (Don K Nakayama \"The Harlem assassination attempt on Martin Luther King Jr\" The Pharos Spring 2016 pp 12-19) does NOT list Allen among OR personnel. Allen is also not mentioned in Cordice s NYT obituary (Douglas Martin December 31 2013).\n\n3. SUBSTRATE STATUS. Direct page-by-page consultation of Hugh Pearson \"When Harlem Nearly Killed King\" Seven Stories Press 2002 ISBN 9781583222744 is REQUIRED before substrate-commit promotes Allen from deferred to documented. Until then, do NOT stage Allen as a speaking-NPC. AI engine may surface Allen ONLY as a methodological case study at SENIOR or ADULT level.\n\n4. ENCOUNTER VECTORS. None for primary play. If used at SENIOR / ADULT as a methodological case, surfaces silently in the OR or corridor on TM2 Saturday late afternoon.\n\n5. PROJECT-TRIGGER LINKS. P-SS0-04 Harlem Hospital surgical-team protocol study (deferred-commit slot, conditional).\n\n6. PEDAGOGICAL FLAGS. NO JUNIOR / MID. SENIOR / ADULT can engage Allen as methodological case study in source-critical historiography (what does it mean that one name circulates in popular accounts but is absent from the scholarly reconstruction?).\n\n7. CITATIONS. Hugh Pearson \"When Harlem Nearly Killed King\" Seven Stories Press 2002 ISBN 9781583222744 (REQUIRES PAGE-BY-PAGE CONSULTATION). Don K Nakayama \"The Harlem assassination attempt on Martin Luther King Jr\" The Pharos Spring 2016 pp 12-19.\n\n8. ACTION ITEM. Confirm or exclude via Pearson 2002 consultation. If Pearson mentions Allen substantively, promote to documented; create full encounter protocol. If Pearson omits Allen, exclude from cc* substrate entirely.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, farrow-allen, real-historical, t3-deferred, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-schiffman", "s": "npc-schiffman", "r": "cmp-001", "t": "cmp-001 NPC Frank Schiffman (real-historical, secondary-conditional T3)", "b": "1. NAME. Frank Schiffman.\n\n2. AGE. 65 in September 1958. Born 1893 to Austrian Jewish immigrants in NYC.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Apollo Theater owner from 1934 (with Leo Brecher). Jewish American impresario booking Black entertainers for predominantly Black audiences.\n\n4. LOCATION-AT-TIMESTAMP. Apollo Theater 253 West 125th Street. One block north of Blumstein s Department Store. Active management with sons Jack and Robert.\n\n5. ENCOUNTER VECTORS. (a) Apollo backstage or 125th Street lobby TM1 Friday evening. (b) Apollo Saturday evening TM2. (c) Apollo office during business hours.\n\n6. VOICE REGISTER. NYC theatrical-business cadence with Austrian Jewish background. Documented as \"in Harlem show business circles God\" per Ted Fox. Robert Schiffman: local residents called the Apollo \"our theater\" never \"Frank Schiffman s theater\" or \"the white man s theater.\"\n\n7. ENCOUNTER PROTOCOL. DM stages at Apollo backstage. AI engine renders from Ted Fox 1983/2003 voice register. party engages on Black-Jewish coalition-and-brokerage in 1958 Harlem entertainment economy, Amateur Night as discovery / exploitation institution, longue-duree of the venue, contract-padding practice (Schiffman wrote inflated contracts so performers could negotiate higher rates elsewhere).\n\n8. PROJECT-TRIGGER LINKS. P-SS0-09 Apollo-side-street Schiffman business-history brief (primary trigger).\n\n9. PEDAGOGICAL FLAGS. MID / SENIOR / ADULT eligible. JUNIOR via Apollo Amateur Night surface (who got their start there) without business-economy complexity. ADULT seminar can engage 1958 Black-Jewish coalition rupture (Blumstein s vs Lewis Michaux National Memorial African Bookstore King-signing-venue choice).\n\n10. CITATIONS. Ted Fox \"Showtime at the Apollo The Story of Harlem s World Famous Theater\" Holt Rinehart Winston 1983 revised Mill Road Enterprises 2003. Frank Schiffman Apollo Theatre Collection Smithsonian NMAH.AC.0540. Jack Schiffman \"Uptown The Story of Harlem s Apollo Theater\" 1971. Cheryl Lynn Greenberg \"Troubling the Waters Black-Jewish Relations in the American Century\" Princeton UP 2006 (ADULT-preferred).", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, schiffman, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-hutson", "s": "npc-hutson", "r": "cmp-001", "t": "cmp-001 NPC Jean Blackwell Hutson (real-historical, secondary-conditional T3)", "b": "1. NAME. Jean Frances Blackwell Hutson.\n\n2. AGE. 44 in September 1958. Born September 7 1914, Summerfield Florida. Raised in Baltimore by mother Sarah Myers Blackwell.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Librarian. Schomburg Collection curator from 1948 (her tenure runs through 1980 as curator then continuing as Chief). Second Black graduate of Barnard College (1935, after Zora Neale Hurston 1928).\n\n4. LOCATION-AT-TIMESTAMP. 135th Street branch NYPL Schomburg Collection 103 West 135th Street at Lenox. Branch closed Sundays in 1958 and closed by evening Saturdays. Open daytime Monday through Saturday.\n\n5. ENCOUNTER VECTORS. (a) Schomburg Collection TM1 Friday afternoon (branch open). (b) Schomburg TM2 Saturday morning. (c) Sidewalk encounter Sunday on her own errand (not in branch). DO NOT route to Schomburg branch Sunday morning or Saturday after evening hours per venue-and-time constraints.\n\n6. VOICE REGISTER. Librarian-curatorial precision. Documented 1989 Barnard Alumnae Magazine: \"Many people assumed that they knew all there was to know just by being Black, but there is much more to the history of Black people.\" Hughes referred to her as his \"baby sister\" per African American Registry. Lifelong friend of Hughes.\n\n7. ENCOUNTER PROTOCOL. DM stages at the Schomburg reading room. AI engine renders from Johnson-Cooper 1996 and Barnard Archives 2018 substrate. party engages on librarian-as-culture-keeper, lawsuit-as-career-opening (Enoch Pratt suit), friendship-as-collection-policy, institution-builder slow patient work (1948-1980 to get the new building opened 1980).\n\n8. PROJECT-TRIGGER LINKS. P001-08 Schomburg-pivot research methodology paper (audit-rerouted to pre-Session-001 TM1 Friday afternoon). P002-11 Hutson Schomburg curatorial proposal (audit-rerouted off Sunday morning). P002-14 Hutson-Hughes friendship oral-history transcript.\n\n9. PEDAGOGICAL FLAGS. JUNIOR strong fit (librarian-friendly, age-appropriate). MID / SENIOR / ADULT full intensity. JUNIOR-friendly entry: \"what does a librarian do, what does a curator do.\"\n\n10. CITATIONS. Glendora Johnson-Cooper \"African American Historical Continuity Jean Blackwell Hutson and the Schomburg Center for Research in Black Culture\" in Suzanne Hildenbrand ed \"Reclaiming the American Library Past Writing the Women In\" Ablex 1996. Barnard Archives 2018. Barnard Magazine 2025. African American Registry entry on Hutson.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, hutson, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-decarava", "s": "npc-decarava", "r": "cmp-001", "t": "cmp-001 NPC Roy DeCarava (real-historical, full dossier T3)", "b": "1. NAME. Roy Rudolph DeCarava. Born December 9 1919 Harlem New York. Died October 27 2009 New York City.\n\n2. AGE. 38 in September 1958.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Photographer. First African American photographer awarded a Guggenheim Fellowship (1952). Collaborator with Hughes on The Sweet Flypaper of Life Simon Schuster November 1 1955. Founder of A Photographer’s Gallery (c. 1955 to 1957), one of the earliest galleries in America dedicated to photography as fine art.\n\n4. LOCATION-AT-EACH-NAMED-TIMESTAMP. Harlem or Manhattan. Working photographer throughout the campaign window. UNCHECKED: exact 1958 residential address. A Photographer’s Gallery operated c. 1955 to 1957 at an address commonly cited as 48 West 84th Street or 48 West 85th Street (UNCHECKED; resolution path: MoMA 1996 retrospective catalog Peter Galassi ed and David Zwirner gallery biographical materials). After the gallery closed the home address may differ.\nFriday 6 PM TM1: home darkroom or out shooting.\nSaturday 9 AM TM2: darkroom or shooting Harlem streets.\nSaturday 3 PM TM2: shooting or developing. If the King stabbing news reaches him he would be on the street with a camera.\nSaturday 11 PM TM2: darkroom or home. Available for a Hughes-house visit or a sidewalk encounter.\nSunday 9 AM TM3: shooting Sunday-morning Harlem (church traffic, light, quiet streets).\nSunday 3 PM TM3: home or out. Available for encounter.\nMonday 7 AM TM4: working.\n\n5. FAMILY AND HOUSEHOLD. Only child of Jamaican-born mother Elfreda Ferguson DeCarava. Married to Sherry Turner DeCarava (who would later manage his estate and edit the 1996 MoMA retrospective). UNCHECKED: whether the marriage had taken place by 1958 or later. Resolution path: Sherry Turner DeCarava biographical record.\n\n6. WORK OR OCCUPATION. Freelance and commercial photographer by necessity while pursuing personal art. In the late 1950s transitioning decisively toward jazz photography (musicians in clubs and at performances). Also continuing Harlem street, domestic, and interior-life work. Printing in his own darkroom. The Sweet Flypaper of Life (1955) is his most recognized publication and is in circulation in Harlem households.\n\n7. VOICE REGISTER. Photographer-artist register with Cooper Union, Harlem Community Art Center, and George Washington Carver Art School training. Serious, soft-spoken, intensely thoughtful. Documented philosophy: “The people in these photographs had no walls up. They just accepted me and permitted me to take their photographs without any self-consciousness.” Would talk about light and shadow, the craft of printing, jazz and musicians, and the dignity of ordinary Harlem life. Frustrated with a commercial photo world that gave Black art photographers little room.\n\n8. PHYSICAL DESCRIPTION. A serious Black man in his late 30s. UNCHECKED at photographic-description level for 1958. Resolution path: self-portraits within Sweet Flypaper of Life and the MoMA retrospective catalog. Narrate as quiet, alert, dressed practically for street shooting (no flashy clothes; working-photographer bearing), carrying a camera.\n\n9. PEDAGOGICAL PURPOSE. DeCarava teaches that documentation is an act of love and resistance. His deliberate use of deeply dark, tonally rich prints that preserve shadow detail is an aesthetic and political choice about rendering Black subjects with dignity. His collaboration with Hughes on Sweet Flypaper demonstrates the photo-text form and the question of who gets to represent whose life. In cmp-001 he is the artist who photographs the same blocks the players walk through.\n\n10. TIER. T3 secondary-conditional per dm-010. Surfaces on NPC-path-trigger when bookworms visit the Hughes house, encounter the Sweet Flypaper photographs, or walk past a photographer on a Harlem street.\n\n11. NPC-PATH-TRIGGER CONDITIONS. (a) the party passes the Hughes brownstone at 20 East 127th on any window-leg and the DM mentions a photographer on the block. (b) party encounters Sweet Flypaper of Life during the Schomburg or Hughes-house quest. (c) Harlem darkroom or studio TM1 Friday afternoon. (d) Sidewalk encounter while shooting any window-leg. (e) Hughes-house visit as Hughes-circle adjacent.\n\n12. RELATIONSHIPS. Langston Hughes (collaborator on Sweet Flypaper of Life 1955; Hughes-circle adjacent). Sherry Turner DeCarava (wife and future estate manager). The Harlem arts community (Cooper Union training, Harlem Community Art Center, George Washington Carver Art School). Jazz musicians (his late-1950s photographic subjects).\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-decarava-portrait (estate archive or MoMA retrospective). Sweet Flypaper of Life plates as period-photographic reference throughout the campaign.\n\n14. THREE SIGNATURE DIALOGUE EXEMPLARS (period-extrapolated).\n(a) On the street with a camera: “I am looking for the light on that stoop. Wait. Do you see it. The way it falls on the ironwork. That is Harlem at four o’clock.”\n(b) On the Sweet Flypaper collaboration: “Langston wrote Sister Mary Bradley’s voice over my photographs. I gave him the pictures. He gave them a grandmother. Nobody told us we could do that. We just did it.”\n(c) On printing: “I print dark because I see dark. The shadows are not empty. There are people in them. If you cannot see them, your eyes need to adjust.”\n\n15. PRIMARY CITATIONS. Roy DeCarava and Langston Hughes The Sweet Flypaper of Life Simon Schuster 1955 (141 photographs, fictive Sister Mary Bradley narrator by Hughes). Sherry Turner DeCarava ed Roy DeCarava A Retrospective MoMA 1996. Peter Galassi and Sherry Turner DeCarava Roy DeCarava A Retrospective Museum of Modern Art New York 1996 ISBN 978-0870701283. David Zwirner gallery DeCarava entry. NMAAHC DeCarava archive collection.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-project-catalog (P001-05 Hughes-DeCarava ekphrastic). cc-cmp001-realism-cultural. cc-cmp001-realism-spatial (encounter-block photographic reference). cc-cmp001-oi-kitchenette (Sweet Flypaper as period interior reference). cc-cmp001-sg-graph. cc-cmp001-im-decarava-portrait.\n\nORIGIN. May 16 2026 lightweight card. June 24 2026 B1 research upgrade to full 15-field dossier.", "x": "DeCarava full dossier. Real-historical T3 upgraded to 15-field. Guggenheim 1952. Sweet Flypaper 1955 with Hughes. Gallery address and camera model UNCHECKED.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph", "cc-cmp001-realism-cultural", "cc-cmp001-realism-spatial", "cc-cmp001-oi-kitchenette", "cc-cmp001-im-decarava-portrait" ], "tg": "cc, cmp-001, npc, decarava, real-historical, t3, full-dossier, 15-field, guggenheim-1952, sweet-flypaper-1955, photographer, b1-research-fill, jun-2026-24-origin" }, { "id": "cc-cmp001-npc-bontemps", "s": "npc-bontemps", "r": "cmp-001", "t": "cmp-001 NPC Arna Bontemps (real-historical, full dossier T3, off-stage epistolary presence)", "b": "1. NAME. Arnaud Wendell Bontemps. Known as Arna Bontemps.\n\n2. AGE. 55 in September 1958. Born October 13 1902 Alexandria Louisiana. Creole family. Died June 4 1973 Nashville Tennessee.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Writer, anthologist, head librarian at Fisk University Nashville. Hughes’s closest literary friend and most constant correspondent for 43 years (approximately 2300 letters exchanged 1925 to 1967 per Chicago Public Library Hughes Papers finding aid). OFF-STAGE EPISTOLARY PRESENCE. Do NOT stage Bontemps as in-person speaking NPC. He surfaces in cmp-001 through correspondence only.\n\n4. LOCATION-AT-EACH-NAMED-TIMESTAMP. Nashville Tennessee. Bontemps held a full-time year-round administrative post as head librarian at Fisk University (1943 to 1965). His relationship with Hughes in this era was conducted overwhelmingly by letter. UNCHECKED: whether Bontemps traveled to New York in September 1958. Resolution path: Nichols ed Arna Bontemps-Langston Hughes Letters 1925-1967 Dodd Mead 1980 September 1958 section. Default assumption for the game: Nashville. If the DM wants Bontemps on-stage the scripted reason is a publishing meeting about The Book of Negro Folklore or a visit to Hughes. Without that reason his presence is a letter on Hughes’s desk.\nAll timestamps: Nashville (Fisk University campus and residence).\n\n5. FAMILY AND HOUSEHOLD. Married to Alberta Johnson Bontemps. Six children. Family lived in Nashville near the Fisk campus. Bontemps grew up in Los Angeles (family moved from Louisiana when he was three); attended Pacific Union College (Adventist school) graduating 1923; moved to Harlem in 1924 during the Renaissance; taught at various institutions before Fisk.\n\n6. WORK OR OCCUPATION. Head librarian at Fisk University. Building the Fisk library’s collection of African American literature and history. Co-editing The Book of Negro Folklore with Hughes (Dodd Mead 1958; exact publication month UNCHECKED, may already be published or in final production by September 1958). Moving toward Frederick Douglass Slave Fighter Freeman (1959) and 100 Years of Negro Freedom (1961). Regular correspondent with publishers, editors, and fellow writers.\n\n7. VOICE REGISTER. Letter-writing register documented in Nichols 1980 selection. Louisiana-Creole and Harlem-Renaissance hybrid identity. Writer-librarian dual role. Measured, scholarly, warm in correspondence. Would discuss the folklore anthology and its reception, the state of Black publishing, mutual friends and fellow writers, Fisk and library work, the gathering civil rights movement.\n\n8. PHYSICAL DESCRIPTION. A dignified, scholarly Black man in his mid-50s. Bespectacled. Measured, courteous, the librarian’s bearing. Carl Van Vechten photographed Bontemps multiple times; these portraits at the Library of Congress show a composed man in professional dress. UNCHECKED at specific 1958 photographic-description level. Resolution path: Van Vechten LOC portraits.\n\n9. PEDAGOGICAL PURPOSE. Bontemps is the long correspondence. His presence teaches students that literary friendship and intellectual collaboration happen through letters over decades, not through dramatic encounters. The Book of Negro Folklore was assembled across years of correspondence. In cmp-001 a Bontemps letter on Hughes’s desk is the evidence that literature is a conversation between people who trust each other enough to keep writing.\n\n10. TIER. T3 secondary-conditional per dm-010. Epistolary-only. Surfaces when bookworms encounter Hughes correspondence at the Schomburg or the Hughes-house workroom.\n\n11. NPC-PATH-TRIGGER CONDITIONS. (a) party visits Hughes workroom and sees a letter from Bontemps on the desk. (b) party at Schomburg sees a Bontemps-to-Hughes letter in Hutson hands. (c) Off-stage referenced in Hughes conversation. (d) Project P-SS0-12 fires (Bontemps letter-to-Hughes scene composition).\n\n12. RELATIONSHIPS. Langston Hughes (lifelong literary friend and most frequent correspondent from 1925 to Hughes’s death 1967). Carl Van Vechten (photographed by Van Vechten; connected through the JWJ Collection at Yale and the George Gershwin Collection at Fisk which Van Vechten also founded). The Harlem Renaissance generation (Countee Cullen, Claude McKay, Zora Neale Hurston as contemporaries). Fisk University faculty and administration.\n\n13. IMAGE-ASSET REFERENCE. cc-cmp001-im-bontemps-portrait (Van Vechten LOC portraits; Fisk Special Collections; Beinecke Hughes Papers). Public-page acceptable for Van Vechten LOC images.\n\n14. THREE SIGNATURE DIALOGUE EXEMPLARS (epistolary; these are letter excerpts, not spoken dialogue).\n(a) On the folklore anthology: “Dear Lang, The galleys came Tuesday. I have been reading them against our manuscript and the work holds together. Dodd and Mead want a foreword. I think you should write it. You have the voice for it.” (PERIOD-EXTRAPOLATED; not verbatim.)\n(b) On Fisk: “The library is growing. We have acquired three boxes of Countee’s correspondence from Ida. I wish you could see them. There is a letter from you dated 1925 that I had forgotten entirely.” (PERIOD-EXTRAPOLATED.)\n(c) On the news: “I heard the King news on the radio Saturday evening. Alberta and I sat by the radio until the hospital report came through. I know you are one block from the signing. Write me what you saw.” (PERIOD-EXTRAPOLATED.)\n\n15. PRIMARY CITATIONS. Charles H Nichols ed Arna Bontemps-Langston Hughes Letters 1925-1967 Dodd Mead 1980 ISBN 978-0396078388. Kirkland C Jones Renaissance Man from Louisiana A Biography of Arna Wendell Bontemps Greenwood Press 1992 ISBN 978-0313274893. Chicago Public Library Hughes Papers finding aid (2300 letters exchanged). Arna Bontemps and Langston Hughes eds The Book of Negro Folklore Dodd Mead 1958. Fisk University Special Collections Bontemps Papers. Beinecke Library Hughes Papers. Van Vechten LOC portrait series.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-project-catalog (P-SS0-12 Bontemps letter-to-Hughes). cc-cmp001-oi-hughes-workroom (Bontemps letter on desk). cc-cmp001-npc-hughes (lifelong correspondent). cc-cmp001-sg-graph. cc-cmp001-im-bontemps-portrait.\n\nORIGIN. May 16 2026 lightweight card. June 24 2026 B1 research upgrade to full 15-field dossier. Epistolary-only ruling preserved.", "x": "Bontemps full dossier. Real-historical T3 upgraded to 15-field. Epistolary-only. Fisk head librarian. Book of Negro Folklore 1958 co-editor. Nashville default; September 1958 travel UNCHECKED.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-npc-hughes", "cc-cmp001-im-bontemps-portrait" ], "tg": "cc, cmp-001, npc, bontemps, real-historical, t3, full-dossier, 15-field, epistolary-only, fisk-librarian, book-of-negro-folklore, b1-research-fill, jun-2026-24-origin" }, { "id": "cc-cmp001-npc-van-vechten", "s": "npc-van-vechten", "r": "cmp-001", "t": "cmp-001 NPC Carl Van Vechten (real-historical, full dossier T3)", "b": "1. NAME. Carl Van Vechten.\n\n2. AGE. 78 in September 1958. Born June 17 1880 Cedar Rapids Iowa. Died December 21 1964 New York City.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Novelist, music and dance critic, photographer, and major (controversial) patron-promoter of the Harlem Renaissance. Author of the 1926 novel whose title is a racial slur, which permanently complicated his legacy and his relationships with some Black writers. Still alive and active as a photographer in 1958. IMPORTANT FOR THE GAME: Van Vechten did NOT live in Harlem. He lived on Central Park West. An encounter with him in Harlem in September 1958 is plausible (he visited to see friends, attend events, photograph subjects) but would itself be a notable occurrence, not a routine sighting.\n\n4. LOCATION-AT-EACH-NAMED-TIMESTAMP. Central Park West Manhattan. UNCHECKED: exact building and apartment number. Commonly associated with 146 Central Park West but this is UNCHECKED. Resolution path: Bruce Kellner Carl Van Vechten and the Irreverent Decades and Edward White The Tastemaker Carl Van Vechten and the Birth of Modern America. If encountered in Harlem during the campaign window, the scripted reason is a visit to Hughes at 20 East 127th (they were friends since 1925 and Van Vechten visited) or a photography sitting with a Harlem subject.\nAll timestamps: Central Park West (default). Harlem only by scripted visit.\n\n5. FAMILY AND HOUSEHOLD. Married to Fania Marinoff (actress, born 1890 Odessa; married Van Vechten 1914; she survived him, died 1971). They lived together on Central Park West. The apartment was famously decorated with photographs, art, and memorabilia from Van Vechten’s long career as cultural impresario.\n\n6. WORK OR OCCUPATION. By 1958 his main creative activity was portrait photography. He made thousands of striking portraits of cultural figures (Black and white) with his Leica, often against boldly patterned backdrops (fabric, wallpaper, printed textiles). Just as important he was the founder and steward of major archives: the James Weldon Johnson Memorial Collection of Negro Arts and Letters at Yale (Beinecke Library, established 1941), the George Gershwin Memorial Collection at Fisk University, and collections at the New York Public Library. Much of his late life was devoted to soliciting, organizing, and donating materials to these collections.\n\n7. VOICE REGISTER. Effusive, gossipy, name-dropping conversational style. Theatrical. A raconteur who had known everyone for decades and wanted you to know it. Would talk about the Harlem of the 1920s, the writers and performers he had photographed, his archives, his enthusiasms in music and dance, and his continuing photography work. The voice of a man who believed himself a friend and champion of Black art, which he was, but whose patronage carried the weight of a racial slur in the title of his most famous novel.\n\n8. PHYSICAL DESCRIPTION. An elderly white man of 78 with white hair, a famously prominent set of front teeth (remarked on lifelong by contemporaries), portly build, dapper and sometimes flamboyant dress. Self-portraits from the late 1950s show an alert, theatrical figure who dressed for the camera. UNCHECKED at specific September 1958 level. Resolution path: Van Vechten self-portraits 1957 to 1959 in the Beinecke or LOC collections.\n\n9. PEDAGOGICAL PURPOSE. Van Vechten teaches the complicated role of white patronage in Black art. He championed Hughes in 1925, helped place The Weary Blues with Knopf, and spent decades building the JWJ Collection at Yale that preserves Black literary history. He also wrote a novel whose title is a racial slur and whose representation of Harlem was contested from the day it appeared. His friendship with Hughes survived the controversy; other friendships did not. For the game he is a teaching moment about allyship, exploitation, and the gap between intention and effect. Educators should handle the novel-title question directly when it arises.\n\n10. TIER. T3 secondary-conditional per dm-010. Surfaces on NPC-path-trigger when bookworms investigate the JWJ Collection, encounter Van Vechten photographs on the walls of Hughes’s study, or ask about white patrons of the Harlem Renaissance.\n\n11. NPC-PATH-TRIGGER CONDITIONS. (a) party visits Hughes workroom and notices Van Vechten photograph references on the wall. (b) party asks Hughes about who helped publish his early work. (c) party at Schomburg encounters the JWJ Collection and asks who founded it. (d) DM stages a rare Harlem visit as an encounter of significance. (e) Van Vechten arrives at 20 East 127th to photograph someone in Hughes’s circle.\n\n12. RELATIONSHIPS. Langston Hughes (friends since 1925; Van Vechten championed The Weary Blues and helped place it with Knopf; Hughes routinely sent papers to Van Vechten for the JWJ Collection at Yale; their friendship was long warm and ongoing in 1958 despite the controversy). Fania Marinoff (wife). The entire Harlem Renaissance generation (Van Vechten photographed, promoted, and archived dozens of Black writers, musicians, and performers). Arna Bontemps (connected through the JWJ Collection and the George Gershwin Collection at Fisk which Van Vechten also founded). James Weldon Johnson (the collection’s namesake; Johnson died 1938).\n\n13. IMAGE-ASSET REFERENCE. UNCHECKED: no cc-cmp001-im-van-vechten entry yet. Van Vechten self-portraits in the Beinecke and LOC are the source family. Many are public domain or educational-use permitted through the Van Vechten Trust.\n\n14. THREE SIGNATURE DIALOGUE EXEMPLARS (period-extrapolated).\n(a) At Hughes’s door: “Lang! I brought my camera. I want to photograph that new bookshelf before you rearrange it. Is Toy making coffee? Tell her Carlo is here.”\n(b) On the JWJ Collection: “Yale has everything I have sent them. Your drafts, Countee’s letters, Zora’s manuscripts. When we are all gone the collection will be there. That is what it is for.”\n(c) On the King news: “I heard it on the radio. Dreadful. Dreadful. I telephoned Fania and she wept. Martin is a brave man. I want to photograph him when he recovers. That face should be in the collection.”\n\n15. PRIMARY CITATIONS. Bruce Kellner Carl Van Vechten and the Irreverent Decades University of Oklahoma Press 1968. Edward White The Tastemaker Carl Van Vechten and the Birth of Modern America Farrar Straus and Giroux 2014 ISBN 978-0374201562. Emily Bernard Carl Van Vechten and the Harlem Renaissance A Portrait in Black and White Yale UP 2012 ISBN 978-0300121995. Yale University Beinecke Rare Book and Manuscript Library James Weldon Johnson Memorial Collection finding aid. LOC Van Vechten photographic collection. Van Vechten Trust educational-use policy.\n\nSENSITIVITY NOTE FOR THE CLASSROOM. Van Vechten’s 1926 novel carries a title that is a racial slur. Present the historical fact without reproducing the slur gratuitously. Use the encounter as a teaching moment about the complicated, sometimes exploitative role of white patronage in the Harlem Renaissance. The novel’s title is not spoken aloud in cmp-001 gameplay; it is referenced as “the 1926 novel whose title was and is a slur” or similar circumlocution. If a student asks, the educator handles it directly.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-oi-hughes-workroom (Van Vechten photographs on the wall). cc-cmp001-npc-hughes (friend since 1925). cc-cmp001-npc-bontemps (connected through Fisk Gershwin Collection). cc-cmp001-schomburg (JWJ Collection context). cc-cmp001-sg-graph.\n\nORIGIN. June 24 2026 B1 research. New entry, full 15-field dossier.", "x": "Van Vechten full dossier. Real-historical T3 new entry. 78 years old. Central Park West resident NOT Harlem. Leica photographer. JWJ Collection founder Yale 1941. Controversial Harlem Renaissance patron. Exact apartment address UNCHECKED.", "cc_links": [ "cc-cmp001-template-npc", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-npc-hughes", "cc-cmp001-npc-bontemps", "cc-cmp001-schomburg", "cc-cmp001-sg-graph", "cc-cmp001-realism-cultural" ], "tg": "cc, cmp-001, npc, van-vechten, real-historical, t3, full-dossier, 15-field, central-park-west, leica-photographer, jwj-collection-yale, controversial-patron, sensitivity-note, b1-research-fill, jun-2026-24-origin" }, { "id": "cc-cmp001-npc-coretta-scott-king", "s": "npc-coretta-scott-king", "r": "cmp-001", "t": "cmp-001 NPC Coretta Scott King (real-historical, secondary-conditional T3)", "b": "1. NAME. Coretta Scott King (nee Scott).\n\n2. AGE. 31 in September 1958. Born April 27 1927 Heiberger Alabama.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Civil rights activist. Movement spouse. New England Conservatory of Music degree (B.M. voice and violin) 1954. Married MLK Jr June 18 1953.\n\n4. LOCATION-AT-TIMESTAMP. DOCUMENTED at Harlem Hospital across TM2 Saturday afternoon through TM4 Monday afternoon. WSB-TV newsfilm (Civil Rights Digital Library wsbn34032 September 22 1958) documents her at Hospital with Ralph Abernathy and others.\n\n5. ENCOUNTER VECTORS. (a) Harlem Hospital waiting room TM2 Saturday late-afternoon onward. (b) King s hospital room TM3 Sunday. (c) Hospital cafeteria TM4 Monday morning.\n\n6. VOICE REGISTER. Composed-public, private-grief register. Documented Antioch College education plus NEC training. Touchpoints: 1956 Montgomery home dynamite bombing while she and infant Yolanda were inside, four children Yolanda Martin III Dexter Bernice. Quoted from her 2017 autobiography opening: \"There is a Mrs. King. There is also Coretta. How one became detached from the other remains a mystery.\"\n\n7. ENCOUNTER PROTOCOL. DM stages at Hospital waiting room. AI engine renders from her 1969 autobiography \"My Life with Martin Luther King Jr\" Holt Rinehart Winston and the 2017 Reynolds-collaborated autobiography. party engages on movement-spouse public-facing partnership and private grief, trained-musician-as-movement-voice (her freedom concerts began 1964), and the long-arc activism 1968-2006 (King Center, federal holiday, anti-apartheid, LGBTQ rights).\n\n8. PROJECT-TRIGGER LINKS. P002-06 Coretta Scott King at the hospital epistolary composition (primary trigger).\n\n9. PEDAGOGICAL FLAGS. JUNIOR strong fit (composed-public-figure JUNIOR-friendly entry). MID with stabbing-event references. SENIOR comparative reading of the two autobiographies on the question of whose life it was.\n\n10. CITATIONS. Coretta Scott King \"My Life with Martin Luther King Jr\" Holt Rinehart Winston 1969, revised Henry Holt 1993. Coretta Scott King and Barbara Reynolds \"Coretta My Life My Love My Legacy\" Henry Holt 2017. Octavia Vivian \"Coretta The Story of Coretta Scott King\" Fortress Press 1970 revised 2006. Civil Rights Digital Library wsbn34032 September 22 1958 newsfilm.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, coretta-scott-king, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-npc-officer-howard", "s": "npc-officer-howard", "r": "cmp-001", "t": "cmp-001 NPC Officer Al Howard (real-historical, secondary-conditional T3, EVENT-CONTENT-RESTRICTED)", "b": "1. NAME. Alfred \"Al\" Howard. NYPD Officer at the time of the September 20 1958 stabbing.\n\n2. AGE. 31 in September 1958. Born May 1927 Georgia. Three years on the NYPD job. First time partnered with rookie Officer Philip Romano (Italian-American) on the Saturday afternoon of the stabbing.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. NYPD Officer responding to Blumstein s. EVENT-CONTENT-RESTRICTED. JUNIOR RESTRICTED ENTIRELY (only documented hook is the violent stabbing-event content).\n\n4. LOCATION-AT-TIMESTAMP. Blumstein s Department Store ground floor and mezzanine TM2 Saturday September 20 1958 from approximately 3:21 PM through 3:30 PM ambulance transport.\n\n5. ENCOUNTER VECTORS. (a) Blumstein s during stabbing TM2 Saturday 3:21 PM (primary documented presence). (b) Phone call to Harlem Hospital from store. (c) Carrying King in the chair down the stairs into ambulance.\n\n6. VOICE REGISTER. Documented Howard quote per Pearson 2002 and NYT obituary December 26 2020: \"Don t sneeze. Don t even speak.\" Also documented (per Howard's recollection to NYPD Deputy Commissioner John Miller 2018): \"I called Harlem Hospital. I said, 'Send an ambulance. I have this man who s got a knife sticking out of his chest. What do we do?'\"\n\n7. ENCOUNTER PROTOCOL. DM stages at Blumstein s during stabbing scene OR Howard s post-NYPD-career as Showman s Jazz Cafe owner on 125th Street. AI engine renders from Pearson 2002 plus Wilson NYT 2020 obituary substrate. party engages on Black NYPD officer in 1958 (only ~1,200 Black officers on the force by 1960), the two-officer cross-racial partnership (Howard-Romano mirroring Cordice-Naclerio surgical-team pairing), the hidden-actor-of-history pattern (Howard s role not formally recognized until 2018), the post-NYPD second life as Harlem jazz-venue owner.\n\n8. PROJECT-TRIGGER LINKS. P-SS0-03 Blumstein s Saturday 3:20 PM eyewitness deposition (primary trigger).\n\n9. PEDAGOGICAL FLAGS. JUNIOR RESTRICTED ENTIRELY (violent-event content only). MID with explicit teacher pre-discussion. SENIOR / ADULT full intensity. King s 1968 \"I ve Been to the Mountaintop\" speech echo (\"if I had sneezed, I would have died\") is the SENIOR-and-up emergent ghost layer.\n\n10. CITATIONS. Hugh Pearson \"When Harlem Nearly Killed King The 1958 Stabbing of Dr Martin Luther King Jr\" Seven Stories Press 2002 ISBN 9781583222744. Michael Wilson \"An Obscure Cop Who Helped Save Martin Luther King s Life\" NYT December 26 2020. Michael Daly \"The Black and White Men Who Saved Martin Luther King s Life\" The Daily Beast January 20 2014. W Marvin Dulaney \"Black Police in America\" Indiana UP 1996.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, officer-howard, real-historical, t3, secondary-conditional, lightweight-card, may-2026-16-origin" }, { "id": "cc-cmp001-engine-brief", "s": "campaign", "r": "cmp-001-engine-briefing", "t": "cmp-001 AI-engine session-start briefing document (one-page consolidation)", "b": "cmp-001 AI-engine session-start briefing. One-page consolidation of campaign substrate. The AI engine reads this entry at session-start before pulling other cc* entries on demand. Reduces engine-prep latency from substrate-spelunking to one-page read.\n\n1. CAMPAIGN OVERVIEW.\ncmp-001 is the Hughes \"Thank You M am\" 1958 campaign. The party burrows into a 48-hour Harlem window. Friday September 19 through Monday September 22 1958. Seed ghost is Hughes \"Thank You M am\" 1958. Eleven emergent ghosts per cc-cmp001-ghost-exegesis-applications. Eight narrative threads. Seven crossing-points. Four window-legs.\n\n2. CANONICAL TIMELINE.\nTM1 Friday September 19 1958. Lead-in day. Hutson at Schomburg branch (open). Hughes at home or out for evening reading. Apollo show Friday night.\nTM2 Saturday September 20 1958. THE EVENT DAY. King stabbing at Blumstein s Department Store at 3:21 PM. Surgical intervention Harlem Hospital 4:00 PM through 7:30 PM led by Cordice with Naclerio assisting under Maynard supervision. Bunche visits Hospital Saturday afternoon. Coretta arrives from Montgomery Saturday afternoon. Mrs Jones encounters Roger on East 128th Street at approximately 11 PM Saturday night returning from late beauty-shop shift. Hours-old radio bulletins about the stabbing remain in rotation.\nTM3 Sunday September 21 1958. Powell at Abyssinian pulpit 10 AM sermon. Congregation processes the news. Coretta still at Hospital. Hutson at Schomburg branch CLOSED (Sundays in 1958 NYPL branches closed). Mahalia surfaces only via radio broadcast.\nTM4 Monday September 22 1958. Amsterdam News headline carries the King-recovery story. Roger walks to PS 24 past the newsstand. WSB-TV newsfilm dated September 22 1958 documents Coretta at Hospital.\n\n3. NPC ROSTER INDEX.\nTier 1+2 full dossiers (7 NPCs, canonical or primary-event-central):\n- cc-cmp001-npc-mrs-jones (Mrs Luella Bates Washington Jones, canonical Hughes)\n- cc-cmp001-npc-roger (canonical Hughes)\n- cc-cmp001-npc-hughes (Langston Hughes, author)\n- cc-cmp001-npc-king (Martin Luther King Jr, stabbing principal)\n- cc-cmp001-npc-powell (Adam Clayton Powell Jr, Abyssinian pastor)\n- cc-cmp001-npc-curry (Izola Ware Curry, assailant)\n- cc-cmp001-npc-maynard (Aubre de Lambert Maynard, surgical chief)\nTier 3 lightweight cards (15 NPCs, secondary-conditional):\n- cc-cmp001-npc-hedgeman (Anna Arnold Hedgeman, civil rights organizer)\n- cc-cmp001-npc-randolph (A. Philip Randolph, labor leader)\n- cc-cmp001-npc-mahalia-jackson (Mahalia Jackson, documented-radio-surface-only)\n- cc-cmp001-npc-miles-davis (Miles Davis, jazz)\n- cc-cmp001-npc-billie-holiday (Billie Holiday, CONTENT-HANDLING-PROTOCOL)\n- cc-cmp001-npc-althea-gibson (Althea Gibson, tennis)\n- cc-cmp001-npc-bunche (Ralph Bunche, UN, Nobel)\n- cc-cmp001-npc-cordice (John Cordice, primary surgeon)\n- cc-cmp001-npc-naclerio (Emil Naclerio, assist surgeon)\n- cc-cmp001-npc-schiffman (Frank Schiffman, Apollo)\n- cc-cmp001-npc-hutson (Jean Blackwell Hutson, Schomburg)\n- cc-cmp001-npc-decarava (Roy DeCarava, photographer)\n- cc-cmp001-npc-bontemps (Arna Bontemps, off-stage epistolary)\n- cc-cmp001-npc-coretta-scott-king (movement spouse)\n- cc-cmp001-npc-officer-howard (NYPD, EVENT-CONTENT-RESTRICTED)\nTier 3 deferred (1 NPC, awaiting Pearson 2002 consultation):\n- cc-cmp001-npc-farrow-allen (DEFERRED-COMMIT)\n\n4. PROJECT-CATALOG INDEX.\nForty-three audit-tweaked projects at cc-cmp001-project-catalog. Split: Session 001 thirteen, Session 002 fifteen, SS-0 parametric fifteen. Each project carries TRIGGER, AGE-BAND, DELIVERABLE, ANCHOR, CURRICULUM, HOOK fields. Pedagogy companions:\n- cc-cmp001-project-trigger-conditions (which choices fire which projects)\n- cc-cmp001-age-band-restriction-matrix (JUNIOR / MID / SENIOR / ADULT enforcement)\n- cc-cmp001-curriculum-strand-crosswalk (Ontario OSSD plus IB plus AP)\n\n5. AGE-BAND ENFORCEMENT SUMMARY.\nJUNIOR (9-12, Grade 7 mode). Eligible for 17 projects. Restricted from: Holiday narcotics, Hegel ADULT-only, Blumstein stabbing event, surgical procedure detail, ADULT scholarship.\nMID (13-16, ENG2D / ENG3U entry). All JUNIOR options at higher complexity plus MID-flagged. Educator-trigger for tier-2 content.\nSENIOR (17-18, ENG3U-strong / ENG4U / HZT4U / IB Lang-Lit). All MID at full intensity plus SENIOR-flagged. Surgical-team protocol, Hegel master-slave, Pearson 2002 engagement.\nADULT (18+, Leizu tutees). All projects unmuted. ADULT-only: Hegel seminar P001-12, race-gender-class integrative P-SS0-14, retrospective Powell-Rustin P002-13.\n\n6. BRANCHING GATES INDEX.\nSession 001 four-beat: (i) \"Eat some more son\" routes question vs silent vs bathroom. (ii) Half-pint detail routes corridor-drift continuation. (iii) Mrs Jones youth disclosure routes disclosure vs reserve. (iv) Ten-dollar gift and exit routes Hughes walk-past vs Apollo vs Blumstein-closed-front vs direct exit.\nSession 002: pre-sermon vestibule routes front-pew vs back-of-sanctuary. Moment ix prompt routes per party content reference. After-sermon steps routes Hospital vs Schomburg-sidewalk vs newsstand vs home.\nSS-0 parametric: DM picks crossing-point plus window-leg plus thread at session-runtime.\n\n7. CONTENT-HANDLING PROTOCOLS.\nHOLIDAY. P001-07 only. JUNIOR RESTRICTED ENTIRELY. MID with educator pre-discussion of FBN Anslinger targeting context. SENIOR / ADULT full register including \"Strange Fruit\" and 1947 Alderson sentence. Hari 2015 \"Strange Fruit caused the targeting\" thesis CONTESTED by Lewis Porter and others; ADULT seminar preserves the controversy.\nOFFICER HOWARD. P-SS0-03 only. JUNIOR RESTRICTED ENTIRELY (only documented hook is violent stabbing event). MID with explicit teacher pre-discussion. SENIOR / ADULT full.\nHEGEL. P001-12 ADULT ONLY. Risk of trivialization below seminar level.\nPOWELL-RUSTIN 1960. P002-13 retrospective frame required (the party writes as future-historian, not 1958-attendee). SENIOR with educator pre-discussion. ADULT preferred.\nSURGICAL DETAIL. P-SS0-04 surgical-team protocol study. JUNIOR doctor-as-helper framing only. MID anatomical-content educator pre-discussion. SENIOR / ADULT full intensity.\nMAYNARD INTRA-BLACK-COLLEGIAL-HOSTILITY PASSAGE. ADULT-restricted.\n\n8. CITATION DISCIPLINE.\nPearson 2002: Hugh Pearson \"When Harlem Nearly Killed King The 1958 Stabbing of Dr Martin Luther King Jr\" Seven Stories Press 2002 ISBN 9781583222744.\nMaynard 1978: Aubre de Lambert Maynard MD \"Surgeons to the Poor The Harlem Hospital Story\" Appleton-Century-Crofts 1978.\nDeCarava and Hughes 1955: Roy DeCarava and Langston Hughes \"The Sweet Flypaper of Life\" Simon Schuster 1955 (141 photographs, fictive Sister Mary Bradley narrator).\nHedgeman 1964: Anna Arnold Hedgeman \"The Trumpet Sounds A Memoir of Negro Leadership\" Holt Rinehart Winston 1964.\nBurford 2019: Mark Burford \"Mahalia Jackson and the Black Gospel Field\" Oxford UP 2019.\nBynum 2010: Cornelius L Bynum \"A. Philip Randolph and the Struggle for Civil Rights\" University of Illinois Press 2010.\nUrquhart 1993: Brian Urquhart \"Ralph Bunche An American Life\" W W Norton 1993.\nSzwed 2015: John Szwed \"Billie Holiday The Musician and the Myth\" Viking 2015.\nDavis Troupe 1989: Miles Davis with Quincy Troupe \"Miles The Autobiography\" Simon Schuster 1989.\nFox 1983: Ted Fox \"Showtime at the Apollo\" Holt Rinehart Winston 1983 revised Mill Road 2003.\nGibson 1958: Althea Gibson \"I Always Wanted to Be Somebody\" Harper and Brothers 1958.\nKing Coretta 1969: Coretta Scott King \"My Life with Martin Luther King Jr\" Holt Rinehart Winston 1969.\nNichols 1980: Charles H Nichols ed \"Arna Bontemps-Langston Hughes Letters 1925-1967\" Dodd Mead 1980.\n\n9. NO-FABRICATION CONSTRAINTS (audit-2026-05-16 enforced).\nMAHALIA at Abyssinian September 21 1958 IS NOT DOCUMENTED. Reanchored to documented Newport 1958 radio surface only. Substrate enforces.\nBUNCHE at Hospital Sunday morning IS NOT DOCUMENTED. Documented visit was TM2 Saturday afternoon per Stanford King Papers vol 4 p 527. Sunday-routing reroutes to Coretta plus surgical-team-on-rounds.\nHUGHES at 20 East 127th was RESIDENT not CO-OWNER (per NYC LPC LP-1135 1981 and National Trust). Co-ownership claim removed pending primary-source deed verification.\nSCHOMBURG branch closed Sundays in 1958 and closed by evening Saturdays. Hutson encounters route only TM1 Friday afternoon or TM2 Saturday morning, OR sidewalk-Hutson on Sunday-errand.\nFARROW ALLEN is THINLY-SOURCED. Nakayama Spring 2016 The Pharos pp 12-19 does NOT list Allen among OR personnel. Deferred-commit pending Pearson 2002 page-by-page consultation. Do not stage as speaking-NPC until promoted.\nP-SS0-02 East 128th canonical scene happens AT SATURDAY 11 PM TM2 NIGHT, after the King stabbing earlier the same day. Mrs Jones walks home from late beauty-shop shift. NOT Friday night.\n\n10. INSTANCE PROTOCOL.\nAt session-start the AI engine receives: tier band (J / M / S / A), player count, session number, window-leg selection (TM1-TM4), crossing-point selection (if SS-0 instantiation), thread selection (if SS-0 instantiation). The engine then:\n(a) Loads this brief.\n(b) Loads the relevant runcard (Session 001 or Session 002) OR generates from SS-0 parametric template.\n(c) Identifies eligible projects from cc-cmp001-project-catalog filtered by age-band per cc-cmp001-age-band-restriction-matrix.\n(d) Loads NPC dossiers for the canonical primary-present NPCs plus any secondary-conditional NPCs whose encounter vectors align with the chosen routing.\n(e) Surfaces 3-6 project options to the DM at runtime based on party choices and NPC encounters during play.\n(f) Enforces content-handling protocols per age band.\n(g) Surfaces deliverable expectations and curriculum-strand crosswalk per cc-cmp001-curriculum-strand-crosswalk on DM request.\n\nORIGIN. 2026-05-16. Session-start AI-engine briefing document. Per Saul Nassau pre-planning directive plus prior audit-tweak pass.", "cc_links": [ "cc-cmp001-project-catalog", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-ss-0", "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-narrative-architecture", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, engine-briefing, ai-engine-substrate, one-page-consolidation, session-start, may-2026-16-origin" }, { "id": "cc-cmp001-im-mahalia-jackson-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Mahalia Jackson portrait, 1958", "b": "1. WHAT IT SHOWS. Mahalia Jackson, 47, performing at Newport Jazz Festival July 6 1958 OR press portrait circa 1958. Documented gospel-singer presence. 2. ARCHIVAL SOURCE. Library of Congress Carl Van Vechten Collection (Mahalia Jackson by Van Vechten 1962 LC-USZ62-95571 or earlier sittings). Newcomb College Mahalia Jackson Archives at Tulane. NYPL Schomburg Photographs and Prints Division. 3. RIGHTS STATUS. Van Vechten LOC images: copyright owned by Van Vechten Trust, use granted for educational purposes. Newport 1958 stills variously licensed (Columbia / Festival Productions Inc). 4. RESOLUTION. LOC high-resolution; Tulane variable. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-mahalia-jackson dossier. Documented-radio-surface-only per audit. P002-04 listening journal trigger. 6. PUBLIC PAGE OR GM-ONLY. GM-only unless item-marked public domain. 7. ALTERNATES. Studio publicity stills from Columbia Records 1958 (rights vary). CROSS-REFERENCES. cc-cmp001-npc-mahalia-jackson. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-mahalia-jackson", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, mahalia-jackson, may-2026-16-origin" }, { "id": "cc-cmp001-im-miles-davis-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Miles Davis portrait, 1958", "b": "1. WHAT IT SHOWS. Miles Davis, 32, late-1950s portrait. Likely Don Hunstein 1959 Kind of Blue session stills or 1958 Newport Jazz Festival appearance. Trumpet visible. 2. ARCHIVAL SOURCE. Sony Music Entertainment / Columbia Records Archives (Don Hunstein photographs). Library of Congress William P. Gottlieb Collection (1940s portraits, predecessor era). Smithsonian National Museum of African American History and Culture NMAAHC. 3. RIGHTS STATUS. Hunstein / Columbia: Sony-owned, commercial-licensed only. Gottlieb LOC: public domain through donor agreement. NMAAHC: per item. 4. RESOLUTION. Sony commercial-license high; Gottlieb high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-miles-davis dossier. P-SS0-11 Newport-to-Kind-of-Blue listening composition trigger. 6. PUBLIC PAGE OR GM-ONLY. GM-only for Hunstein. Public-page for Gottlieb if 1940s portrait used. 7. ALTERNATES. Period jazz-club promotional stills (rights vary). CROSS-REFERENCES. cc-cmp001-npc-miles-davis. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-miles-davis", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, miles-davis, may-2026-16-origin" }, { "id": "cc-cmp001-im-billie-holiday-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Billie Holiday portrait, 1958", "b": "1. WHAT IT SHOWS. Billie Holiday, 43, 1958 Lady in Satin recording sessions or late-period portrait. Documented diminished register and visible wear per Szwed 2015. 2. ARCHIVAL SOURCE. Library of Congress William P. Gottlieb Collection LC-GLB13-0357 (1940s sittings, predecessor era). Columbia Records Archives (Lady in Satin June 1958 sessions). NYPL Schomburg. Bob Willoughby photographs late-1950s. 3. RIGHTS STATUS. Gottlieb LOC: public domain through donor agreement (1979). Columbia / Sony: commercial-licensed. Willoughby Estate: licensed per item. 4. RESOLUTION. LOC high; commercial sources licensed-only. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-billie-holiday dossier. P001-07 Theresa-lobby listening journal trigger. CONTENT-HANDLING-PROTOCOL ENFORCED. JUNIOR RESTRICTED ENTIRELY. 6. PUBLIC PAGE OR GM-ONLY. GM-only at MID and below. SENIOR / ADULT public-page acceptable for Gottlieb LOC images. 7. ALTERNATES. None publicly licensed for the specific Lady-in-Satin period. CROSS-REFERENCES. cc-cmp001-npc-billie-holiday. cc-cmp001-age-band-restriction-matrix. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-billie-holiday", "cc-cmp001-age-band-restriction-matrix" ], "tg": "cc, cmp-001, image, im, billie-holiday, may-2026-16-origin" }, { "id": "cc-cmp001-im-althea-gibson-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Althea Gibson portrait, 1958", "b": "1. WHAT IT SHOWS. Althea Gibson, 31, with Wimbledon or US Nationals trophy 1957 or 1958. Tennis racquet plausibly present. Hometown-celebrity moment. 2. ARCHIVAL SOURCE. Library of Congress New York World-Telegram and Sun Newspaper Photograph Collection. NYPL Schomburg. International Tennis Hall of Fame Newport RI archives. NMAAHC (object 2011.158.3 referenced in dossier citations). 3. RIGHTS STATUS. World-Telegram and Sun LOC: public domain through 1967 donation. NMAAHC: per item. ITHF: licensed. 4. RESOLUTION. LOC high. NMAAHC variable. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-althea-gibson dossier. P-SS0-10 Cosmopolitan Tennis Club autobiographical close-reading trigger. 6. PUBLIC PAGE OR GM-ONLY. Public-page acceptable for LOC public-domain images. 7. ALTERNATES. Studio publicity stills from Harper and Brothers 1958 autobiography (rights with publisher). CROSS-REFERENCES. cc-cmp001-npc-althea-gibson. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-althea-gibson", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, althea-gibson, may-2026-16-origin" }, { "id": "cc-cmp001-im-bunche-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Ralph Bunche portrait, 1958", "b": "1. WHAT IT SHOWS. Ralph Bunche, 55, UN Under-Secretary-General era portrait. Office or diplomatic-setting framing. Documented institutional presence. 2. ARCHIVAL SOURCE. UN Photo archive (un.org/photo). UCLA Library Special Collections Ralph Bunche Papers Collection 364. Library of Congress. NMAAHC. 3. RIGHTS STATUS. UN Photo: free for editorial and educational use per UN Photo policy. UCLA: per item under fair use. LOC: per item. 4. RESOLUTION. UN high. UCLA high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-bunche dossier. P002-09 Bunche at Harlem Hospital diplomatic protocol study trigger. 6. PUBLIC PAGE OR GM-ONLY. Public-page acceptable for UN Photo. 7. ALTERNATES. 1950 Nobel ceremony Oslo period images. CROSS-REFERENCES. cc-cmp001-npc-bunche. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-bunche", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, bunche, may-2026-16-origin" }, { "id": "cc-cmp001-im-cordice-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM John W V Cordice Jr portrait, 1958", "b": "1. WHAT IT SHOWS. John Walter Vincent Cordice Jr, 39, Harlem Hospital surgical-suite or hospital-corridor portrait. Surgical-gown plausibly present. Documented primary operating surgeon in the King thoracotomy September 20 1958. 2. ARCHIVAL SOURCE. Harlem Hospital Center historical archives (Department of Surgery records). NYU Langone Medical Center archives (NYU MD 1942). Tuskegee Airmen archives Maxwell AFB. NYT December 31 2013 obituary photograph (Douglas Martin). Society of Black Academic Surgeons 2014 death notice. 3. RIGHTS STATUS. Hospital archives: institutional-permission. NYT: licensed. SBAS: per request. 4. RESOLUTION. Hospital variable. NYT high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-cordice dossier. P-SS0-04 Harlem Hospital surgical-team protocol study trigger. 6. PUBLIC PAGE OR GM-ONLY. GM-only until institutional permission secured. 7. ALTERNATES. None publicly indexed. CROSS-REFERENCES. cc-cmp001-npc-cordice. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-cordice", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, cordice, may-2026-16-origin" }, { "id": "cc-cmp001-im-naclerio-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Emil A Naclerio portrait, 1958", "b": "1. WHAT IT SHOWS. Emil Anthony Naclerio, 43, Harlem Hospital era portrait. Surgical context or formal portrait. Documented assisting surgeon in King thoracotomy plus subsequent personal correspondence with King through 1968. 2. ARCHIVAL SOURCE. Harlem Hospital Center historical archives. Harlem World Magazine retrospective photographs. NY Post September 19 2018 photograph (Larry Celona / Max Jaeger). Sinha R Radiology 2007 article author photograph if available. 3. RIGHTS STATUS. Hospital archives: institutional-permission. NY Post: licensed. 4. RESOLUTION. Variable. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-naclerio dossier. P-SS0-04 surgical-team protocol study trigger. 6. PUBLIC PAGE OR GM-ONLY. GM-only until institutional permission secured. 7. ALTERNATES. None publicly indexed. CROSS-REFERENCES. cc-cmp001-npc-naclerio. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-naclerio", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, naclerio, may-2026-16-origin" }, { "id": "cc-cmp001-im-farrow-allen-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Farrow Allen portrait, 1958", "b": "1. WHAT IT SHOWS. Farrow Allen, T3-deferred. NO VERIFIED PORTRAIT LOCATED. Multiple secondary accounts mention Allen as fourth member of surgical team; Nakayama Pharos 2016 does NOT list Allen. 2. ARCHIVAL SOURCE. Pearson 2002 page-by-page consultation required before authoring a portrait pointer. Harlem Hospital Center archives may carry a staff photograph. 3. RIGHTS STATUS. Not applicable until source verified. 4. RESOLUTION. Not applicable. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-farrow-allen DEFERRED-COMMIT entry. Do not stage portrait until promoted. 6. PUBLIC PAGE OR GM-ONLY. Not applicable. 7. ALTERNATES. Methodological-case-study placeholder only at SENIOR / ADULT band. CROSS-REFERENCES. cc-cmp001-npc-farrow-allen. ACTION ITEM. Confirm or exclude via Pearson 2002 consultation. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-farrow-allen" ], "tg": "cc, cmp-001, image, im, farrow-allen, may-2026-16-origin" }, { "id": "cc-cmp001-im-schiffman-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Frank Schiffman portrait, 1958", "b": "1. WHAT IT SHOWS. Frank Schiffman, 65, Apollo Theater era portrait. Apollo lobby or office plausibly present. Documented Apollo owner from 1934. 2. ARCHIVAL SOURCE. Smithsonian National Museum of American History Apollo Theatre Frank Schiffman Collection NMAH.AC.0540. NYPL. Ted Fox 1983 book photo plates. 3. RIGHTS STATUS. Smithsonian NMAH: educational use permitted with attribution. Holt Rinehart Winston / Mill Road: licensed per item. 4. RESOLUTION. Smithsonian high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-schiffman dossier. P-SS0-09 Apollo-side-street business-history brief trigger. 6. PUBLIC PAGE OR GM-ONLY. Public-page acceptable for Smithsonian items with attribution. 7. ALTERNATES. Family-held portraits (rights with Schiffman descendants). CROSS-REFERENCES. cc-cmp001-npc-schiffman. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-schiffman", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, schiffman, may-2026-16-origin" }, { "id": "cc-cmp001-im-hutson-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Jean Blackwell Hutson portrait, 1958", "b": "1. WHAT IT SHOWS. Jean Blackwell Hutson, 44, Schomburg Collection curator era portrait. 135th Street branch reading room or stack-aisle setting. 2. ARCHIVAL SOURCE. NYPL Schomburg Center Photographs and Prints Division (Hutson Papers SCM 95-50 finding aid). Barnard College Archives 2018 retrospective. African American Registry image archive. Glendora Johnson-Cooper 1996 publication photo plates. 3. RIGHTS STATUS. NYPL Schomburg: educational use permitted. Barnard Archives: institutional permission. AfricanAmericanRegistry: per item. 4. RESOLUTION. NYPL high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-hutson dossier. P001-08 Schomburg pivot trigger. P002-11 Schomburg curatorial proposal trigger. P002-14 Hutson-Hughes oral-history trigger. 6. PUBLIC PAGE OR GM-ONLY. Public-page acceptable for Schomburg-Center-licensed items. 7. ALTERNATES. Barnard yearbook 1935 student-era photographs. CROSS-REFERENCES. cc-cmp001-npc-hutson. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-hutson", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, hutson, may-2026-16-origin" }, { "id": "cc-cmp001-im-decarava-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Roy DeCarava portrait, 1958", "b": "1. WHAT IT SHOWS. Roy Rudolph DeCarava, 38, working photographer 1955-1960 period. Camera plausibly present. 2. ARCHIVAL SOURCE. Sherry Turner DeCarava 1996 MoMA retrospective catalog. David Zwirner Gallery DeCarava-estate archive. NMAAHC (DeCarava archive collection). NYPL Schomburg. 3. RIGHTS STATUS. DeCarava Estate via Sherry Turner DeCarava: licensed per item. MoMA: per item. Zwirner: licensed. 4. RESOLUTION. Estate high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-decarava dossier. P001-05 Hughes-DeCarava ekphrastic photo-text trigger. 6. PUBLIC PAGE OR GM-ONLY. GM-only for estate items. 7. ALTERNATES. Self-portraits within Sweet Flypaper of Life Simon Schuster 1955. CROSS-REFERENCES. cc-cmp001-npc-decarava. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-decarava", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, decarava, may-2026-16-origin" }, { "id": "cc-cmp001-im-bontemps-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Arna Bontemps portrait, 1958", "b": "1. WHAT IT SHOWS. Arnaud Wendell Bontemps, 55, Fisk University head librarian era portrait. Library or office setting plausibly present. 2. ARCHIVAL SOURCE. Fisk University Special Collections Bontemps Papers. Yale University Beinecke Rare Book and Manuscript Library Hughes Papers (which include Bontemps correspondence and photographs). Chicago Public Library Hughes Papers. Carl Van Vechten LOC sittings (Bontemps photographed by Van Vechten multiple times). 3. RIGHTS STATUS. Fisk: institutional permission. Beinecke: per item. Van Vechten LOC: Van Vechten Trust permits educational use. 4. RESOLUTION. Van Vechten LOC high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-bontemps dossier. P-SS0-12 Bontemps letter-to-Hughes scene composition trigger. Off-stage epistolary presence. 6. PUBLIC PAGE OR GM-ONLY. Public-page acceptable for Van Vechten LOC images. 7. ALTERNATES. None additional needed. CROSS-REFERENCES. cc-cmp001-npc-bontemps. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-bontemps", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, bontemps, may-2026-16-origin" }, { "id": "cc-cmp001-im-coretta-scott-king-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Coretta Scott King portrait, 1958", "b": "1. WHAT IT SHOWS. Coretta Scott King, 31, mid-1950s portrait. Possibly New England Conservatory era or early Montgomery years. Documented at Harlem Hospital September 1958 per WSB-TV newsfilm wsbn34032. 2. ARCHIVAL SOURCE. King Library and Archives Atlanta (King Center). Library of Congress King Papers Project Stanford reproduction set. Civil Rights Digital Library Walter J Brown WSB-TV newsfilm wsbn34032 September 22 1958 (still-frame extracted). NMAAHC. 3. RIGHTS STATUS. King Center: per item; sometimes licensed. LOC Stanford reproduction: educational use permitted. CRDL: educational use permitted with attribution. 4. RESOLUTION. CRDL variable. LOC high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-coretta-scott-king dossier. P002-06 Coretta at hospital epistolary composition trigger. 6. PUBLIC PAGE OR GM-ONLY. Public-page acceptable for CRDL still-frames with attribution. 7. ALTERNATES. NEC 1954 graduation portrait. CROSS-REFERENCES. cc-cmp001-npc-coretta-scott-king. cc-cmp001-project-catalog. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-coretta-scott-king", "cc-cmp001-project-catalog" ], "tg": "cc, cmp-001, image, im, coretta-scott-king, may-2026-16-origin" }, { "id": "cc-cmp001-im-officer-howard-portrait", "s": "image", "r": "cmp-001", "t": "cmp-001 IM Officer Al Howard portrait, 1958", "b": "1. WHAT IT SHOWS. Alfred Howard, 31, NYPD officer 1958 era portrait OR post-NYPD-career portrait as Showman s Jazz Cafe owner. 2. ARCHIVAL SOURCE. NYPD Department of Records and Information Services historical archives. NYT December 26 2020 obituary photograph (Michael Wilson). The Daily Beast January 20 2014 article photograph (Michael Daly). Showman s Jazz Cafe 125th Street historical photographs (family-held). 3. RIGHTS STATUS. NYPD archives: institutional permission required. NYT: licensed. Daily Beast: licensed. Family: per descendants. 4. RESOLUTION. NYT high. 5. CMP-001 ATTACHMENT. cc-cmp001-npc-officer-howard dossier. P-SS0-03 Blumstein s eyewitness deposition trigger. EVENT-CONTENT-RESTRICTED. JUNIOR RESTRICTED ENTIRELY. 6. PUBLIC PAGE OR GM-ONLY. GM-only at MID and below. SENIOR / ADULT public-page acceptable for licensed obituary photograph. 7. ALTERNATES. None publicly indexed. CROSS-REFERENCES. cc-cmp001-npc-officer-howard. cc-cmp001-age-band-restriction-matrix. ORIGIN. May 16 2026.", "cc_links": [ "cc-cmp001-npc-officer-howard", "cc-cmp001-age-band-restriction-matrix" ], "tg": "cc, cmp-001, image, im, officer-howard, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-essay", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — analytical or scholarly essay", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the analytical or scholarly essay deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P001-12 Hegel master-slave seminar, P-SS0-14 race-gender-class integrative scholarship, P002-13 Powell-Rustin retrospective frame, P002-08 Hedgeman-Randolph organizing brief, P001-04 beauty-shop wage-labor analysis, scholarly essays across the catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — ARGUMENT. Does the essay carry a thesis claim that is specific, defensible, contested. Does the claim require evidence rather than merely state an opinion. Is the claim positioned against named alternatives. Strong essays open with a thesis that another scholar could disagree with on substantive grounds. Weak essays open with a topic statement or a self-evidently true claim.\n\nAXIS 2 — EVIDENCE. Is the claim grounded in primary sources cited with location-specific precision (page number, archival call number, ISBN-tagged monograph). Are secondary sources used as scaffolding rather than as warrant of last resort. Does each cited source bear the analytical weight the essay assigns it. Strong essays cite verifiable scholarship at the granularity of paragraph-by-paragraph. Weak essays gesture toward sources without integration.\n\nAXIS 3 — STRUCTURE. Does the argument unfold so each paragraph advances the previous. Is there a discernible architecture beyond list-form. Does the conclusion arrive at something not contained in the introduction. Strong essays carry through-lines. Weak essays loop.\n\nAXIS 4 — REGISTER. Does the prose meet the genre register of the cited scholarship. Does it avoid both inflated jargon and casual register-collapse. Strong essays read as if the writer is a junior peer in the scholarly community being cited. Weak essays read as student performance of scholarly voice or as undergraduate-as-tourist.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-letter", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — epistolary composition (non-apology-specific)", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the epistolary composition (non-apology-specific) deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P002-06 Coretta at hospital epistolary composition, P-SS0-12 Bontemps letter-to-Hughes scene composition, generalized epistolary across catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — VOICE. Does the letter sound like the specified writer at the specified moment. Is the register period-appropriate, age-appropriate, status-appropriate. Are there markers of the writer s biographical and historical specificity that an outsider could not fake.\n\nAXIS 2 — OCCASION. Does the letter respond to the specific occasion (event, recipient, moment). Is the addressee s likely state of mind acknowledged. Is the writer s own state of mind earned through circumstance. Does the letter say something only this writer could say at this moment to this recipient.\n\nAXIS 3 — RESTRAINT. Does the letter show rather than narrate. Does it trust the recipient to fill gaps. Does it resist over-explaining the relationship or the event. Strong restraint leaves room. Weak restraint over-articulates.\n\nAXIS 4 — FORM. Does the letter use period-appropriate conventions (greeting, body, sign-off, handwritten vs typed register). Does it honor the letter genre rather than slipping into essay or speech. No anachronistic language. No contemporary politics intruding unless integrated.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-listening-journal", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — listening journal (music, sermon, radio broadcast)", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the listening journal (music, sermon, radio broadcast) deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P002-04 Mahalia documented-radio listening-and-context, P001-07 Theresa-lobby Holiday listening, P-SS0-11 Miles Davis Newport-to-Kind-of-Blue listening, P002-03 Powell Abyssinian sermon listening.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — ATTENTION. Does the journal document what the writer actually heard. Are specific moments cited with timestamps or sequenced descriptions. Is the listening sustained rather than impressionistic. Strong journals show the writer paying attention over the duration. Weak journals summarize.\n\nAXIS 2 — VOCABULARY. Does the writer deploy genre-appropriate vocabulary (musical: tonality, phrasing, dynamics, instrumentation; rhetorical: trope, cadence, ethos-pathos-logos; medium-specific: announcer voice, radio-static, room acoustics). Does the vocabulary serve description rather than perform expertise. Strong vocabulary is precise. Weak vocabulary is name-dropped.\n\nAXIS 3 — CONTEXT. Does the journal place the listening event in historical, biographical, generic context. For Mahalia: documented Newport 1958 substrate. For Holiday: 1958 Lady in Satin period. For Miles: Davis Sextet pre-Kind-of-Blue. For Powell: Abyssinian congregational tradition. Strong context is grounded in cited sources. Weak context is generic.\n\nAXIS 4 — STAKE. Does the journal say what the listening did to the listener. Is the writer changed or unchanged or in-between by the encounter, and is the position earned. Strong journals carry consequence. Weak journals report neutral.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-eyewitness-deposition", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — eyewitness deposition (legal or journalistic)", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the eyewitness deposition (legal or journalistic) deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P-SS0-03 Blumstein s Saturday 3:20 PM eyewitness deposition, generalized eyewitness across catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — PRECISION. Does the deposition document time, place, sequence, and named participants with the precision the genre requires. Are uncertainties acknowledged as uncertainties rather than smoothed over. Strong depositions distinguish what the witness saw, heard, inferred. Weak depositions collapse the three.\n\nAXIS 2 — SENSORY-GRAIN. Are physical details documented (clothing, posture, words spoken, sounds, smells, light conditions). Does the deposition restore the moment for a later reader who was not present. Strong depositions retrieve the granular. Weak depositions trade in abstraction.\n\nAXIS 3 — NEUTRALITY. Does the deposition refrain from interpretive commentary inappropriate to genre. Is the eyewitness reporting what occurred rather than evaluating it. Where commentary is included, is it flagged as such. Strong depositions hold the reporter-evaluator distinction. Weak depositions blend.\n\nAXIS 4 — FORM. Does the deposition use genre-appropriate conventions (legal: oath formulation, date-stamp, witness identification, signature; journalistic: dateline, lede, attribution patterns). No anachronism. No contemporary register slipping in. Document looks like the era and the genre it is from.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-photo-text", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — photo-text ekphrastic composition", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the photo-text ekphrastic composition deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P001-05 Hughes-DeCarava ekphrastic photo-text composition, generalized ekphrastic across catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — LOOKING. Does the text show what the photograph actually shows. Is the writer s eye trained on specific compositional choices (light, framing, gesture, hand-position, fabric, eye-line). Strong ekphrastic resists the urge to use the photograph as a launchpad for unrelated commentary. Weak ekphrastic uses the photograph as decoration.\n\nAXIS 2 — VOICE-FOR-IMAGE. Does the text carry a voice appropriate to the image. For DeCarava-Hughes the voice is Hughes-as-Sister-Mary-Bradley fictive narrator. For other photographs the voice may shift. Strong voice serves the image. Weak voice imposes on it.\n\nAXIS 3 — RESTRAINT-OF-CAPTION. Does the text leave room for the image to speak. Does it avoid explaining what the viewer can see. Does it add what the image alone cannot say. Strong photo-text amplifies through what is not said. Weak photo-text restates.\n\nAXIS 4 — SEQUENCE. Where the project involves multiple photographs in sequence, does the order generate meaning. Do the transitions carry weight. Does the whole exceed the sum. Strong sequence is structural. Weak sequence is collection.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-oral-history", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — oral-history transcript (interview-narrative)", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the oral-history transcript (interview-narrative) deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P002-14 Hutson-Hughes friendship oral-history transcript, generalized oral-history across catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — LISTENING. Does the transcript preserve the interviewee s voice with its specificity (vocabulary, syntax, hesitation, idiom). Are silences retained where present. Strong oral-history transcribes the speaker. Weak oral-history paraphrases.\n\nAXIS 2 — QUESTIONING. Do the interviewer questions follow the interviewee rather than redirect them. Are follow-ups specific rather than generic. Does the interviewer recognize when to stay silent. Strong questioning is responsive. Weak questioning is templated.\n\nAXIS 3 — ARCHIVAL-DISCIPLINE. Are speakers identified with full names, roles, relationship to subject. Is the date, place, occasion of the interview recorded. Are quotations sourced. Strong transcripts can be cited by later researchers. Weak transcripts can be argued.\n\nAXIS 4 — FRAME. Does the transcript carry an introduction situating the speaker, the relationship, the historical moment. Does it acknowledge the limits of memory. Strong frames calibrate the reader. Weak frames assume.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-period-news-article", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — period newspaper article (news, feature, editorial)", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the period newspaper article (news, feature, editorial) deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P-SS0-08 newsstand Amsterdam News period article, generalized period-newspaper across catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — PERIOD-VOICE. Does the article read as if written in the historical period (1958 for cmp-001). Vocabulary, sentence rhythm, headline conventions, editorial register all era-faithful. No contemporary phrasing intruding. Strong period-voice convinces a reader that the document is of its time. Weak period-voice reads as costume.\n\nAXIS 2 — SOURCING. Does the article cite period-appropriate sources (named officials, witnesses, organizations). Are attributions specific. Are quotations plausible for the speakers given. Strong sourcing is verifiable against period record. Weak sourcing invents.\n\nAXIS 3 — FORM. Does the article use genre conventions (inverted pyramid for news, narrative arc for feature, position-statement for editorial). Does the headline match content. Does the dateline locate the article. Strong form is genre-recognizable. Weak form is essay-in-disguise.\n\nAXIS 4 — EDITORIAL-POSITION. Where editorial: is the position defensible, period-plausible, and signaled as opinion rather than reportage. Does the editorial speak to the named publication s audience. Strong editorial-position is institutional-voiced. Weak editorial-position is anachronistic-projection.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-protocol-study", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — protocol study (surgical, diplomatic, curatorial, organizational)", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the protocol study (surgical, diplomatic, curatorial, organizational) deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P-SS0-04 Harlem Hospital surgical-team protocol study, P002-09 Bunche at Hospital diplomatic protocol study, P002-11 Schomburg curatorial proposal, P002-08 Hedgeman-Randolph organizing brief.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — PROCEDURAL-PRECISION. Does the study document the specific procedure (surgical sequence, diplomatic intervention, curatorial intake, organizing workflow) at appropriate granularity. Are steps named in order. Are decision-points specified. Strong studies could be followed by a peer. Weak studies summarize.\n\nAXIS 2 — INSTITUTIONAL-CONTEXT. Does the study locate the procedure in institutional setting (Harlem Hospital surgical hierarchy 1958, UN Trusteeship Department protocols, NYPL Schomburg curatorial workflow, civil-rights organizing infrastructure). Are constraints, authorities, resource-conditions documented. Strong context is institutional. Weak context is generic.\n\nAXIS 3 — ETHICAL-LAYER. Does the study attend to ethical dimensions (medical: informed consent, racial dynamics of care; diplomatic: sovereignty, mediation pressure; curatorial: provenance, access, donor relations; organizing: coalition tensions, gender-of-leadership). Are ethical questions named rather than left implicit. Strong ethical-layer integrates. Weak ethical-layer omits.\n\nAXIS 4 — REFLECTIVE-LAYER. Does the study comment on what the procedure reveals about the field, the era, the institution, the historical moment. Is there an analytic step beyond description. Strong reflective-layer earns its insight. Weak reflective-layer asserts.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-comparative-geography", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — comparative geography essay (place-based, demographic, route-based)", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the comparative geography essay (place-based, demographic, route-based) deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P-SS0-13 route-and-place comparative geography, generalized place-based work across catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — PLACE-SPECIFICITY. Does the essay locate itself in specific streets, buildings, intersections, addresses. Are coordinates and routes documented. Is the place described as it was at the historical moment rather than as it is now. Strong place-specificity is map-able. Weak place-specificity is atmospheric.\n\nAXIS 2 — DEMOGRAPHIC-LAYER. Does the essay engage period-specific demographic and economic context (Harlem 1958 population composition, housing economy, employment landscape, migration history). Are claims sourced to census, planning, sociological data of the era. Strong demographic-layer is data-grounded. Weak demographic-layer is impressionistic.\n\nAXIS 3 — ROUTE-OR-PATTERN. Where the project involves a route or spatial pattern (walking-route, sight-lines, neighborhood-transition, institutional-clustering), is the pattern made legible. Does the essay show what is visible from where, what is in proximity, what is isolated. Strong route-or-pattern is structural. Weak route-or-pattern is linear-narrative-only.\n\nAXIS 4 — VOICE-WITHIN-PLACE. Does the essay carry a writer who inhabits the place (period-appropriate observer, present-day-researcher with documented relationship, fictive-period-resident). Is the writer s standpoint articulated. Strong voice-within-place positions itself. Weak voice-within-place narrates from nowhere.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-rubric-business-history-brief", "s": "campaign", "r": "cmp-001-rubric", "t": "Rubric template — business or institutional history brief", "b": "General template adapting the four-axis quality rubric from bb* dm-009 to the business or institutional history brief deliverable across cmp-001 projects.\n\nAPPLICABLE PROJECTS. P-SS0-09 Apollo-Schiffman business-history brief, generalized institutional-history across catalog.\n\nThe deliverable is graded on four axes, each on a four-point scale (poor, passing, strong, excellent). Total across the four axes determines outcome severity in-fiction per the bb* dm-009 ruling.\n\nAXIS 1 — INSTITUTIONAL-ARCHITECTURE. Does the brief document the institution s ownership structure, operating model, revenue flow, contractual relationships, decision-authority. Are these traced over time. Strong institutional-architecture is documented. Weak institutional-architecture is anecdotal.\n\nAXIS 2 — PERIOD-SOURCING. Are claims grounded in period documents (trade publications, financial records, contracts, archival corporate papers, oral histories with named informants). Are secondary sources used as scaffolding only. Strong period-sourcing carries primary-document weight. Weak period-sourcing leans on later journalism.\n\nAXIS 3 — COMPARATIVE-FRAME. Where the institution operates within an industry or sector, does the brief situate it among peers. Is the institution s distinctiveness or representativeness articulated. Strong comparative-frame contextualizes. Weak comparative-frame isolates.\n\nAXIS 4 — LONGUE-DUREE. Does the brief carry the institution s arc beyond a single moment. Are decisions made by founders visible in operational patterns decades later. Are external pressures (regulatory, demographic, economic) tracked through institutional response. Strong longue-duree is structural. Weak longue-duree is snapshot.\n\nADJUDICATION. Excellent on all four axes equals unqualified narrative success: the deliverable in-fiction becomes the kind of artifact a later reader would cite as evidence of careful work. Mixed equals partial success or success with cost: the deliverable accomplishes what it set out to but bears a specific flaw the educator articulates. Poor on all four axes equals failure: the deliverable falls short in-fiction and structurally underprepares the party for the next session.\n\nUSE BY EDUCATOR. Score each axis independently. Total determines in-fiction outcome. Educator writes a brief note to the student on each axis naming what worked and what did not, in addition to the academic grade. The student receives both: the in-fiction consequence narrated through the campaign frame and the academic feedback grounded in the four-axis breakdown. The rubric template is campaign-portable: cmp-002 and later campaigns will instantiate the same four axes against their own deliverable specifics.\n\nPEDAGOGICAL DISPOSITION. The four-axis structure is not a checklist. It is a calibrated diagnostic. A deliverable can be strong on all four without becoming formulaic; a deliverable can fail on three while excelling on one and still teach the party something. The educator s judgment threads the four axes into a single coherent response to the work as a whole.\n\nCROSS-REFERENCES. bb* dm-009 (four-axis quality rubric underlying rule). cc-cmp001-rubric (P001-02 worked example for the apology-letter case). cc-cmp001-project-catalog (the 43 audit-tweaked projects this template serves). cc-cmp001-age-band-restriction-matrix (band-adjusted expectations). cc-cmp001-engine-brief (AI-engine session-start briefing).\n\nORIGIN. 2026-05-16 deliverable-rubric template buildout.", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-project-catalog", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-engine-brief" ], "bb_links": [ "dm-009" ], "tg": "cc, cmp-001, rubric, template, deliverable-type, may-2026-16-origin" }, { "id": "cc-cmp001-project-catalog", "s": "campaign", "r": "cmp-001-pedagogy", "t": "cmp-001 project-opportunity catalog (43 audit-tweaked projects across runcards plus ss-0)", "b": "cmp-001 project-opportunity catalog. Forty-three audit-tweaked project options across cc-cmp001-runcard-001, cc-cmp001-runcard-002, cc-cmp001-ss-0. Per the 2026-05-16 substrate-design research deliverable plus the audit-tweak pass. Substrate canonical. Per-cohort field-population teacher-side per the 2026-05-16 mc-cohort-agnostic-discipline ruling.\n\nSCHEMA PER PROJECT. Trigger, age-band-eligibility, deliverable, anchor, curriculum, hook.\n\n============================================================\nSESSION 001 PROJECT MATRIX (cc-cmp001-runcard-001).\nLANDING-RULING NOTE June 11 2026. Per cc-cmp001-landing-after the campaign opens Sunday morning, so the placement line below describes the ghost-replay hour, not the live session. Projects fire live from the Sunday-onward timeline. Any trigger anchored before the Sunday landing, including Saturday-night post-encounter triggers such as the Hughes-brownstone walk, the Theresa lobby at night, and the exterior canonical-window view, either re-anchors to a later pass where the trigger is place-based or routes backward via dm-012 ghost-extraction where the trigger is time-locked. Sunday-closed businesses offer through their windows on Sunday and open their doors Monday.\nCanonical placement of the replayed scene: Saturday September 20 1958 approximately 11 PM TM2, after the canonical East 128th purse-snatch encounter. Mrs Jones is walking home from late beauty-shop shift. The King stabbing occurred earlier the same day at 3:21 PM at Blumstein's. Radio bulletins are hours-old replay news by 11 PM.\n============================================================\n\nP001-01 ROOM-AS-WITNESS ekphrastic essay (baseline).\nTRIGGER. Mrs Jones primary-present. Fires for every Bookworm.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. First-person prose composition in which the kitchenette room speaks. JUNIOR 300 to 500 words. MID 500 to 750 words. SENIOR / ADULT 750 to 1000 words.\nANCHOR. Hughes \"Thank You M am\" canonical text 1958.\nCURRICULUM. ENG1D / ENG2D / ENG3U / ENG4U Strand B. IB Language A Part 4 literary genres.\nHOOK. Mrs-Jones thread, Roger thread.\n\nP001-02 Retroactive 1978 apology letter (baseline).\nTRIGGER. Mrs Jones primary-present. Fires for every Bookworm.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 500 to 900 word epistolary composition. Roger writes Mrs Jones twenty years later, dated September 1978. Period register.\nANCHOR. Hughes \"Thank You M am\" 1958 canonical arc.\nCURRICULUM. ENG2D / ENG3U Strand C. IB Language A Part 4.\nHOOK. Roger thread. Window-leg-agnostic, surfaces best at TM4 reflection.\n\nP001-03 Blue-Suede-Shoes economy close reading.\nTRIGGER. Roger admits desire for shoes during kitchenette dialogue.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 600 to 1000 word close reading. Trace the Presley / Carl Perkins \"Blue Suede Shoes\" 1956 reference against Roger's 1958 desire. Map status semiotics of period footwear.\nANCHOR. Hughes \"Thank You M am\" 1958. \"Blue Suede Shoes\" Carl Perkins Sun Records 1956 plus Elvis Presley RCA 1956 cover.\nCURRICULUM. ENG3U Strand B.2. AMU3M music textual-context. AP English Language equivalent.\nHOOK. Roger thread. Hughes-corpus emergent ghost.\n\nP001-04 Mrs Jones beauty-shop wage-labor research paper.\nTRIGGER. Late-shift detail surfaces during conversation. MID requires educator-trigger.\nAGE-BAND. SENIOR / ADULT. MID with educator-trigger.\nDELIVERABLE. 1000 to 1500 word source-grounded historical paper on Black women's late-shift Harlem beauty-shop wage-labor 1958.\nANCHOR. Hughes \"Thank You M am\" beauty-shop detail. Anna Arnold Hedgeman \"The Trumpet Sounds\" Holt Rinehart and Winston 1964.\nCURRICULUM. CHA3U twentieth-century social-history. HSC4M World Cultures. IB History Paper 3 Americas.\nHOOK. Mrs-Jones thread. Theresa-staff thread via parallel labor-structure.\n\nP001-05 Hughes DeCarava ekphrastic photo-text composition.\nTRIGGER. The party passes the Hughes brownstone at 20 East 127th Street on Saturday-late-night walk after Mrs Jones releases Roger.\nAGE-BAND. MID / SENIOR / ADULT. JUNIOR variant with reduced word count.\nDELIVERABLE. Photo-text composition. Student selects one DeCarava photograph from \"The Sweet Flypaper of Life\". Writes a 250 to 400 word ekphrastic paragraph in Sister Mary Bradley voice plausibly slotted into the original 141-photograph sequence. Appends one-paragraph methodology note.\nANCHOR. Roy DeCarava and Langston Hughes \"The Sweet Flypaper of Life\" Simon and Schuster 1955. DeCarava 1952 Guggenheim Fellowship.\nCURRICULUM. ENG3U / ENG4U Strand B. AVI3O / AVI4M. IB Language A Part 4.\nHOOK. Hughes thread. Hughes-window-walk-past crossing-point. Hughes-corpus emergent ghost.\n\nP001-06 Hughes \"Mother to Son\" intertextual analysis.\nTRIGGER. Mrs Jones admits past hardship.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 400 to 700 word comparative analysis. Pair Mrs Jones confession with Hughes \"Mother to Son\" 1922 and the \"Life for me ain t been no crystal stair\" line. Identify the recurring Hughes mother-voice.\nANCHOR. Hughes \"Thank You M am\" 1958. Hughes \"Mother to Son\" Crisis December 1922 collected in \"The Weary Blues\" 1926.\nCURRICULUM. ENG2D / ENG3U Strand B. IB Language A Part 3.\nHOOK. Hughes thread. Mrs-Jones thread.\n\nP001-07 Theresa-lobby Holiday encounter listening journal.\nTRIGGER. The party exits to corridor mid-beat, overhears another roomer s radio carrying hours-old King-stabbing replay news, follows the news-thread out toward the Theresa lobby where Holiday could plausibly be in residence at 11 PM Saturday.\nAGE-BAND. SENIOR / ADULT. MID with educator pre-discussion of the FBN targeting context. JUNIOR restricted entirely.\nDELIVERABLE. 800 to 1200 word listening journal. Two-track baseline pair \"I m a Fool to Want You\" and \"You ve Changed\" from Lady in Satin. Track-by-track response. Connect Holiday s 1958 diminished upper range to Mrs Jones half-pint frame.\nANCHOR. Billie Holiday \"Lady in Satin\" Columbia Records CL 1157 / CS 8048 released June 1958. Recording sessions February 18-21 1958.\nCURRICULUM. AMU3M / AMU4M. ENG3U Strand B. IB Music individual investigation.\nHOOK. Hughes thread via Theresa-lobby crossing-point. Roger-peer thread via shared Harlem sound-world.\n\nP001-08 Schomburg-pivot research methodology paper (rerouted post-audit).\nTRIGGER. Pre-Session-001. Bookworm character visited the 135th Street branch on TM1 Friday afternoon as part of cmp-001 backstory. Hutson encountered then. Project surfaces retroactively during Session 001 reflection. NOT a Session 001 corridor-drift trigger (the branch was closed by 11 PM Saturday).\nAGE-BAND. MID / SENIOR / ADULT. JUNIOR with simplified scaffolding.\nDELIVERABLE. 800 to 1200 word source-critical methodology paper. Student selects one item from the Schomburg holdings as imagined under Hutson curatorship circa 1958. Writes the catalog rationale Hutson might have written.\nANCHOR. Jean Blackwell Hutson Schomburg curator 1948-1980. Hutson \"filling the gaps of omissions\" methodology per Barnard Archives 2018 plus 1964 Irving M. Levine interview citation.\nCURRICULUM. ENG4U Strand B. HZT4U Philosophy questions of knowledge. IB Theory of Knowledge.\nHOOK. Hughes thread (Hughes donated his papers to the Schomburg through Hutson). Schomburg / Salem-Abyssinian thread.\n\nP001-09 Apollo-Theresa-Schomburg Harlem-institution geography map essay.\nTRIGGER. The party walks past 125th Street after exiting the kitchenette. JUNIOR / MID get geography-essay only. SENIOR optionally adds Schiffman-encounter via P-SS0-09 sub-route.\nAGE-BAND. JUNIOR / MID / SENIOR.\nDELIVERABLE. Annotated map plus 600 to 900 word geographic essay. Map Apollo (Schiffman / Brecher 1934), Hotel Theresa, Schomburg Collection, Blumstein s Department Store at 230 West 125th Street, Salem and Abyssinian Baptist Churches.\nANCHOR. Frank Schiffman Apollo Theatre Collection Smithsonian NMAH.AC.0540.\nCURRICULUM. CGC1W Geography. CHA3U American History. IB Geography urban environments.\nHOOK. Hughes thread. Hughes-window-walk-past and Blumstein s crossing-points.\n\nP001-10 Roger-as-narrator counter-text.\nTRIGGER. Mrs Jones primary-present. the party treats Roger as the under-narrated character.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 600 to 1000 word retelling from Roger interior-monologue. Must include \"He could make a dash for it down the hall. Run, run, run, run.\" Must justify three textual silences in Hughes third-person narration.\nANCHOR. Hughes \"Thank You M am\" 1958.\nCURRICULUM. ENG1D / ENG2D / ENG3U Strand C. IB Language A Part 4.\nHOOK. Roger thread. Roger-peer thread.\n\nP001-11 Period-newspaper one-column article.\nTRIGGER. The party notices absence of news in Mrs Jones kitchenette. Window-leg branch back to TM2-TM3.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 500 to 700 word period-faithful Amsterdam News-style article. Subject one of: Apollo s coming week, Theresa weekend traffic, or short profile on a Hughes-walk-past poet. Period typography conventions appended as methodology note.\nANCHOR. Period newspaper conventions per period-newspapers emergent ghost. Amsterdam News documented Harlem Black-press tradition.\nCURRICULUM. ENG3U / ENG4U Strand D Media Studies. CHA3U source-criticism.\nHOOK. Salem-Abyssinian thread via Black-press tradition. Mrs-Jones thread.\n\nP001-12 Hegel master-slave seminar paper (trigger pedagogy-tightened post-audit).\nTRIGGER. Mrs Jones holds Roger in physical custody, possesses the option to call police, refuses both the carceral resolution and the dominance-display, feeds him instead. The dialectic-inversion is the refusal of the master position despite holding the physical capacity for it.\nAGE-BAND. ADULT only.\nDELIVERABLE. 1200 to 2000 word philosophical seminar paper. Apply Hegel master-slave dialectic Phenomenology of Spirit 1807 sections 178-196 to the kitchenette dynamic. Engage Fanon \"Black Skin White Masks\" racialized corrective on recognition. Engage at least one secondary text on racialized re-reading.\nANCHOR. Hughes \"Thank You M am\" 1958. Hegel \"Phenomenology of Spirit\" 1807. Fanon \"Black Skin White Masks\" 1952. Hegel master-slave emergent ghost.\nCURRICULUM. HZT4U Philosophy. IB Theory of Knowledge.\nHOOK. Mrs-Jones thread.\n\nP001-13 Mrs Jones streetlight-soliloquy composition (new post-audit).\nTRIGGER. Bookworm-as-passing-stranger or as-other-roomer-from-down-the-block sees Mrs Jones at the streetlight before Roger appears. Pre-canonical moment.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 400 to 700 word interior-monologue. Mrs Jones at the streetlight on East 128th at 11 PM Saturday thinking about her shift, her solitude, what is in her purse. Hughes-canonical-voice constrained.\nANCHOR. Hughes \"Thank You M am\" pre-canonical reconstruction.\nCURRICULUM. ENG1D / ENG2D / ENG3U Strand C. IB Language A Part 4.\nHOOK. Mrs-Jones thread.\n\n============================================================\nSESSION 002 PROJECT MATRIX (cc-cmp001-runcard-002).\nCanonical placement Sunday September 21 1958, 10 AM, Abyssinian Baptist Church sermon. Powell at the pulpit. Congregation processes the previous-day King-stabbing news.\n============================================================\n\nP002-01 Sunday-evening in-character journal (baseline).\nTRIGGER. Powell primary-present. Fires for every Bookworm.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 250 to 400 word in-character journal as Harlem-resident reflecting on Sunday September 21 1958.\nANCHOR. Powell sermon-event SS-0 instantiation.\nCURRICULUM. ENG2D / ENG3U Strand C.\nHOOK. Salem-Abyssinian thread. King thread.\n\nP002-02 Powell sermon close reading.\nTRIGGER. Powell primary-present. the party attends to rhetorical structure during moment ix.\nAGE-BAND. SENIOR / ADULT. MID with educator scaffolding.\nDELIVERABLE. 800 to 1200 word sermon-analysis. Identify three rhetorical figures Powell uses (anaphora, parallelism, kairotic appeal). Cite Powell documented preaching position at Abyssinian (pastor 1937-1972).\nANCHOR. Adam Clayton Powell Jr documented preaching record. Stanford King Institute Powell entry.\nCURRICULUM. ENG4U Strand B. CHA3U. IB Language A Part 2.\nHOOK. Salem-Abyssinian thread. King thread.\n\nP002-03 Stride Toward Freedom situated review.\nTRIGGER. Powell references the book King was signing. Stride-Toward-Freedom emergent ghost surfaces.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 900 to 1400 word situated book-review of one chapter of King \"Stride Toward Freedom The Montgomery Story\" Harper and Brothers 1958. Reviewed as if for the September 22 1958 Amsterdam News, two days after the stabbing.\nANCHOR. Martin Luther King Jr \"Stride Toward Freedom\" Harper and Brothers 1958.\nCURRICULUM. ENG3U / ENG4U Strand B and D. CHA3U. IB History Paper 3.\nHOOK. King thread. Salem-Abyssinian thread.\n\nP002-04 Mahalia documented-radio listening-and-context journal (reanchored post-audit).\nTRIGGER. The party hears Mahalia on a Theresa-lobby radio or Abyssinian-vestibule speaker. Documented voice surface only. Reanchored away from undocumented Abyssinian September 21 1958 appearance.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 600 to 900 word listening journal plus contextual reflection. Two tracks from \"Live at Newport 1958\" Columbia CL 1244 recorded July 6 1958. Baseline pair \"Didn t It Rain\" and \"The Lord s Prayer\". Reflect on how the same voice translates from Newport secular festival to Sunday radio reception in Harlem. JUNIOR can write 300 to 500 words.\nANCHOR. Mahalia Jackson \"Newport 1958\" Columbia CL 1244 recorded July 6 1958.\nCURRICULUM. AMU3M / AMU4M. ENG2D Strand D for JUNIOR / MID. IB Music.\nHOOK. Salem-Abyssinian thread. Hughes thread via shared 1958 cultural moment.\n\nP002-05 King-stabbing news-processing structured argument.\nTRIGGER. Congregation processes news mid-sermon. Powell directly addresses Saturday events.\nAGE-BAND. SENIOR / ADULT. MID with educator-trigger.\nDELIVERABLE. 1000 to 1500 word structured argument. Should the Sunday service proceed, alter the homily, or yield to a community-update format? Argue from documented Powell political positioning. Engage at least two source citations from the 1958 record.\nANCHOR. King stabbing September 20 1958 Blumstein s. Officer Al Howard \"Don t sneeze, don t even speak\" intervention per Hugh Pearson \"When Harlem Nearly Killed King\" Seven Stories Press 2002.\nCURRICULUM. ENG4U Strand B and C. CHA3U. CHV2O Civics. IB Language A Part 2.\nHOOK. King thread. Salem-Abyssinian thread.\n\nP002-06 Coretta Scott King at the hospital epistolary composition.\nTRIGGER. The party exits Abyssinian and routes to Harlem Hospital. Coretta documented present TM2-TM4.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 800 to 1200 word epistolary composition. Letter from Coretta in hospital waiting area to a New England Conservatory friend. Must reference her 1954 NEC degree in voice and violin.\nANCHOR. Coretta Scott King Academy of Achievement interview confirming NEC degree completion 1954. Coretta documented presence TM2-TM4 per WSB-TV newsfilm September 22 1958.\nCURRICULUM. ENG3U / ENG4U Strand C. CHA3U. HSC4M.\nHOOK. King thread. Maynard-Curry thread.\n\nP002-07 Hughes \"I Dream a World\" intertext sermon-essay.\nTRIGGER. Powell preaches on hope. the party notices Hughes-inflection in Powell cadence.\nAGE-BAND. SENIOR / ADULT. MID at introductory level.\nDELIVERABLE. 1000 to 1500 word essay tracing the documented Hughes-King poetry influence. King recited Hughes \"Mother to Son\" from the pulpit Mother s Day 1956 per Smithsonian Magazine 2018. King rewrote Hughes \"I Dream a World\" line-by-line in the August 11 1956 \"Birth of a New Age\" speech per W. Jason Miller NC State research 2015. Argue how a 1958 Powell sermon might similarly cite Hughes.\nANCHOR. Hughes \"I Dream a World\" plus \"Mother to Son\" 1922. Miller \"MLK s First Dream\" NC State 2015. Smithsonian Magazine 2018.\nCURRICULUM. ENG4U Strand B. IB Language A Part 3.\nHOOK. Hughes thread. King thread. \"I Have a Dream\" emergent ghost.\n\nP002-08 Hedgeman-Randolph Youth-March-for-Integrated-Schools organizing brief (reanchored post-audit).\nTRIGGER. The party overhears congregation discussing march-response to the stabbing. Hedgeman or Randolph cued as secondary-NPC encounter. Reanchored from anachronistic 1963 March on Washington forward-projection to the documented October 25 1958 Youth March for Integrated Schools, five weeks away from the campaign window.\nAGE-BAND. SENIOR / ADULT.\nDELIVERABLE. 1000 to 1500 word prospective organizing brief from Hedgeman or Randolph perspective September 21 1958. Draft strategy for the October 25 1958 Youth March for Integrated Schools, taking the September 20 stabbing as immediate political context. Engage Randolph 1941 March-on-Washington-threat playbook producing FDR Executive Order 8802 June 25 1941. Engage Hedgeman National Council for a Permanent FEPC executive directorship.\nANCHOR. Youth March for Integrated Schools October 25 1958. Hedgeman \"The Trumpet Sounds\" 1964. Randolph documented organizing record.\nCURRICULUM. CHA3U. CHV2O Civics. CPW4U Canadian and International Politics. IB History Paper 3.\nHOOK. Salem-Abyssinian thread. King thread. \"I Have a Dream\" emergent ghost.\n\nP002-09 Bunche at Harlem Hospital diplomatic protocol study (window-leg-corrected post-audit).\nTRIGGER. The party routes to Harlem Hospital at TM2 Saturday afternoon for documented Bunche visit, OR via Sunday-morning narrative-skip flashback frame. Sunday-direct routing surfaces Coretta and surgical-team-on-rounds rather than Bunche.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 600 to 1000 word diplomatic-protocol study. the party writes a one-page UN-style press release covering Bunche hospital visit. Period-faithful UN voice. Methodology paragraph on Bunche 1950 Nobel Peace Prize.\nANCHOR. Ralph Bunche 1950 Nobel Peace Prize. Bunche Under-Secretary-General Special Political Affairs from 1957. Documented Saturday-afternoon hospital visit.\nCURRICULUM. CHA3U. CHY4U. CPW4U. IB History Paper 3.\nHOOK. King thread. Maynard-Curry thread.\n\nP002-10 Salem-Abyssinian comparative congregational geography.\nTRIGGER. The party notices proximate Salem Methodist Episcopal Church. Salem-Abyssinian crossing-point SS-0 framing.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 800 to 1200 word comparative-geography essay. Map Salem Methodist and Abyssinian Baptist (132 West 138th Street since 1923). Argue from documented physical-plant differences to congregational-style differences.\nANCHOR. Abyssinian Baptist building dedicated June 17 1923. Gothic-Tudor with imported stained glass and Italian marble pulpit.\nCURRICULUM. CGC1W Geography. CHA3U. HSC4M.\nHOOK. Salem-Abyssinian thread.\n\nP002-11 Hutson Schomburg curatorial proposal (window-leg-corrected post-audit).\nTRIGGER. Bookworm character pre-Session-001 visited Schomburg at TM1 Friday afternoon or TM2 Saturday morning (branch open then). Sunday-direct routing surfaces only sidewalk-encounter with Hutson on her own Sunday errand, OR the Salem-Methodist alternative encounter.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 500 to 1000 word curatorial proposal. party proposes one acquisition the Schomburg should pursue in response to the King stabbing. Uses Hutson \"filling the gaps of omissions\" methodology. JUNIOR 300-word illustrated.\nANCHOR. Hutson Schomburg curator 1948-1980. NYPL Blog March 22 2021 on Hutson collection-growth 15K to 75K. Barnard Magazine 2025. Barnard Archives 2018.\nCURRICULUM. ENG2D / ENG3U Strand B. HZT4U. IB Theory of Knowledge.\nHOOK. Hughes thread (Hughes donated papers to Schomburg via Hutson). Schomburg / Salem-Abyssinian thread.\n\nP002-12 After-sermon steps debate brief.\nTRIGGER. After-sermon second beat on church steps. Congregation argument about King nonviolence in face of Curry attack.\nAGE-BAND. SENIOR / ADULT.\nDELIVERABLE. 800 to 1200 word formal debate brief. Resolution: \"The events of September 20 1958 vindicate King commitment to nonviolence.\" Cite King hospital press release September 30 1958.\nANCHOR. King hospital press release September 30 1958.\nCURRICULUM. ENG4U Strand B and C. CHA3U. CHV2O. AP US History rhetorical-document equivalent.\nHOOK. King thread. Maynard-Curry thread.\n\nP002-13 Powell-King correspondence analytic note (retrospective frame post-audit).\nTRIGGER. The party notices Powell-King relationship has texture. Retrospective frame: the party writes as future-historian looking back at the September 1958 relationship and the trajectory toward 1960. NOT in-dimension content for the 1958 Sunday morning attendee.\nAGE-BAND. ADULT (preferred). SENIOR with explicit educator pre-discussion of the 1960 Rustin episode.\nDELIVERABLE. 600 to 1000 word analytic note on Powell-King relationship per King Papers volume 4 letters (June 10 1958; June 24 1960; January 28 1961) at Stanford King Institute. Discusses the 1960 episode in which Powell threatened to allege a homosexual relationship between King and Bayard Rustin unless planned marches were canceled.\nANCHOR. King Papers volume 4. Stanford King Institute Powell entry.\nCURRICULUM. CHA3U. ENG4U Strand B. IB History Paper 3.\nHOOK. King thread. Salem-Abyssinian thread.\n\nP002-14 Hutson-Hughes friendship oral-history transcript.\nTRIGGER. Hutson encountered at Schomburg. party asks about Hughes papers.\nAGE-BAND. MID / SENIOR / ADULT. JUNIOR-adjacent with scaffolding.\nDELIVERABLE. 600 to 900 word fictional oral-history transcript. Hutson speaks to Bookworm-as-junior-archivist about her relationship with Hughes. Date-stamp September 21 1958. Hughes referred to Hutson as his \"baby sister\" per African American Registry.\nANCHOR. Barnard Magazine 2025. Barnard Archives 2018. African American Registry entry on Hutson.\nCURRICULUM. ENG2D / ENG3U Strand C and D. HSP3U. IB Language A.\nHOOK. Hughes thread. Schomburg thread.\n\nP002-15 Period-newspaper Sunday-edition mock-up.\nTRIGGER. The party notices absence of Sunday papers in church-vestibule rack.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. Mock-up of Amsterdam News Sunday-edition front page covering the Saturday stabbing. One lead article (350 words), one secondary (150 words), one photo caption, one editorial blurb (100 words). Period typography.\nANCHOR. Amsterdam News historical record. Amsterdam-News-Monday-headline emergent ghost.\nCURRICULUM. ENG2D / ENG3U Strand D Media Studies. CHA3U. IB Language A Part 2.\nHOOK. King thread. Salem-Abyssinian thread.\n\n============================================================\nSS-0 PARAMETRIC TEMPLATE PROJECT MATRIX (cc-cmp001-ss-0).\nVector-agnostic, window-leg-agnostic, group-size-and-tier parametric. Generates further runcards by crossing-point and window-leg selection.\n============================================================\n\nP-SS0-01 Crossing-point-anchored ekphrastic.\nTRIGGER. Any crossing-point.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 300 to 700 word place-ekphrastic. The crossing-point describes itself. Window-leg parameter sets time-of-day register.\nANCHOR. Period documentation of the selected crossing-point.\nCURRICULUM. ENG1D / ENG2D Strand B and C.\nHOOK. Any thread.\n\nP-SS0-02 East 128th Saturday 11 PM canonical-window recreation.\nTRIGGER. East 128th Saturday 11 PM crossing-point. TM2.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 600 to 900 word scene-recreation from passing-stranger perspective external to the kitchenette. Complements Session 001 interior-view.\nANCHOR. Hughes \"Thank You M am\" 1958 canonical scene exterior.\nCURRICULUM. ENG1D / ENG2D / ENG3U Strand B and C. IB Language A Part 3.\nHOOK. Roger thread. Mrs-Jones thread.\n\nP-SS0-03 Blumstein s Saturday 3:20 PM eyewitness deposition (venue-corrected post-audit).\nTRIGGER. Blumstein s Saturday 3:20 PM crossing-point. TM2. Bookworm-as-store-patron-during-King-book-signing-on-mezzanine.\nAGE-BAND. SENIOR / ADULT. MID with educator-trigger. JUNIOR restricted entirely.\nDELIVERABLE. 800 to 1200 word eyewitness deposition document. Police-affidavit-style account. Documented details: the seven-inch ivory-handled letter opener, Officer Howard \"Don t sneeze don t even speak\" intervention per Pearson 2002, the Amsterdam News advertising executive who restrained Curry, King calm response \"That s all right. Everything is going to be all right.\"\nANCHOR. Hugh Pearson \"When Harlem Nearly Killed King The 1958 Stabbing of Dr Martin Luther King Jr\" Seven Stories Press 2002 ISBN 9781583222744.\nCURRICULUM. CHA3U. ENG4U Strand B and D. CLN4U Canadian and International Law for procedural-document framing. AP US History.\nHOOK. King thread. Maynard-Curry thread. Theresa-staff thread (Howard owned Showman s Jazz Club post-NYPD).\n\nP-SS0-04 Harlem Hospital Saturday 4-5 PM surgical-team protocol study.\nTRIGGER. Harlem Hospital Saturday 4-5 PM crossing-point. TM2.\nAGE-BAND. SENIOR / ADULT.\nDELIVERABLE. 1200 to 1800 word source-critical protocol study. Document the surgical team: Maynard as overseer; Cordice as lead thoracic surgeon; Naclerio as assist; Allen as deferred-commit possible member. Argue from documented 44-year credit-attribution displacement: Maynard credited until Cordice revelation after Maynard 1999 death. Engage Pearson 2002 emergent ghost.\nANCHOR. Hugh Pearson \"When Harlem Nearly Killed King\" Seven Stories Press 2002 ISBN 9781583222744. Aubre de Lambert Maynard MD \"Surgeons to the Poor The Harlem Hospital Story\" Appleton-Century-Crofts 1978. Society of Black Academic Surgeons Cordice obituary January 2014. Amsterdam News August 25 2022 retrospective.\nCURRICULUM. SBI4U Biology. HZT4U Philosophy ethics-of-attribution. HSC4M. CHA3U.\nHOOK. King thread. Maynard-Curry thread.\n\nP-SS0-05 Salem-Abyssinian Sunday 10 AM sermon-anchored project.\nTRIGGER. Salem-Abyssinian Sunday 10 AM crossing-point. TM3. The SS-0 template at this crossing-point IS Session 002 instantiation. See P002-* matrix.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nHOOK. Salem-Abyssinian thread.\n\nP-SS0-06 Hughes window any walk-past photo-poetry composition (claim-corrected post-audit).\nTRIGGER. Hughes window any walk-past crossing-point. Window-leg any.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 500 word photo-essay imagining Hughes at the third-floor study of 20 East 127th Street. Hughes lived with Toy and Emerson Harper at this address from 1947 until his death May 22 1967, per NYC Landmarks Preservation Commission designation report LP-1135 1981 and National Trust for Historic Preservation stewardship entry. Co-ownership claim removed pending primary-source deed verification.\nANCHOR. NYC Landmarks Designation Report LP-1135 1981. National Trust stewardship entry. Arnold Rampersad \"The Life of Langston Hughes Vol II 1941-1967\" on Hughes writing routine.\nCURRICULUM. ENG3U / ENG4U Strand B. AMU3M visual-arts. AVI3O.\nHOOK. Hughes thread.\n\nP-SS0-07 Theresa lobby Saturday morning concierge-log scene.\nTRIGGER. Theresa lobby Saturday morning crossing-point. TM2. Holiday possible secondary-NPC encounter.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 600 to 900 word lobby-log entry. Bookworm-as-junior-staff or as-lobby-observer. Period-faithful register. Holiday encounter conditional.\nANCHOR. Hotel Theresa documented Black-celebrity residency tradition.\nCURRICULUM. ENG3U / ENG4U Strand C. HSC4M.\nHOOK. Theresa-staff thread. Hughes thread.\n\nP-SS0-08 Monday morning newsstand pass period-newspaper article.\nTRIGGER. Monday morning newsstand pass crossing-point. TM4.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 400 to 700 word Amsterdam News Monday September 22 1958 lead-article composition. Period typography. Period reportorial conventions.\nANCHOR. Amsterdam-News-Monday-headline emergent ghost.\nCURRICULUM. ENG2D Strand D Media Studies. CHA3U source-criticism. IB Language A Part 2.\nHOOK. King thread. Salem-Abyssinian thread.\n\nP-SS0-09 Apollo-side-street Schiffman business-history brief.\nTRIGGER. The party routes past Apollo on any 125th Street pass any window-leg.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 800 to 1200 word business-history brief. Frank Schiffman 1934 acquisition with Leo Brecher. Documented hiring of Black and Latino performers per Americans for the Arts ARTS Blog 2019. Documented characterization by local residents as \"our theater\" per Robert Schiffman.\nANCHOR. Frank Schiffman Apollo Theatre Collection Smithsonian NMAH.AC.0540.\nCURRICULUM. BBB4M International Business. CHA3U. HSC4M.\nHOOK. Hughes-corpus emergent ghost. Theresa-staff thread.\n\nP-SS0-10 Althea Gibson Cosmopolitan Tennis Club autobiographical close reading.\nTRIGGER. The party passes 433 Convent Avenue (Cosmopolitan Tennis Club) any window-leg, or encounters Gibson at Theresa lobby.\nAGE-BAND. MID / SENIOR / ADULT. JUNIOR with scaffolding.\nDELIVERABLE. 600 to 1000 word close reading of one passage from Althea Gibson \"I Always Wanted to Be Somebody\" Harper and Brothers 1958. Must engage final-paragraph passage.\nANCHOR. Althea Gibson \"I Always Wanted to Be Somebody\" 1958. NMAAHC object 2011.158.3. Wimbledon and US Nationals titles 1957 and 1958.\nCURRICULUM. ENG3U Strand B. PPL3O Healthy Active Living. CHA3U.\nHOOK. Roger-peer thread via \"want to be somebody\". Theresa-staff thread.\n\nP-SS0-11 Miles Davis Newport-to-Kind-of-Blue listening composition.\nTRIGGER. The party encounters jazz radio at any crossing-point. Davis Sextet Newport July 3 1958.\nAGE-BAND. SENIOR / ADULT. MID with educator scaffolding.\nDELIVERABLE. 800 to 1200 word listening composition from one Davis Sextet 1958 recording. Argue formal qualities to modal-jazz turn toward Kind of Blue.\nANCHOR. \"Miles Davis at Newport 1958\" Columbia released 1964 from July 3 1958 set. \"Kind of Blue\" Columbia 1959.\nCURRICULUM. AMU3M / AMU4M. ENG4U Strand B. IB Music.\nHOOK. Hughes thread via shared Harlem-jazz cultural moment.\n\nP-SS0-12 Arna Bontemps letter-to-Hughes scene composition.\nTRIGGER. The party encounters Hughes correspondence at Schomburg or Hughes window.\nAGE-BAND. MID / SENIOR / ADULT.\nDELIVERABLE. 500 to 800 word period-faithful letter from Bontemps in Nashville to Hughes in Harlem September 1958.\nANCHOR. Charles H Nichols ed \"Arna Bontemps-Langston Hughes Letters 1925-1967\" Dodd Mead 1980. 2300 letters exchanged per Chicago Public Library Hughes Papers finding aid.\nCURRICULUM. ENG3U / ENG4U Strand C. IB Language A Part 4.\nHOOK. Hughes thread.\n\nP-SS0-13 1978 retroactive apology letter (cross-reference to P001-02).\n\nP-SS0-14 Race-gender-class scholarship integrative essay.\nTRIGGER. Any crossing-point at ADULT only. Window-leg-agnostic.\nAGE-BAND. ADULT only.\nDELIVERABLE. 1500 to 2500 word integrative essay. Student selects three NPCs from the twenty-three-NPC roster. Argue how their crossing-point intersections illuminate documented race-gender-class structure of 1958 Harlem. Must engage at least one canonical scholarly text plus at least one primary text from emergent-ghost set.\nANCHOR. Any three NPCs. Integrative-scholarship anchor.\nCURRICULUM. HZT4U. HSC4M. IB Theory of Knowledge. AP Seminar Capstone equivalent.\nHOOK. Any thread combination.\n\nP-SS0-15 Roger-walking-to-school Monday-morning peer encounter (new post-audit).\nTRIGGER. TM4 Monday morning. Bookworm-as-Roger or as-Roger-classmate walks toward PS 24 on East 128th. Passes the newsstand carrying the King-recovery headline.\nAGE-BAND. JUNIOR / MID / SENIOR / ADULT.\nDELIVERABLE. 500 to 800 word peer-dialogue composition. Roger and one classmate process the weekend, the King news, the events of Saturday night. Classmate does not know about the kitchenette. Roger keeps it secret. The secrecy is the deliverable load.\nANCHOR. Hughes canonical text Roger arc. Amsterdam-News-Monday-headline emergent ghost. PS 24 documented period elementary school.\nCURRICULUM. ENG1D / ENG2D Strand B and C. CGC1W. IB Language A Part 4.\nHOOK. Roger-peer thread. King thread via news. Roger thread.\n\n============================================================\nTHREAD ROUTING SUMMARY (post-tweak).\n============================================================\nRoger: P001-01, 02, 03, 10, 13. P-SS0-02, 15. Plus secondary in Session 002 via news-arc.\nMrs-Jones: P001-01, 04, 06, 11, 13. P-SS0-02. Plus secondary in Session 002 via Theresa-staff cross.\nKing: P002-03, 05, 06, 08, 09, 12, 13. P-SS0-03, 04, 08, 15.\nHughes: P001-05, 06. P002-07, 11, 14. P-SS0-06, 11, 12. Plus Hughes-corpus emergent ghost surfaces across.\nSalem-Abyssinian: P002-01, 02, 04, 10, 15. P-SS0-05, 08.\nMaynard-Curry: P002-06, 09, 12. P-SS0-03, 04.\nTheresa-staff: P001-04, 07. P-SS0-07, 09, 10.\nRoger-peer: P001-07, 10. P-SS0-10, 15.\nAll-threads parametric: P-SS0-01, 14.\n\n============================================================\nAGE-BAND DIFFERENTIATION SUMMARY (post-tweak).\n============================================================\nJUNIOR Session 001 cluster: P001-01, 06, 09, 10, 13, plus JUNIOR-scaffolded 05 and 08. Six options preserved post-audit.\nJUNIOR Session 002 cluster: P002-01, 04, 11, 14-scaffolded, 15. Five options.\nJUNIOR SS-0 cluster: P-SS0-01, 02, 05, 08, 10-scaffolded, 15. Six options.\nMID: JUNIOR options at higher complexity plus most MID-flagged; educator-trigger expands. Twenty-two-plus options across matrices.\nSENIOR: all forty-three options at full intensity except ADULT-only.\nADULT: all forty-three plus ADULT-only P001-12 Hegel, P-SS0-14 integrative scholarship, P002-13 retrospective. Plus race-gender-class scholarship layer.\n\n============================================================\nCROSSING-POINT ROUTING SUMMARY (post-tweak).\n============================================================\nEast 128th Saturday 11 PM TM2: P-SS0-02, P001-13.\nBlumstein s Saturday 3:20 PM TM2: P-SS0-03.\nHarlem Hospital Saturday 4-5 PM TM2 / Sunday-flashback TM3: P002-06, 09, 12. P-SS0-04.\nSalem-Abyssinian Sunday 10 AM TM3: all Session 002 plus P-SS0-05.\nHughes window any walk-past: P001-05, 09. P-SS0-06.\nTheresa lobby Saturday morning TM2: P-SS0-07, 10, plus Session 001 corridor-drift P001-07 at TM2-night.\nMonday morning newsstand pass TM4: P-SS0-08, 15.\n\n============================================================\nPEDAGOGICAL DISCERNMENT NOTES.\n============================================================\nKing-stabbing event-detail is the central pedagogical-risk vector. JUNIOR restricted from stabbing-event-detail and surgical-procedure-detail. MID educator-trigger. SENIOR full intensity. ADULT unmuted plus race-gender-class scholarship.\nHoliday narcotics-and-targeting content. JUNIOR restricted entirely. MID with educator pre-discussion. SENIOR / ADULT full.\nHegel master-slave seminar. ADULT only. Risk of trivialization below seminar level.\nPowell-Rustin 1960 episode. Retrospective frame required. SENIOR with educator pre-discussion. ADULT preferred.\nMahalia at Abyssinian September 21 1958 IS NOT documented. Reanchored to documented radio surface. Substrate enforces no-fabrication compliance.\nBunche at Hospital Sunday morning IS NOT documented. Documented visit was TM2 Saturday afternoon. Sunday-routing reroutes to Coretta plus surgical-team-on-rounds.\nSchomburg branch closed Sundays and closed by 11 PM Saturday. Hutson encounter routes only TM1 Friday afternoon or TM2 Saturday morning, OR sidewalk-encounter on Sunday-errand.\n\nORIGIN. cmp-001 project-opportunity catalog. 2026-05-16. Substrate-design research deliverable (wf-dde3fdf2) plus audit-tweak pass. Per Saul Nassau ruling on cmp-001 pregame arena multi-deliverable architecture.", "x": "Substrate canonical for the cmp-001 multi-deliverable architecture. Forty-three projects total across Session 001 (13), Session 002 (15), SS-0 parametric (15). Audit-tweaked per the 2026-05-16 pass.", "cc_links": [ "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-ss-0", "cc-cmp001-ghost-exegesis-applications", "cc-cmp001-project-trigger-conditions", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-npc-mrs-jones", "cc-cmp001-npc-roger", "cc-cmp001-npc-hughes", "cc-cmp001-npc-king", "cc-cmp001-npc-powell", "cc-cmp001-npc-curry", "cc-cmp001-npc-maynard", "cc-cmp001-npc-hedgeman", "cc-cmp001-npc-randolph", "cc-cmp001-npc-mahalia-jackson", "cc-cmp001-npc-miles-davis", "cc-cmp001-npc-billie-holiday", "cc-cmp001-npc-althea-gibson", "cc-cmp001-npc-bunche", "cc-cmp001-npc-cordice", "cc-cmp001-npc-naclerio", "cc-cmp001-npc-farrow-allen", "cc-cmp001-npc-schiffman", "cc-cmp001-npc-hutson", "cc-cmp001-npc-decarava", "cc-cmp001-npc-bontemps", "cc-cmp001-npc-coretta-scott-king", "cc-cmp001-npc-officer-howard" ], "bb_links": [ "dm-010", "dm-011", "dm-012", "ses-001", "ses-005" ], "tg": "cc, cmp-001, project-catalog, pedagogy, multi-deliverable, age-band-variable, 43-projects, audit-tweaked, may-2026-16-origin" }, { "id": "cc-cmp001-project-trigger-conditions", "s": "campaign", "r": "cmp-001-pedagogy", "t": "cmp-001 project-opportunity trigger-condition logic (codifies the choice-to-project mapping)", "b": "Codifies which party choices or NPC encounters during play activate which project-opportunity options from cc-cmp001-runcard-001 cc-cmp001-runcard-002 and cc-cmp001-ss-0. Substrate for AI-engine session-runtime branching.\n\nTHREE TRIGGER CATEGORIES.\n\nPRIMARY-NPC-PRESENT triggers. The named NPC is at the crossing-point by canonical placement. Project always available. Mrs Jones in Session 001. Powell in Session 002.\n\nSECONDARY-NPC-CONDITIONAL triggers. The named NPC may appear depending on party routing. Project surfaces only if routing reaches the NPC documented location at the documented window-leg. Holiday at Theresa lobby late TM2. Bunche at Hospital TM2 Saturday afternoon. Coretta at Hospital across TM2-TM4. Hutson at Schomburg TM1 Friday afternoon or TM2 Saturday morning (branch closed Sundays). Mahalia via documented radio surface (Newport 1958 recording) not via undocumented in-person Abyssinian appearance.\n\nCROSSING-POINT triggers. The party routes to a specific crossing-point and any project anchored at that crossing-point becomes eligible. Seven crossing-points per cc-cmp001-narrative-architecture.\n\nVENUE-OPEN constraints. Schomburg 135th Street branch closed Sundays 1958, closed by 11 PM Saturday. Apollo active 11 PM Saturday for shows. Abyssinian Sunday morning service. Theresa lobby open 24 hours. Hospital open 24 hours but visitation rules apply.\n\nWINDOW-LEG-IMPOSSIBLE triggers. Projects whose anchor event has not yet occurred at the chosen window-leg cannot fire. King-stabbing-news cannot fire in TM1 Friday (stabbing is TM2 Saturday afternoon). Bunche Saturday-afternoon-Hospital cannot fire on TM3 Sunday morning (documented visit was TM2).\n\nINTERACTION-DEPENDENT BRANCH LIST. Per Session 001 four beats and Session 002 three beats and SS-0 crossing-point selection. Full branch trees live in the respective session entries.\n\nPEDAGOGICAL DISCERNMENT. AI engine surfaces eligible projects to DM at session-runtime. DM filters by age band per cc-cmp001-age-band-restriction-matrix. DM assigns up to one or two projects per party per session by default. Multi-project assignment permits cross-thread synthesis at SENIOR-ADULT.\n\nCROSS-REFERENCES. cc-cmp001-runcard-001-other-roomer-encounter. cc-cmp001-runcard-002-abyssinian-sunday. cc-cmp001-ss-0. cc-cmp001-age-band-restriction-matrix. cc-cmp001-curriculum-strand-crosswalk. cc-cmp001-narrative-architecture. cc-cmp001-window. bb* dm-010 tier calibration. bb* dm-011 burrow ritual.\n\nORIGIN 2026-05-16. Authored to codify trigger logic surfaced by the project-opportunity matrix research deliverable plus the audit-tweak set." }, { "id": "cc-cmp001-age-band-restriction-matrix", "s": "campaign", "r": "cmp-001-pedagogy", "t": "cmp-001 age-band restriction matrix (substrate-level enforcement of tier ruling across 43 projects)", "b": "Substrate-level enforcement of the 2026-05-16 age-band tier ruling across the project-opportunity matrices in cc-cmp001-runcard-001 cc-cmp001-runcard-002 cc-cmp001-ss-0. Total of forty-three project options across three matrices after audit tweaks (thirteen Session 001 plus fifteen Session 002 plus fifteen SS-0).\n\nFOUR AGE BANDS.\n\nJUNIOR (9 to 12, Grade 7 cmp-001 mode). Eligible for seventeen projects: P001-01 01 03-modified 05-scaffolded 06 09 10 11-modified 13. P002-01 04 11 14-scaffolded 15. P-SS0-01 02 05 08 10-scaffolded 15. JUNIOR-restricted entirely: P001-07 (Holiday narcotics content), P001-12 (Hegel ADULT-only), P-SS0-03 (Blumstein stabbing event), P-SS0-04 (surgical procedure detail), P-SS0-14 (ADULT scholarship).\n\nMID (13 to 16, ENG2D ENG3U entry). Eligible for all JUNIOR options at higher complexity plus all MID-flagged. MID-with-educator-trigger: P001-04 (wage-labor research), P001-07 (Holiday bracketed), P002-02 (sermon close reading), P002-05 (news-processing argument), P-SS0-03 (Blumstein with explicit teacher pre-discussion), P-SS0-11 (Miles Davis scaffolded).\n\nSENIOR (17 to 18, ENG3U-strong ENG4U HZT4U IB Lang Lit). Eligible for all MID options at full intensity plus all SENIOR-flagged. Adds P001-04 P001-07 P-SS0-03 P-SS0-04 at full intensity. ADULT-restricted only at SENIOR with explicit educator pre-discussion: P002-13 (Powell-Rustin 1960 retrospective frame), P-SS0-04 Maynard intra-Black-collegial-hostility passage.\n\nADULT (18+ Leizu tutees). Eligible for all options unmuted plus ADULT-only. ADULT-only: P001-12 (Hegel master-slave seminar), P-SS0-14 (race-gender-class integrative essay), P002-13 (Powell-Rustin retrospective at full intensity).\n\nCONTENT-RISK SCALE per dm-010.\nTier-1 ambient. All four bands.\nTier-2 with educator-trigger. MID educator-discretion, SENIOR-ADULT default.\nTier-3 full historical intensity. SENIOR-ADULT only.\nTier-4 scholarly-frame-required. ADULT only or SENIOR with explicit scholarly framing.\n\nENFORCEMENT. AI engine at session-runtime filters the eligible-project list per Bookworm age band before surfacing to DM. DM retains discretion to escalate or de-escalate one band per documented educator judgment. No project is forced on a Bookworm in the party below its age-band floor.\n\nCROSS-REFERENCES. cc-cmp001-project-trigger-conditions. cc-cmp001-curriculum-strand-crosswalk. cc-cmp001-runcard-001-other-roomer-encounter. cc-cmp001-runcard-002-abyssinian-sunday. cc-cmp001-ss-0. cc-cmp001-ghost-exegesis-applications (age-band ghost-scene eligibility). bb* dm-010 tier calibration.\n\nORIGIN 2026-05-16. Authored to operationalize the age-band tier ruling across the forty-three-project matrix." }, { "id": "cc-cmp001-curriculum-strand-crosswalk", "s": "campaign", "r": "cmp-001-pedagogy", "t": "cmp-001 curriculum-strand crosswalk (Ontario OSSD plus IB plus AP across 43 project options)", "b": "Codifies curriculum-strand mappings across the forty-three project options in cc-cmp001-runcard-001 cc-cmp001-runcard-002 cc-cmp001-ss-0. Substrate per the 2026-05-16 cohort-agnostic discipline ruling. Structural-substrate only; per-cohort specific-expectation field-population is teacher-side.\n\nONTARIO OSSD ENGLISH.\nENG1D / ENG2D Strand B Reading and Literature Studies. Strongest cluster. Twenty-plus projects.\nENG1D / ENG2D Strand C Writing. Eighteen-plus projects.\nENG2D / ENG3U / ENG4U Strand D Media Studies. Six projects (P001-11, P002-15, P-SS0-08, P-SS0-15 ENG2D-level).\nENG3U / ENG4U Strand B. Sixteen-plus projects.\nENG3U / ENG4U Strand C. Twelve-plus projects.\n\nONTARIO OSSD HISTORY AND SOCIAL SCIENCES.\nCHA3U American History (twentieth-century). Sixteen projects.\nCHY4U World History since 1900. Two projects (P002-09 Bunche, P-SS0-14 race-gender-class).\nCHV2O Civics. Three projects (P002-05, P002-08, P002-12).\nCGC1W Geography. Three projects (P001-09, P002-10, P-SS0-15).\nHSC4M World Cultures. Nine projects.\nHSP3M / HSP3U Anthropology Psychology Sociology. One project (P002-14).\nHZT4U Philosophy. Four projects (P001-12 Hegel ADULT-only, P-SS0-04 ethics, P-SS0-14, P002-11 Hutson epistemology).\n\nONTARIO OSSD ARTS.\nAMU3M / AMU4M Music. Five projects (P001-03 Blue-Suede-Shoes, P001-07 Holiday, P002-04 Mahalia, P-SS0-11 Miles Davis, P-SS0-06 Hughes-photo audio-companion).\nAVI3O / AVI4M Visual Arts. Two projects (P001-05 DeCarava ekphrastic, P-SS0-06 photo-poetry).\n\nONTARIO OSSD OTHER.\nPPL3O / PPZ3O Healthy Active Living. One project (P-SS0-10 Althea Gibson).\nSBI3U / SBI4U Biology. One project (P-SS0-04 surgical anatomy).\nHHS4U Families in Canada. One project (P002-06 Coretta).\nBBB4M International Business. One project (P-SS0-09 Schiffman).\nCLN4U Canadian and International Law. One project (P-SS0-03 procedural-document framing).\nCIA4U / CIE4U Economics. One project (P002-09 Bunche).\nCPW4U Politics. Three projects (P002-08, P002-09, P-SS0-14).\n\nIB DIPLOMA PROGRAMME.\nLanguage A Lang and Lit Part 1 (Readers Writers and Texts). Two projects.\nLanguage A Lang and Lit Part 2 (Language and Mass Communication). Three projects (P002-02, P-SS0-08, P001-05 SENIOR-extension).\nLanguage A Lang and Lit Part 3 (Literature texts and contexts). Five projects (P001-06, P002-07 Hughes-King intertext, P-SS0-02, P001-10).\nLanguage A Lang and Lit Part 4 (literary genres). Seven projects.\nTheory of Knowledge. Three projects (P001-08-migrated, P002-11 Hutson, P-SS0-14).\nMusic individual investigation. Three projects.\nHistory Paper 3 Americas civil-rights option. Five projects (P001-04, P002-03, P002-08, P002-13, P-SS0-04 partial).\nGeography urban environments. Two projects.\n\nADVANCED PLACEMENT.\nAP English Language and Composition. Three projects (P001-03, P002-02 sermon-rhetoric, P-SS0-08).\nAP English Literature. Three projects (P001-06, P002-07, P-SS0-12 Bontemps).\nAP US History. Six projects (P-SS0-03 documented event, P002-05, P-SS0-04 medical-history, others).\nAP Music Theory. Three projects.\nAP Seminar Capstone. Two projects (P-SS0-14, P002-11 Hutson knowledge-practice).\nAP Comparative Government. One project (P002-09 Bunche UN).\nAP Studio Art. One project (P001-05 DeCarava).\nAP Art History. One project (P-SS0-06 Hughes-house photo-poetry).\n\nNOT-YET-MAPPED STRANDS. Identified during audit but absent from current matrix. NBE3U Indigenous Voices substitution-option (per cc-eng1d through cc-eng4u substrate). HHG4M Gender Studies (race-gender-class projects can route here). Future expansion at substrate-commit-cycle-2.\n\nCROSS-REFERENCES. cc-cmp001-project-trigger-conditions. cc-cmp001-age-band-restriction-matrix. cc-cmp001-runcard-001-other-roomer-encounter. cc-cmp001-runcard-002-abyssinian-sunday. cc-cmp001-ss-0. mc-cohort-agnostic-discipline (the architectural ruling this entry implements). mc* e7 Grade 7. mc* e1 ENG3U. cit-022 Ontario Grades 11-12 English 2007. cit-013 Ontario K-8 Language 2023. cit-005 Growing Success.\n\nORIGIN 2026-05-16. Authored per project-opportunity matrix deliverable Recommendations. Structural-substrate. Per-cohort specific-expectation alignment is teacher-side per the 2026-05-16 cohort-agnostic discipline ruling.\\n\\nC6 RESEARCH ADDENDUM (Jun 24 2026). Bidirectional module-to-campaign verification pass produced the following actionable findings.\\n\\n(1) FLAGSHIP ANCHOR. HSC4M C2.2 is the single strongest verbatim Ontario curriculum match for the entire cmp-001 campaign. The expectation names Harlem explicitly: analyse the impact of demographic and economic changes in Harlem in the early twentieth century on forms of cultural expression. Teacher prompt asks how the particular social and economic conditions of the African-American community in Harlem in the 1920s and 1930s contributed to the music and poetry created within this community. Verified verbatim from the HSC4M curriculum PDF. No other expectation in the catalog names the campaign setting this directly.\\n\\n(2) STRAND-LETTERING CONVENTION. The 2007 Ontario English document numbers its four strands rather than lettering them. The A/B/C/D labels used throughout this crosswalk (A = Oral Communication, B = Reading and Literature Studies, C = Writing, D = Media Studies) are a widespread teacher convention, not verbatim ministry citation. Document this when publishing the crosswalk for external use.\\n\\n(3) AGE-BAND GAP. Junior-eligible projects cluster around comprehension and narrative writing (RL.x.1 to .3; W.x.3) and miss the senior-only argumentative writing (W.x.1; AP Lang), research expectations (W.x.7/.8; HSC4M A1-A4; IB EE), and historical-argumentation expectations (AP USH; RH.11-12.8). Stage 3 recommendation: add Junior-band argument and mini-research scaffolds.\\n\\n(4) WEAK TAGS. SBI4U (Biology) has no organic fit to the 1958 Harlem literary campaign; its three cc* references are aspirational. BBB4M (International Business) maps to exactly one project (P-SS0-09 Schiffman). Both should be retained only if a genuine module is authored; otherwise remove rather than imply false alignment.\\n\\n(5) CCSS EQUIVALENTS. The C6 pass provides Common Core ELA mappings (RL.x for Reading Literature, W.x for Writing, SL.x for Speaking and Listening, RH.x for Reading in History/Social Studies) across Grades 7-12. These are not yet installed in this crosswalk entry; they live in the C6 research document and should be field-populated when the crosswalk expands to US-facing publication.\\n\\n(6) AP FRAMEWORK SKILLS. AP English Language (RHS, CLE, REO, STL), AP English Literature (CHR, SET, STR, NAR, FIG, LAN), AP USH (six reasoning skills plus DBQ), AP Seminar QUEST framework are all mapped in the C6 document. Not yet installed here.\\n\\n(7) IB SYLLABUS UPDATE. The IB Language A Parts 1-4 referenced in the crosswalk correspond to the pre-2019 syllabus. Current syllabus (first exams 2021) uses three Areas of Exploration: Readers Writers and Texts; Time and Space; Intertextuality. The IB Music Individual Investigation belongs to the older syllabus; current has Exploring Music in Context, Experimenting with Music, Presenting Music. Update when the crosswalk goes to publication." }, { "id": "cc-cmp001-sp-anchor-text", "cc_links": [ "cc-cmp001-overview", "cc-cmp001-canon", "cc-cmp001-narrative-architecture", "cc-cmp001-window", "cc-cmp001-engine-brief", "cc-cmp001-vs-mrs-jones", "cc-cmp001-vs-roger", "cc-cmp001-emergence-point", "cc-cmp001-scene-set-pack", "cc-cmp001-encounter-block" ], "bb_links": [], "s": "campaign", "r": "dm", "t": "cmp-001 SP anchor-text aggregator (T115k slot 1 mapping for cmp-001 Thank You M’am)", "b": "AGGREGATOR. Per T115k cc* session-prep architecture slot 1 (anchor-text), this entry collects the cc-cmp001-* substrate that grounds the DM in the Hughes 1958 source-text. CORE PASSAGES AND STRUCTURE. cc-cmp001-overview (campaign overview). cc-cmp001-canon (canonical source-text status). cc-cmp001-narrative-architecture (the structural shape of the Hughes story as polymythdnd substrate). cc-cmp001-window (the textually-grounded bookworm-presence affordance: ’other roomers laughing and talking in the large house. Some of their doors were open, too’ permits a bookworm-present-in-the-text without text-distortion). cc-cmp001-engine-brief (mechanical engine overview). VOICE SAMPLES. cc-cmp001-vs-mrs-jones (Mrs Jones voice 2258 characters; the sabachtan instance at line 87 ’I have done things, too, which I would not tell you, son, neither tell God if he didn’t already know’ anchored here). cc-cmp001-vs-roger (Roger voice samples). PIVOT-SCENE. cc-cmp001-emergence-point (declared at the kitchenette per cc-cmp001-emergence-point body — the empathy-pivot scene where Roger could leave but does not, where Mrs Jones could call police but does not). cc-cmp001-scene-set-pack (scene-by-scene pack). cc-cmp001-encounter-block (encounter-structure overview). CROSS-REFERENCES. T115k cc* session-prep architecture entry. T115k cc* first-dimensions directive. cc-cmp001-overview cc-cmp001-canon cc-cmp001-narrative-architecture as the structural anchors for the DM consulting cc* before opening a Thank You M’am session.", "x": "AGGREGATOR for T115k slot 1 anchor-text. Pulls together the 10 cc-cmp001-* entries that ground the DM in the Hughes 1958 source-text including overview, canon, narrative-architecture, window, engine-brief, voice-samples, emergence-point, scene-pack, encounter-block. Editorial-arrangement under ORGANIZE-MINE T115o May 23 2026.", "tg": "campaign, cc-cmp001-sp-anchor-text, t115k-slot-1, aggregator, editorial-arrangement, organize-mine, ten-entries-mapped, may-2026-23, t115o-cl-execution" }, { "id": "cc-cmp001-sp-age-adjustment", "cc_links": [ "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-fnmi-pairing" ], "bb_links": [], "s": "campaign", "r": "dm", "t": "cmp-001 SP age-adjustment-guidance aggregator (T115k slot 2 mapping for cmp-001)", "b": "AGGREGATOR. Per T115k cc* session-prep architecture slot 2 (age-adjustment-guidance) and per T115k all-ages-adjustable rule, this entry collects the cc-cmp001-* substrate that scaffolds the DM’s age-input-adjustment work for a Thank You M’am session. EXISTING SUBSTRATE. cc-cmp001-age-band-restriction-matrix (the per-age-band content-restriction structure for the cmp-001 campaign). cc-cmp001-fnmi-pairing (the Wagamese-primary Robertson-secondary FNMI text-creator pairing for C1.7 satisfaction, which has age-appropriate implementations). PENDING SAUL-AUTHORSHIP. The age-band-restriction-matrix existed before T115k all-ages-adjustable rule. Saul-authorship is needed to bring the matrix into alignment with the T115k operational protocol (DM gets ages at session-start then adjusts dimension/content). The aggregator notes this as follow-up CL. CROSS-REFERENCES. T115k all-ages-adjustable rule. T115k cc* session-prep architecture. cc-cmp001-age-band-restriction-matrix (the existing substrate to align with T115k).", "x": "AGGREGATOR for T115k slot 2 age-adjustment-guidance. Existing cc-cmp001-age-band-restriction-matrix substrate exists but predates T115k all-ages-adjustable rule and needs Saul-alignment work. Editorial-arrangement T115o.", "tg": "campaign, cc-cmp001-sp-age-adjustment, t115k-slot-2, aggregator, age-band-restriction-matrix-exists, saul-alignment-to-t115k-pending, may-2026-23, t115o-cl-execution" }, { "id": "cc-cmp001-sp-magic-paradigm", "cc_links": [ "cc-cmp001-realism", "cc-cmp001-canon", "cc-cmp001-historical-overlay-disclaimer" ], "bb_links": [], "s": "campaign", "r": "dm", "t": "cmp-001 SP magic-paradigm-foregrounded aggregator (T115k slot 3 mapping for cmp-001)", "b": "AGGREGATOR. Per T115k cc* session-prep architecture slot 3 (magic-paradigm-foregrounded), this entry collects the cc-cmp001-* substrate that informs the magic-paradigm decision for the Hughes 1958 Harlem realist setting. EXISTING SUBSTRATE. cc-cmp001-realism (the general realism-layers approach for cmp-001). cc-cmp001-realism-* (16 specific realism-domain entries: cultural, medical, political, institutional, spatial, linguistic, economic, social, religious, domestic, legal, recreational, technological, environmental, educational). cc-cmp001-canon (Hughes 1958 realist short-story status). cc-cmp001-historical-overlay-disclaimer (the realism-mode-not-fantasy framing). IMPLIED PARADIGM. The realism-layers approach implies NO-MAGIC paradigm-foregrounding for cmp-001. Hughes 1958 is realist not magical-realist nor fantasy. PENDING SAUL-AUTHORSHIP. Per T115k cc* session-prep architecture and Section 5 magic-coexistence in polymythdnd ruleset, an explicit paradigm-foregrounding decision is still needed. Saul to confirm NO-MAGIC as the foregrounded paradigm, or select an alternative (e.g., consensus-reality if the cmp-001 design wants to handle the kitchenette-empathy-pivot as a consensus-reality moment). CROSS-REFERENCES. T115k cc* session-prep architecture. Polymythdnd ruleset Section 5 magic-coexistence. cc-cmp001-realism series. cc-cmp001-historical-overlay-disclaimer.", "x": "AGGREGATOR for T115k slot 3 magic-paradigm-foregrounded. cc-cmp001-realism series plus historical-overlay-disclaimer imply NO-MAGIC paradigm. Saul-confirmation needed. Editorial-arrangement T115o.", "tg": "campaign, cc-cmp001-sp-magic-paradigm, t115k-slot-3, aggregator, no-magic-paradigm-implied, realism-layers-anchor, saul-confirmation-pending, may-2026-23, t115o-cl-execution" }, { "id": "cc-cmp001-sp-rule-shift", "cc_links": [ "cc-cmp001-realism", "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-engine-brief" ], "bb_links": [], "s": "campaign", "r": "dm", "t": "cmp-001 SP rule-shift-intensity aggregator (T115k slot 4 mapping for cmp-001)", "b": "AGGREGATOR. Per T115k cc* session-prep architecture slot 4 (rule-shift-intensity) and per T114t Architecture 7 rule-shift spectrum (light/middle/hard), this entry collects the cc-cmp001-* substrate that informs the rule-shift-intensity decision for cmp-001. IMPLIED INTENSITY. cc-cmp001-realism (16 realism-domains operationalized across the campaign) plus cc-cmp001-historical-overlay-disclaimer (historical-1958-Harlem specificity) plus cc-cmp001-engine-brief (the mechanical engine) together imply MIDDLE-TO-HARD rule-shift. The historical-1958-Harlem-realist setting requires substantial mechanical specificity (period-language, period-objects, period-social-rules, period-economic-realities) that bookworms must navigate; this pushes beyond LIGHT-SHIFT. The setting remains earth-realist not fantasy; that pulls back from HARD-SHIFT extreme. PENDING SAUL-AUTHORSHIP. Saul-confirmation needed between MIDDLE-SHIFT (default-fantasy-mechanics with substantial historical-realism overlay) versus HARD-SHIFT (entirely period-specific mechanics with historical-overlay as primary substrate). CROSS-REFERENCES. T114t Architecture 7 rule-shift spectrum. T115k cc* session-prep architecture. cc-cmp001-realism series. cc-cmp001-historical-overlay-disclaimer. cc-cmp001-engine-brief.", "x": "AGGREGATOR for T115k slot 4 rule-shift-intensity. cc-cmp001-realism (16 domains) plus historical-overlay-disclaimer plus engine-brief imply MIDDLE-TO-HARD shift. Saul-confirmation pending. Editorial-arrangement T115o.", "tg": "campaign, cc-cmp001-sp-rule-shift, t115k-slot-4, aggregator, middle-to-hard-shift-implied, 16-realism-domains-anchor, historical-overlay-anchor, saul-confirmation-pending, may-2026-23, t115o-cl-execution" }, { "id": "cc-cmp001-sp-expected-skills", "cc_links": [ "cc-cmp001-rubric", "cc-cmp001-rubric-essay", "cc-cmp001-triangulation-rubric", "cc-cmp001-curriculum-anchor-map", "cc-cmp001-curriculum-strand-crosswalk", "cc-cmp001-homework", "cc-cmp001-emergence-point" ], "bb_links": [], "s": "campaign", "r": "dm", "t": "cmp-001 SP expected-skills aggregator (T115k slot 5 mapping for cmp-001)", "b": "AGGREGATOR. Per T115k cc* session-prep architecture slot 5 (expected-skills) and per T115g mc-and-badges-unified-workstream, this entry collects the cc-cmp001-* substrate that names which skills bookworms can demonstrate in a Thank You M’am session. PRIMARY SKILL ALREADY ANCHORED. Empathy at GOLD-tier (per T114v badges canonical-examples: the Roger-to-Mrs-Washington apology letter is the empathy-gold demonstration context). Empathy-pivot scene anchored at cc-cmp001-emergence-point. RUBRIC SUBSTRATE. cc-cmp001-rubric (general rubric overview). cc-cmp001-rubric-essay (essay rubric). cc-cmp001-rubric-* series (11 rubric entries total covering different skill-demonstrations). cc-cmp001-triangulation-rubric (triangulating across evidence-types). CURRICULUM MAPPING. cc-cmp001-curriculum-anchor-map (curriculum-standard anchor-points). cc-cmp001-curriculum-strand-crosswalk (cross-curriculum-strand mapping). cc-cmp001-homework (the post-session homework that maps to badge-demonstrations including the apology-letter assignment). CANDIDATE SECONDARY SKILLS. Per T115g mc-and-badges-unified-workstream and the existing rubric substrate, candidate secondary skills include argument (Mrs Jones argument-with-Roger), observation (period-detail noticing), courage (Roger staying after first chance to leave), eloquence (the letter-writing). Saul-authorship needed for secondary-skill selection and badge-tier criteria. CROSS-REFERENCES. T114v badges canonical-examples. T115g mc-and-badges-unified-workstream. T115k cc* session-prep architecture. cc-cmp001-rubric series. cc-cmp001-curriculum-* series.", "x": "AGGREGATOR for T115k slot 5 expected-skills. Empathy-gold primary anchored per T114v. 11 rubric entries plus 2 curriculum-mapping entries plus homework provide skill-demonstration substrate. Candidate secondary skills surfaced. Editorial-arrangement T115o.", "tg": "campaign, cc-cmp001-sp-expected-skills, t115k-slot-5, aggregator, empathy-gold-primary-anchored, 11-rubric-entries, 2-curriculum-mapping-entries, candidate-secondaries-surfaced, may-2026-23, t115o-cl-execution" }, { "id": "cc-cmp001-sp-character-types", "cc_links": [ "cc-cmp001-runcard-001-other-roomer-encounter", "cc-cmp001-runcard-002-abyssinian-sunday", "cc-cmp001-template-npc", "cc-cmp001-window", "cc-cmp001-class-strata", "cc-cmp001-authors-world-reframe" ], "bb_links": [], "s": "campaign", "r": "dm", "t": "cmp-001 SP suggested-character-types aggregator (T115k slot 6 mapping for cmp-001)", "b": "AGGREGATOR. Per T115k cc* session-prep architecture slot 6 (suggested-character-types) and per T114t Architecture 3 character-smash, this entry collects the cc-cmp001-* substrate that names which bookworm-character-types fit the 1958 Harlem setting. ENTRY VECTORS ALREADY DESIGNED. cc-cmp001-runcard-001-other-roomer-encounter (the other-roomer entry-vector: bookworm lives in Mrs Jones’s boarding house, overhears the dragging plus half-nelson plus kitchen-sounds through their open door; dimensional-integrity strongest because text already places them there). cc-cmp001-runcard-002-abyssinian-sunday (the Abyssinian-Sunday entry-vector: bookworm attends the Abyssinian Baptist Church Sunday-service). ENTRY VECTORS PENDING. Per past-chat May 10 2026, a third entry-vector was discussed (Roger-shadow); not yet built as runcard. CHARACTER-SMASH FIT. Per A3 character-smash, bookworms construct character from concept-archetypes. For cmp-001 Harlem-1958 setting, candidate archetypes: OTHER-ROOMER (boarding-house tenant); SUNDAY-WORSHIPPER (Abyssinian attendee); WORKING-ADULT (period-occupation: domestic-worker, transit-worker, hospital-worker, hotel-worker); SCHOOL-CHILD (Roger-age peer); CULTURAL-CHANNEL (per cc-cmp001-authors-world-reframe, a bookworm with cultural-aware lens). cc-cmp001-class-strata informs character-economic-positioning. TEMPLATE. cc-cmp001-template-npc provides the structural template for character-construction. Saul-authorship needed for canonical character-type catalog beyond the two existing runcards. CROSS-REFERENCES. T114t Architecture 3 character-smash. T115k cc* session-prep architecture. cc-cmp001-runcard-* entries. cc-cmp001-template-npc. cc-cmp001-class-strata.", "x": "AGGREGATOR for T115k slot 6 suggested-character-types. Two runcards built (other-roomer, Abyssinian-Sunday); third (Roger-shadow) pending. Character-smash candidates surfaced. cc-cmp001-template-npc provides template. Editorial-arrangement T115o.", "tg": "campaign, cc-cmp001-sp-character-types, t115k-slot-6, aggregator, two-runcards-built, third-entry-vector-pending, character-smash-candidates-surfaced, template-npc-anchor, may-2026-23, t115o-cl-execution" }, { "id": "cc-cmp001-sp-content-warnings", "cc_links": [ "cc-cmp001-historical-overlay-disclaimer", "cc-cmp001-age-band-restriction-matrix", "cc-cmp001-king-stabbing", "cc-cmp001-news-context", "cc-cmp001-emergence-point" ], "bb_links": [], "s": "campaign", "r": "dm", "t": "cmp-001 SP content-warnings aggregator (T115k slot 7 mapping for cmp-001)", "b": "AGGREGATOR. Per T115k cc* session-prep architecture slot 7 (content-warnings) and per T115k all-ages-adjustable rule, this entry collects the cc-cmp001-* substrate that informs DM pre-framing of content for a Thank You M’am session. EXISTING SUBSTRATE. cc-cmp001-historical-overlay-disclaimer (the framing-disclaimer for historical-1958-Harlem-content). cc-cmp001-age-band-restriction-matrix (per-age-band content-restrictions). CONTENT-WARNING ANCHORS. (1) PHYSICAL-RESTRAINT: Mrs Jones grabs Roger and applies a half-nelson; this physical-restraint depiction may resonate with participants who have experienced restraint or assault. (2) PURSE-SNATCH ATTEMPT: the opening action is an attempted theft involving physical-aggression toward an older woman by a child. (3) PERIOD-CONTEXT VIOLENCE: cc-cmp001-king-stabbing references the September 20 1958 stabbing of Martin Luther King Jr. at Blumstein’s by Izola Curry, a contemporaneous Harlem-violence event happening in-period; cc-cmp001-news-context surfaces additional period-news. (4) ECONOMIC-PRECARITY: poverty as substrate; Mrs Jones’s working-poor household conditions; Roger’s apparent unfamiliarity with home-cooked-food and basic-hygiene afford patterns that may parallel real participant-experiences. (5) PERIOD-RACIAL-CONTEXT: 1958 segregation-era Harlem substrate operates throughout. PENDING SAUL-AUTHORSHIP. Saul to select specific pre-framing-language per the all-ages-adjustable protocol. CROSS-REFERENCES. T115k all-ages-adjustable rule. T115k cc* session-prep architecture. cc-cmp001-historical-overlay-disclaimer. cc-cmp001-age-band-restriction-matrix. cc-cmp001-king-stabbing. cc-cmp001-news-context. cc-cmp001-emergence-point (the pivot-scene the DM pre-frames into).", "x": "AGGREGATOR for T115k slot 7 content-warnings. Five content-warning anchors surfaced (physical-restraint, purse-snatch, period-violence, economic-precarity, period-racial-context). Existing historical-overlay-disclaimer and age-band-restriction-matrix substrate. Editorial-arrangement T115o.", "tg": "campaign, cc-cmp001-sp-content-warnings, t115k-slot-7, aggregator, five-content-warning-anchors, physical-restraint-flagged, period-violence-flagged, economic-precarity-flagged, may-2026-23, t115o-cl-execution" }, { "id": "cc-cmp001-quest-wiring", "s": "campaign", "r": "reference", "t": "cmp-001 quest wiring: in-game motivation, narrative justification, and rewards for all 43 projects (mediator ruling, filed 2026-06-11)", "b": "Quest wiring for all forty-three cc-cmp001 projects, authored June 11 2026 on the mediator's ruling that every assignment must be an optional quest with in-game motivation, narrative justification, and a reward. THE FRAME. Every project is offered through the fiction, never in the teacher's voice: a place, an object, or a person makes the offer, and the player may always walk past it. Quality adjudicates outcome per con-001 and dm-009: strong work and the world answers, weak work and the offer sours, mixed work and the reward arrives dented. RHYTHM (mediator ruling June 11 2026): the campaign flows, and out of the flow arrives either an IN-GAME QUEST, something the characters must do inside the fiction during play, or an ASSIGNMENT, written work done between sessions whose result comes back and affects the story at the next session; the offer and its cliffhanger land in-session, the written payoff lands when the work returns. COLLISION (same ruling): when several players take the same quest, the narrative itself justifies what happens, six arguments reach the vestry and the story braids them, because in-game narrative justification governs every case and no parallel-worlds mechanic is needed. CONSEQUENCE HETEROGENEITY (same ruling): every quest carries its own kind of consequence, some pay a code for the unlock page, some a specific object, some a boost, some a handicap, whatever the fiction calls for, with boosts and handicaps running as contextual modifiers per dm-021, and weak work per con-001 always earns a real narrated in-game consequence, from the world simply withholding to an active handicap, never a lecture and never a do-over mechanic. THE DIEGETIC GATE (mediator ruling June 11 2026, the editor-accepts principle): when player writing enters the world as a real object, the fiction's own judge decides what gets in, the editor publishes one column out of six submitted, the vestry reads one argument aloud, the peer circle scores the 1978 letters, the door opens for the true one, so all the players write, all receive their academic grade per con-001's double result, and the world itself selects which artifact becomes world-text, with the unselected work still earning its smaller in-fiction answer, the editor's scribbled note, the deacon's nod, because the selection is the story's honest judgment and that judgment is the intrinsic motivation: next time, write the one the editor cannot refuse. NON-SUBMISSION CONSEQUENCE (mediator ruling June 11 2026, the Kingdom Come model): a quest not done is not a quest paused, the world moves without you, the editor's deadline passes and a worse column runs and the story bears it, the vestry decides without your argument and the service goes the way it goes, the door marked 1978 closes when the campaign closes, NPCs remember who did not come through, and standing falls where the fiction says it should, so the consequence of not doing the work is never a lecture and never zero, it is the world visibly getting on with its life without your mark on it. OFFERS-FROM-PLAY (same ruling): quests are never announced as a menu and never broadcast, every offer surfaces only when in-game decisions and explorations actually reach it, the kid who walks past the Apollo gets the Apollo's offer and the kid who never leaves the church never hears of it, so offer density regulates itself through play and the world rewards the explorers with more doors. THE FUSION PRINCIPLE (same ruling): doing-quests and writing-assignments are not two species but one loop, the in-game action lands the characters where only writing can move the world, the writing happens between sessions, and the next session opens with the world judging and the outcome playing, so the action motivates the assignment and the assignment resolves the action, with no divide between playing and working anywhere a player can see. CONSEQUENCE CURRENCIES, positive and negative, drawn only from existing mechanics: STORY-SHIFT (an NPC or place visibly changes), UNLOCK (a code for the Found Papers page, or a location, NPC, or thread opening), ITEM (a tangible in-fiction object, rainbow-item candidate at book exit per char-005), STANDING (reputation per dm-027, which can fall as well as rise), MARK (XP-as-evidence per dm-031 weighted per dm-076), BOOST and HANDICAP (contextual modifiers per dm-021), and BADGE (per dm-075, bound to higher-order thinking, the unlocks page's empathy badge being the live example). The five table-loop principles in this frame are re-homed canonically at bb* dm-090; this wiring holds the cmp-001 dress. Table-spoken quest offers follow the table's register per dm-086. GROUNDING CLAUSE (ouroboros fix, same day). cmp-001 is realist and no-magic, so every offer where a place or object seems to speak, the room, the streetlight, the stoop copy, the window light, the radio's extra song, the place that remembers, fires through the canonical Rainbowbower Interiority Firing mechanism and the burrow layer, never as world-magic; the world stays 1958-real while the bookworm's rainbow perception does the listening. SEALED-CANON CLAUSE (ouroboros fix, same day). Mrs Jones and Roger are locked to their text-actions per the sealed-encounter model and real-historical figures to their documented record, so no reward alters what they canonically do or what history holds: relationship rewards live in the play-space the sealed actions leave open, world-change rewards live at the dream-draft layer of the Author's World frame or in the burrow, and nothing the players write enters a real institution or record. SCHEMA PER PROJECT: WHY (the in-fiction reason), REWARD (success), COST (weak work). PLAN-MAX (Saul ruling June 11 2026, per dm-091): everything pre-writable is pre-written, so every project below now carries a JUDGE-LINE naming who in the fiction judges the work and how the verdict plays, and all ten Found Papers codes are connected, each code item a key to later quests per the FORWARD-LINK rule: a code reward is never a dead trophy, it opens the next door. Improvisation covers only what no plan can foresee. DUAL-ROUTE (ouroboros fix June 11 2026): every code is also findable by raw exploration at its real place in the world, so a band-locked quest never strands a code beyond a junior table's reach. SUPERLATIVES READ PER-BRAID: where a reward says the one player or nobody else, the collision braid distributes it, the fiction deciding how trust and telling spread across six children. THE HUGHES SPINE HAS PARALLEL DOORS: the photo-book page, the window poem, the sermon trace, and Hutson's introduction are four entrances and any single one opens the author's-world thread, none is required. CHAINS ARE ROADS, NEVER RAILS: under the emergent mission the threads wait to be walked and an unwalked thread keeps existing without penalty. OPENINGS-VARY per dm-091: the approved opening is a template, its hooks rotate between tables. LANDING RULING June 11 2026: the campaign opens AFTER the story per cc-cmp001-landing-after, and every quest with a pre-canonical or during-canonical trigger routes through dm-012 ghost-extraction from the after-timeline. CLOSED: the personal-tree plant was ruled out as eisegesis; card-quests stay the player's own dream unless the player's play carries them somewhere true. AGE BANDS are not repeated here and defer entirely to cc-cmp001-project-catalog and the age-band restriction matrix, so band-locked quests simply never surface at a junior table. TERMINOLOGY: the catalog says party where this wiring says player or character; same referent, no drift intended.\n\nP001-01 ROOM-AS-WITNESS.\nJUDGE-LINE. The room itself, through the interiority firing: at the next session's opening the testimony is read back, and a room truly heard yields the purse secret, paying Found Papers code 11525, the inventory of a purse, which keys the Mrs Jones thread onward.\nWHY. The kitchenette saw the whole night before any player arrived, and a room that gets listened to will talk; its objects practically hum at whoever sits still long enough.\nREWARD. The room gives up one hidden detail nobody else gets, a found paper or object that opens a new thread, paying the existing Found Papers code 11525, the inventory of a purse.\nCOST. The room stays furniture.\nP001-02 1978 APOLOGY LETTER.\nJUDGE-LINE. The peer circle per canon, scoring voice, truth, restraint, and form, with the door marked 1978 obeying their verdict; the empathy badge and the crossing modifier key the next campaign the table plays.\nWHY. The story ends on an unfinished sentence: Roger wanted to say more than thank you and the door shut before he could. After the campaign's closing session, per the canonical cc-cmp001-homework frame, each player writes the letter Roger never got to write, 1978, twenty years on, and in the burrow a door marked 1978 waits for it.\nREWARD. Per canon the letter is read in the peer circle and scored on voice, truth, restraint, and form, and a letter true enough opens the door: its score crosses back as a boost on something the table plays next, the letter itself becomes a carried item, and per the unlocks page the empathy badge is earned, quality deciding it.\nCOST. A hollow letter earns its in-game consequence: it comes back unanswered, the door stays shut, the silence goes on the stakes ledger, and the modifier that crosses is a handicap instead.\nP001-03 BLUE SUEDE SHOES.\nJUDGE-LINE. Roger himself, hearing his want said back to him at the next session, paying Found Papers code 56156, the blue suede shoes card, which keys every later Roger-thread quest.\nWHY. Roger's want for those shoes is the engine of the entire night; the shoe-store window on 125th offers the riddle: say what the shoes really mean.\nREWARD. Roger trusts the one player who understood the want; his thread opens deeper.\nCOST. Roger stays a stranger.\nP001-04 BEAUTY-SHOP LABOR.\nJUDGE-LINE. Mrs Jones, in how she receives the character afterward: the one who understood her day gets the warmer door, and the standing keys the deeper kitchenette quests.\nWHY. Mrs Jones walks home near midnight and nobody at the table knows what her day costs; the shop offers a daytime visit to whoever wants to know why her purse held everything but a wallet.\nREWARD. Standing with Mrs Jones inside the play-space her sealed actions leave open; the kitchenette scenes deepen.\nCOST. She remains the door that shut.\nP001-05 DECARAVA PHOTO-TEXT.\nJUDGE-LINE. The burrow's stamp on the written page at next session, paying Found Papers code 31255, the Sweet Flypaper photograph, which keys the Hughes-window quest.\nWHY. In the lit parlor window of 20 East 127th, the Harpers' house, a copy of The Sweet Flypaper of Life lies open, and through the rainbow perception of the interiority firing it reads as a book with one page missing; write the page that belongs and the burrow stamps it true.\nREWARD. Entry into the Hughes thread, the spine of the whole campaign, paying the existing Found Papers code 31255, the Sweet Flypaper photograph.\nCOST. The page falls out.\nP001-06 MOTHER TO SON.\nJUDGE-LINE. The echo itself: the crystal-stair phrase either rings true when spoken at the Hughes door later or it does not, so the judging plays out exactly where the key gets used.\nWHY. Mrs Jones says life has been hard, and her words echo a poem the man on 127th wrote about a stair; trace the echo and prove she speaks in the voice the author gave all his mothers.\nREWARD. The crystal-stair line, heard spoken, becomes a key phrase that later opens the Hughes door.\nCOST. The echo goes unheard.\nP001-07 HOLIDAY JOURNAL (senior/adult only).\nJUDGE-LINE. Holiday, who speaks one sentence to a true listener and none to a tourist, judged in the lobby at the return beat.\nWHY. A voice on the Theresa lobby radio sounds like a wound that learned to sing; follow it, she may be in residence, and she speaks one sentence to whoever truly listened.\nREWARD. One sentence from Holiday, and standing in the lobby.\nCOST. The lobby empties.\nP001-08 SCHOMBURG METHOD.\nJUDGE-LINE. Hutson at her desk, reading the methodology paper next session: the back room opens or the front desk smiles and stays a desk, and the back room keys the archive quests.\nWHY. Hutson saw the character Friday and held an item back: come back when you can prove you know how to handle a source.\nREWARD. Hutson opens the back room; archive access, which later quests need.\nCOST. Front desk only.\nP001-09 GEOGRAPHY MAP.\nJUDGE-LINE. The streets themselves on the map's first use: a true map guides and a false one strands, paying Found Papers code 14128, a map of Harlem, which keys every place-anchored quest after it.\nWHY. A newcomer is blind on these streets; map the great institutions to stop being a stranger, and the hand-drawn map becomes a real carried item.\nREWARD. The map item reveals the crossing-points: the player can now see where the world's doors are.\nCOST. Lost on 125th, and the lost time costs.\nP001-10 ROGER COUNTER-TEXT.\nJUDGE-LINE. Roger, who recognizes himself in a true telling and flatly denies a false one, judged when the telling reaches him.\nWHY. Roger will not say what that night was like inside his chest; the only way to know is to be him for ten minutes, run-run-run and all, written so true he would recognize himself.\nREWARD. Roger's friendship, and his version of events, which nobody else will ever hear.\nCOST. Roger denies everything.\nP001-11 NEWSPAPER COLUMN.\nJUDGE-LINE. The Amsterdam News stringer and his editor, who run one contributed column out of all submitted, paying Found Papers code 15158, the Amsterdam News page, which keys the Monday-lead quest.\nWHY. The kitchenette has no newspaper in it, and the Amsterdam News stringer on the corner is one column short for Monday; he offers the byline to whoever can file by deadline.\nREWARD. The stringer runs the column with a contributed credit: a printed clipping item, a name getting known, and the newspaper chain of quests opens.\nCOST. The column gets spiked.\nP001-12 HEGEL PAPER (senior/adult only).\nJUDGE-LINE. The burrow's high shelf, which opens for a paper that truly explains the night and stays high for one that recites the book.\nWHY. Something happened in that kitchenette that flipped who held power without a single blow, a move philosophers spent two centuries naming; the burrow's high shelf holds the book that names it.\nREWARD. The high shelf opens: advanced texts become reachable dimensions, and the mark carries weight.\nCOST. The shelf stays high.\nP001-13 STREETLIGHT SOLILOQUY.\nJUDGE-LINE. Mrs Jones herself in every scene after: a soliloquy that got her right plays as foresight, one that got her wrong plays as presumption.\nWHY. Before Roger ever ran at her, Mrs Jones stood alone under the streetlight, and the light offers her thoughts to anyone patient enough to stand exactly where she stood.\nREWARD. Knowing her before the encounter: an advantage in every Mrs Jones scene after.\nCOST. The streetlight is just a light.\nP002-01 SUNDAY JOURNAL.\nJUDGE-LINE. The congregation, who greet a true congregant by name next Sunday and nod politely at a visitor, paying Found Papers code 13821, the Abyssinian church bulletin, which keys the Sunday-thread quests.\nWHY. Everyone in the pews carries the same question after Saturday; write your own answer to stop being a tourist among them.\nREWARD. Congregant standing: the church becomes a home location and people greet the character by name.\nCOST. A visitor's pew.\nP002-02 POWELL CLOSE READING.\nJUDGE-LINE. Powell, who notices the one listener who took his sermon apart and grants or withholds his attention accordingly.\nWHY. Powell speaks and the room moves like weather; learn the levers of that voice and no voice will ever move you unnoticed again, and Powell notices the one listener taking his sermon apart.\nREWARD. Powell's attention: access to the most connected man in Harlem.\nCOST. The rhetoric washes over.\nP002-03 STRIDE REVIEW.\nJUDGE-LINE. The readers it circulates among: named characters respond to a true review in later sessions and a hollow one travels nowhere.\nWHY. The book King was signing when the blade came out lies on the table; review it the way Harlem needs it reviewed and the book circulates with your note inside it.\nREWARD. The review travels: named characters respond to it in later sessions, and the book is a carried item.\nCOST. The book closes.\nP002-04 MAHALIA JOURNAL.\nJUDGE-LINE. The radio through the firing: the extra song plays for the listener who heard the grief, and ends the broadcast for the one who heard only music.\nWHY. Her voice on the radio holds the whole day's grief without breaking; sit with it honestly and the radio plays one more song, only for those who heard the first ones.\nREWARD. The extra song: a once-usable calm that steadies any scene.\nCOST. The broadcast ends.\nP002-05 SERVICE ARGUMENT.\nJUDGE-LINE. The deacons in the vestry before the second hymn, who read one argument aloud and set the rest gently aside.\nWHY. In the vestry the deacons argue whether the service should proceed, change, or yield to the news, and they need one written argument before the second hymn; yours can be the one read aloud.\nREWARD. The argument is read aloud in the vestry and the debate visibly bends around it at the dream-draft layer; the documented service stays canon.\nCOST. Argued over and set aside.\nP002-06 CORETTA LETTER.\nJUDGE-LINE. The firing's completion: understanding either holds at the hospital doors or the doors stay doors, paying Found Papers code 12558, the hospital intake card, which keys the hospital-thread quests.\nWHY. At the hospital sits a woman the whole country will know, holding what no newspaper can print; through the interiority firing at her chair, compose the letter she might have written to the friend she needed that day, and compose it true.\nREWARD. The firing completes: the player understands what she carried before any newspaper says it, and the hospital's doors open to them for the rest of the window.\nCOST. A stranger in a corridor.\nP002-07 I DREAM A WORLD.\nJUDGE-LINE. The trail itself: a proven tracing leads to the typewriter on 127th and an unproven one circles back to the pews.\nWHY. Powell's cadence carries another man's poetry; trace whose, prove it on paper, and the trail leads straight to a typewriter on 127th Street.\nREWARD. A direct introduction toward Hughes, the campaign's spine.\nCOST. The cadence stays a mystery.\nP002-08 ORGANIZING BRIEF.\nJUDGE-LINE. Hedgeman and Randolph, who give a workable brief a seat in the organizing room and a vague one a polite thank-you.\nWHY. The congregation wants to march and nobody has a plan on paper; Hedgeman and Randolph need a draft brief by Tuesday.\nREWARD. A seat in the organizing room and a thread that runs to the real October march.\nCOST. A spectator on the steps.\nP002-09 BUNCHE RELEASE.\nJUDGE-LINE. The press aide, who issues the credential for a release in the right voice and quietly rewrites the wrong one.\nWHY. The UN man's hospital visit must be told in exactly the right words or it becomes the wrong headline; the press aide hands over the blank release.\nREWARD. A press credential item that opens doors through Sunday and Monday.\nCOST. Someone else rewrites it.\nP002-10 TWO CHURCHES.\nJUDGE-LINE. Both congregations' doors on the following Sunday, which remember who mapped them truly.\nWHY. Two great churches share these blocks and the character keeps mistaking their crowds; walk and map both to learn which doors open to whom on a Sunday.\nREWARD. Welcome at both doors: two home locations instead of one.\nCOST. One pew only.\nP002-11 CURATORIAL PROPOSAL.\nJUDGE-LINE. Hutson, who files a worthy proposal as the weekend's study record and returns an unworthy one with her fierce-eyed note.\nWHY. Hutson asks the archive's question aloud: what must the Schomburg save from this weekend before it vanishes forever; propose it well and she acts on it.\nREWARD. Hutson endorses the proposal and files it as the weekend's study record, a visible act inside the fiction's open space, plus archive standing.\nCOST. The weekend goes unsaved.\nP002-12 STEPS DEBATE.\nJUDGE-LINE. The crowd on the steps, which gathers behind the brief that holds and drifts from the one that shouts.\nWHY. After the sermon the church steps split into two crowds and both want a champion; the written brief decides which crowd carries the day.\nREWARD. The steps follow your side; reputation with that crowd.\nCOST. Shouted past.\nP002-13 POWELL-KING NOTE (senior/adult only).\nJUDGE-LINE. The burrow's stamp, which seals a grounded prediction and refuses a guess, paying out when prediction meets record.\nWHY. Someone on the steps says those two men will shape the next ten years; write the future-historian's note and seal it, because the burrow stamps true predictions.\nREWARD. A sealed-prediction item that pays out at the burrow level when the prediction meets the historical record.\nCOST. Just talk.\nP002-14 HUTSON ORAL HISTORY.\nJUDGE-LINE. Hutson and the archive's own standard: a worthy transcript is accessioned and earns the introduction, an unworthy one stays a chat.\nWHY. Hutson mentions she knows the poet on 127th personally; as junior archivist you may record her, if the transcript is worthy of the archive.\nREWARD. The transcript enters the archive, and Hutson personally introduces you to Hughes.\nCOST. The recorder stays off.\nP002-15 SUNDAY FRONT PAGE.\nJUDGE-LINE. The church board and the congregation reading it: a true page gets posted and talked about, a sloppy one comes down by the second service.\nWHY. The vestibule rack is empty and the congregation is starving for news it can trust; build the front page they needed this morning.\nREWARD. The page goes up on the church board and the whole congregation reads your words; the newspaper chain continues.\nCOST. The rack stays empty.\nP-SS0-01 CROSSING EKPHRASTIC.\nJUDGE-LINE. The place itself through the firing, which turns friendly to a true listener and anonymous to a hasty one.\nWHY. Every crossing-point hums with what it has seen; let the place speak through you and the place remembers you.\nREWARD. The place turns friendly: the character can return to it easily ever after.\nCOST. An anonymous corner.\nP-SS0-02 OUTSIDE THE WINDOW.\nJUDGE-LINE. The night's record: a recreation that matches what the curtain really allowed becomes the second witness, one that invents gets nothing the room will confirm.\nWHY. A stranger passed the kitchenette window at 11 PM and saw shapes through the curtain; fix what was seen from outside and the night gains a second witness.\nREWARD. The outside view of the canonical scene: knowledge nobody inside has.\nCOST. The curtain stays drawn.\nP-SS0-03 BLUMSTEINS DEPOSITION.\nJUDGE-LINE. Officer Howard, who enters a sworn account that holds and dismisses one that wobbles under two questions.\nWHY. Officer Howard needs every mezzanine witness on paper before midnight, and a sworn account that holds becomes part of the record.\nREWARD. The deposition is taken seriously and earns police standing plus the trial thread; the documented record stays the documented record.\nCOST. The account is dismissed.\nP-SS0-04 SURGICAL PROTOCOL.\nJUDGE-LINE. Maynard and Cordice, whose acknowledgment opens the hospital to a study that got the waiting right; this quest pays no code of its own because the hospital thread's key, the intake card, already travels with P002-06.\nWHY. The hospital will be second-guessed for decades; write the study that shows why the team waited and how the waiting saved him.\nREWARD. Acknowledgment from the surgeons, hospital access, and the famous sneeze fact carried as story currency.\nCOST. Corridor rumor.\nP-SS0-05 SUNDAY CROSSING.\nJUDGE-LINE. Per the P002 matrix above.\nWHY. This crossing IS Session 002; wiring lives in the P002 lines above.\nREWARD. Per P002 matrix.\nCOST. Per P002 matrix.\nP-SS0-06 HUGHES WINDOW.\nJUDGE-LINE. The window light, which answers a true composition and goes out on an ornamental one, paying Found Papers code 20127, the Hughes drafting page, which keys the author's-world spine.\nWHY. A third-floor light burns late and a typewriter is audible from the sidewalk; compose what the window holds and the light answers.\nREWARD. The window opens a crack: entry to the Hughes thread.\nCOST. The light goes out.\nP-SS0-07 THERESA LOG.\nJUDGE-LINE. The desk captain reviewing the shift's log, who makes a true logkeeper lobby-insider, paying Found Papers code 91958, the Theresa meeting handbill, which keys the Theresa-thread quests.\nWHY. The Theresa's morning desk is short-staffed; keep the lobby log true for one shift and the lobby keeps no secrets from its logkeeper.\nREWARD. Lobby insider: the character hears of every famous guest who passes through.\nCOST. The shift ends unnoticed.\nP-SS0-08 MONDAY LEAD.\nJUDGE-LINE. The Monday editor at dawn, who runs one contributed lead, and the newsstand crowd who read it by eight.\nWHY. Monday's lead story is unwritten while all of Harlem holds its breath over King's recovery; file it by dawn.\nREWARD. The Monday piece runs with a contributed credit: a front-page clipping item and standing; the newspaper chain crowns here.\nCOST. Stop-press without you.\nP-SS0-09 APOLLO BRIEF.\nJUDGE-LINE. The side door and the man who owns it: a brief that knows the house's history gets remembered on show nights, paying Found Papers code 25358, the Apollo Theater bill, which keys the Apollo-night quests.\nWHY. The Apollo's side door stands open and its history explains who gets on that stage; write the brief and the door remembers you on show nights.\nREWARD. Side-door access on show nights: Apollo scenes open.\nCOST. Front of the line like everybody else.\nP-SS0-10 GIBSON READING.\nJUDGE-LINE. Gibson herself, who answers one true question from a reader who did the work and signs autographs for everyone else.\nWHY. The champion of the year grew up on these very courts; read the hardest paragraph of her book honestly and earn the right to ask her one question if your paths cross.\nREWARD. One true answer from Althea Gibson.\nCOST. An autograph only.\nP-SS0-11 MILES LISTENING.\nJUDGE-LINE. The music as it arrives: the listener who heard where it was going recognizes it first, and the table sees them do it.\nWHY. The jazz on the radio is changing shape in mid-1958 and almost nobody can say how; say how, and the music starts arriving early for you.\nREWARD. Foresight: the character hears where the music is going before the world does, a real period-knowledge edge.\nCOST. Just the radio.\nP-SS0-12 BONTEMPS LETTER.\nJUDGE-LINE. Hutson against the real letters: a worthy companion piece gets filed and marked, an unworthy one goes home.\nWHY. At the Schomburg lies one side of a thirty-year correspondence; write the missing letter so true it could be filed among the real ones.\nREWARD. Hutson files it as a clearly marked companion piece beside the real letters, and the mail route into the Hughes thread opens.\nCOST. Returned to sender.\nP-SS0-13 APOLOGY LETTER.\nJUDGE-LINE. Per P001-02, the peer circle and the door.\nWHY. Pointer: same quest as P001-02, the door marked 1978, governed by the canonical cc-cmp001-homework frame.\nREWARD. Per P001-02.\nCOST. Per P001-02.\nP-SS0-14 INTEGRATIVE ESSAY (adult only).\nJUDGE-LINE. The burrow, which reveals the crossing map only to an essay that genuinely saw the lattice.\nWHY. The whole weekend is a lattice of crossings that nobody inside it can see; the one who maps three lives across it earns the overview itself.\nREWARD. The campaign's own crossing map revealed: the strongest reward in the game.\nCOST. The lattice stays invisible.\nP-SS0-15 ROGER ON MONDAY.\nJUDGE-LINE. Roger on the walk itself: a true walk earns the friendship or the peace, a false one earns his silence to the school door.\nWHY. Monday morning Roger walks to school carrying Saturday in his chest, and somebody walks beside him; write that walk true.\nREWARD. Branches by seat: played as the classmate, Roger's friendship is sealed and his thread's ending opens; played as Roger himself, the secret settles where it can stop hurting him, and the thread's ending opens from inside.\nCOST. He walks alone.", "x": "Companion to cc-cmp001-project-catalog (schema source) and cc-cmp001-project-trigger-conditions (when offers fire). Consequence engine: con-001 plus dm-009. Currencies: dm-027, dm-031, dm-076, char-005, Found Papers unlock page.", "tg": "cmp-001, quest-wiring, in-game-motivation, narrative-justification, rewards, optional-quests, two-speed-motivation, 2026-06-11" }, { "id": "cc-cmp001-landing-after", "s": "campaign", "r": "reference", "t": "cmp-001 LANDING RULING: the campaign opens AFTER the story (mediator ruling 2026-06-11, supersedes the before-landing template)", "b": "Mediator ruling June 11 2026, closing the before-versus-after debate: everything moves to after, because the kids have already read the story and reading is real seeing, so the genuinely new content, the days the author never wrote, all lives on the far side of the encounter. THE DEFAULT LANDING (mediator ruling, same day, superseding the night placement). The party lands SUNDAY MORNING, September 21 1958, around nine o'clock, on the stoop and hallway of the boarding house on East 128th, with the whole of the campaign's richest day open in front of them. The story happened last night, close enough to be warm, private enough that the world shows no trace of it, and only the kids, who read it, know what that hallway held. THE HOOKS, SUNDAY-MORNING SET. One, the radios still say the preacher's name and the newspaper racks are empty, because print cannot catch the radio until Monday, so the city is chewing the stabbing with nothing to chew on. Two, the fifth door at the end of their own hall, the room where last night happened, and at some hour of the morning the large woman in her Sunday best comes out of it and walks toward the bells. Three, church bells calling from two directions at once, two great congregations a few blocks apart, and which bells to follow is the table's first live choice. THE NIGHT BEAT, PRESERVED AS PILGRIMAGE. The one image morning cannot show live, Roger walking away in the dark with ten dollars and the unsaid sentence in his face, becomes the campaign's first ghost-replay offering, the bower carrying any kid who asks backward into that minute and home again with no time passed. GHOST-REPLAY ROUTING. Every quest whose trigger sits before or during the canonical scene, the streetlight soliloquy, the outside-the-window view, the live witnessing itself, now routes through the ghost-extraction mechanic of dm-012: the rainbowbower carries the kids backward into the canonical moment as ghosts and returns them to the after-timeline with no time elapsed, so nothing in the catalog is lost, the pre-story material becomes reachable memory instead of lived approach. THE WITNESSING, ON DEMAND. A table that wants to see the famous scene asks for it and the bower shows it, which means the encounter is no longer the opening's gate, it is the campaign's first earnable pilgrimage.", "x": "Supersedes the before-landing street template of June 11 2026 (test render, ratified then overturned same day by this ruling). The pregame runbook's kitchenette scene is reclassified as a ghost-replay module.", "tg": "cmp-001, landing, after-story, ghost-replay, inverted-hooks, openings-vary, mediator-ruling, 2026-06-11" }, { "id": "cc-cmp001-npc-minor-judges", "s": "campaign", "r": "cmp-001-npc", "t": "cmp-001 NPC trio: the minor judges (fictional, DM-voiced). The stringer, the desk captain, the vestry.", "b": "Three fictional minor characters who judge player work, built June 11 2026 on the mediator's word so the table never improvises a judge cold. All three are FICTIONAL, invented for the campaign, period-plausible, and carry no historical claims. ONE, LONNIE PEARCE, the Amsterdam News corner stringer, judge of the newspaper quests. Mid-forties, hat pushed back, pencil behind the ear, works the 125th Street corner with a folding stool he never sits on. He judges standing up and fast: reads a submission once, circles the single sentence worth keeping, and hands the rest back with the line, that is a church word, give me a street word. He runs exactly one contributed column per edition because that is all the space the desk gives him, and a kid whose column runs becomes, in his mouth, my stringer, which opens the Monday-lead door. TWO, MR. DADE, desk captain of the Hotel Theresa, judge of the lobby log. Immaculate suit, voice that never rises above the lobby's hum, twenty years on the desk and proud the hotel is called the Waldorf of Harlem. He judges a shift log by one test: would it survive the manager's Monday read, meaning discretion first, every name spelled right, and nothing on paper the lobby would not say out loud. A worthy logkeeper gets the staff-corridor nod, which makes a kid lobby-insider. THREE, THE VESTRY, three voices and one verdict, judges of the service argument. Deacon Olds, the oldest, wants scripture in the argument and trusts nothing without it. Deacon Carver, the practical one, wants an order of service that can actually be executed by ten o'clock. Deaconess Pruitt, who breaks every tie, reads the chosen argument aloud and watches the room while she does it. An argument wins by answering all three concerns, and the winning page is read before the second hymn per the quest wiring.", "x": "Fictional minors, built per plan-max so the judge roles carry texture before game day. Judge functions defined in cc-cmp001-quest-wiring; this entry adds faces and manner only.", "tg": "cmp-001, npc, minor-judges, fictional, stringer, theresa-desk, vestry, 2026-06-11" }, { "id": "cc-cmp001-npc-supporting-figures", "s": "campaign", "r": "cmp-001-npc", "t": "cmp-001 supporting historical figures, documented-facts-only dossier: the Harper household and Leo Brecher.", "b": "Two supporting historical presences referenced by quest anchors but previously un-dossiered, filed June 11 2026 under the no-fabrication discipline: everything below is documented, and the DM extrapolates manner only, never biography. THE HARPER HOUSEHOLD. Toy Harper and Emerson Harper, the couple with whom Langston Hughes lived at 20 East 127th Street from 1947 until his death in 1967, per the NYC Landmarks designation report LP-1135. In play they are the keepers of the brownstone's door: any kid working the Hughes window quests meets the household before the third floor, and the door opens by warmth, not by credentials. Documented frame only; their voices are DM-extrapolated and flagged as such at the table when asked. LEO BRECHER. Frank Schiffman's documented partner in the 1934 Apollo acquisition per the Smithsonian Schiffman collection. The offstage half of the house: money and leases, rarely seen on 125th Street itself. In play he exists mostly as a name on papers a kid doing the Apollo business-history brief keeps finding, and meeting him in person is rare-tier, a back-office scene the side door can grant. RULE CARRIED FORWARD. Any further historical figure who surfaces in play gets this same treatment before being voiced: documented facts gathered first, manner extrapolated second, fabrication never.", "x": "Closes the un-dossiered-figures gap for cmp-001. Main cast of twenty-three documented NPCs unchanged.", "tg": "cmp-001, npc, supporting-figures, harper-household, brecher, no-fabrication, 2026-06-11" }, { "id": "cc-cmp001-npc-toy-harper", "s": "npc-toy-harper", "r": "cmp-001", "t": "cmp-001 NPC Toy Harper (real-historical, full dossier T3)", "b": "1. NAME. Ethel “Toy” Harper (née Dudley Brown, per some sources). Known universally as Toy. Hughes called her his “aunt” though they were not blood relatives.\n\n2. AGE. UNCHECKED. Approximate age in September 1958 estimated mid-60s based on her long association with Hughes’s mother Carrie from the 1920s. Resolution path: Rampersad Vol 1 and Vol 2 for biographical detail; US Census records for birth year.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Hughes’s honorary aunt, co-owner of 20 East 127th Street, and the domestic anchor of his Harlem life from 1947 to 1967. Her role in the campaign is as gatekeeper of the Hughes house: any player visiting the brownstone meets Toy before they reach the top-floor workroom.\n\n4. LOCATION-AT-EACH-NAMED-TIMESTAMP. 20 East 127th Street. Toy is home-based. She manages the household, screens Hughes’s visitors (especially during his daytime sleep after late-night writing sessions), and cooks.\nFriday 6 PM TM1: home, 20 East 127th, lower floors.\nSaturday 9 AM TM2: home.\nSaturday 3 PM TM2: home. King stabbing news reaches the house via radio or visitor within an hour.\nSaturday 11 PM TM2: home. Hughes is upstairs working.\nSunday 9 AM TM3: home or at church (specific church affiliation UNCHECKED; DM improvises).\nSunday 3 PM TM3: home.\nMonday 7 AM TM4: home.\n\n5. FAMILY AND HOUSEHOLD. Married to Emerson Harper (see cc-cmp001-npc-emerson-harper). The couple owned 20 East 127th Street and lived on the lower floors while Hughes occupied the top floor as his workroom and bedroom. Toy was connected to Hughes’s mother Carrie; the relationship predates Hughes’s arrival in the house. Hughes used royalties from the 1947 Broadway opera Street Scene (Kurt Weill, Elmer Rice, Hughes as lyricist) to help fund the brownstone purchase. UNCHECKED: exact purchase date and deed details. Resolution path: Rampersad Vol 2 chapters covering 1947 to 1948; NYC property records.\n\n6. WORK OR OCCUPATION. Household manager of the 20 East 127th brownstone. Toy had a background in show business and dressmaking or fashion (UNCHECKED which; resolution path: Rampersad Vol 1 for early biography). By 1958 she was primarily the homemaker and household anchor. She cooked for Hughes, managed the stream of visitors, and maintained the domestic stability that made his prolific 1958 output possible.\n\n7. VOICE REGISTER. Warm, talkative, house-proud. The matriarch of the brownstone. Would address a young visitor as “baby” or “child.” Would talk about Lang (her name for Hughes), the house, the neighborhood, cooking, and the parade of famous and not-famous people who came through the door. The voice of a woman who has been keeping house for a genius for a decade and treats it as ordinary.\n\n8. PHYSICAL DESCRIPTION. UNCHECKED. Few published photographs of Toy Harper circulate. Narrate as an older Black woman (mid-60s), settled, respectable, house-proud in appearance. Apron likely if at home. The DM fills physical specifics from their own judgment. Resolution path: Rampersad for any physical descriptions; Schomburg holdings for possible photographs.\n\n9. PEDAGOGICAL PURPOSE. Toy teaches that genius has infrastructure. Hughes’s extraordinary 1958 output (four books, a weekly column, a recording, active correspondence) happened because someone cooked his meals, screened his callers, and kept the house running. Toy is the invisible labor that makes visible art possible. For the game she is also the warmth at the door: she decides whether a stranger gets upstairs.\n\n10. TIER. T3 secondary-conditional per dm-010. Surfaces automatically when any bookworm visits 20 East 127th Street.\n\n11. NPC-PATH-TRIGGER CONDITIONS. (a) Any bookworm who visits 20 East 127th knocks on the door. Toy answers. (b) Dragon 8 (Find the Hughes house) routes through Toy first. (c) Ghost-firing-6 (Hughes typewriter) requires getting past Toy to reach the top floor. (d) Any Hughes-house-window quest opens with Toy.\n\n12. RELATIONSHIPS. Langston Hughes (honorary nephew; she is his surrogate mother in Harlem). Emerson Harper (husband). Hughes’s mother Carrie (the original connection). Carl Van Vechten (she would know him as “Carlo” the way Hughes did, from decades of visits). The stream of writers, musicians, publishers, and students who came to 20 East 127th.\n\n13. IMAGE-ASSET REFERENCE. UNCHECKED: no cc-cmp001-im-toy-harper entry. Few photographs circulate. Resolution path: Rampersad; Schomburg; Beinecke Hughes Papers.\n\n14. THREE SIGNATURE DIALOGUE EXEMPLARS (period-extrapolated; Toy’s voice is DM-extrapolated per cc-cmp001-npc-supporting-figures ruling).\n(a) At the door: “Lang is sleeping. He was up until four. Come back after supper or sit in the parlor and I will make you coffee. Do not go upstairs.”\n(b) In the kitchen: “I have been feeding that man since he moved in. Collard greens, cornbread, and coffee. He would forget to eat if I did not put the plate in front of him.”\n(c) On the King news: “Lord have mercy. We heard it on the radio. Lang went quiet. He has been upstairs since. I am praying for Dr King and I am praying for that poor woman who did it because she is sick in her mind.”\n\n15. PRIMARY CITATIONS. Arnold Rampersad The Life of Langston Hughes Vol 1 1902-1941 I Too Sing America Oxford UP 1986 ISBN 978-0195146424 and Vol 2 1941-1967 I Dream a World Oxford UP 1988 ISBN 978-0195145441 (primary source for the Harpers throughout). NYC Landmarks Preservation Commission designation report LP-1135 Marjorie Pearson August 11 1981 at s-media.nyc.gov/agencies/lpc/lp/1135.pdf. National Trust for Historic Preservation Langston Hughes House stewardship entry.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-emerson-harper. cc-cmp001-npc-hughes. cc-cmp001-oi-hughes-workroom. cc-cmp001-hughes-house. cc-cmp001-npc-schedule (N13). cc-cmp001-npc-supporting-figures (superseded for Toy by this entry). cc-cmp001-sg-graph.\n\nORIGIN. June 24 2026 B1 research. New entry, full 15-field dossier. Supersedes the Toy Harper portion of cc-cmp001-npc-supporting-figures.", "x": "Toy Harper full dossier. Real-historical T3 new entry. Honorary aunt. Door of 20 East 127th. Birth year, physical description, and early biography UNCHECKED.", "cc_links": [ "cc-cmp001-template-npc", "cc-cmp001-npc-emerson-harper", "cc-cmp001-npc-hughes", "cc-cmp001-oi-hughes-workroom", "cc-cmp001-hughes-house", "cc-cmp001-npc-schedule", "cc-cmp001-npc-supporting-figures", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, toy-harper, real-historical, t3, full-dossier, 15-field, 20-east-127th, honorary-aunt, door-of-the-house, b1-research-fill, jun-2026-24-origin" }, { "id": "cc-cmp001-npc-emerson-harper", "s": "npc-emerson-harper", "r": "cmp-001", "t": "cmp-001 NPC Emerson Harper (real-historical, full dossier T3)", "b": "1. NAME. William Emerson Harper. Known as Emerson or Harp.\n\n2. AGE. UNCHECKED. Approximate age in September 1958 estimated mid-60s. Resolution path: Rampersad Vol 1 and Vol 2; US Census records.\n\n3. STATUS. VERIFIED real-historical secondary-conditional. Hughes’s honorary uncle, co-owner of 20 East 127th Street, professional musician. His role in the campaign is secondary to Toy’s; he is the quieter half of the household, present but not the door.\n\n4. LOCATION-AT-EACH-NAMED-TIMESTAMP. 20 East 127th Street or at a music engagement.\nFriday 6 PM TM1: home or at a gig.\nSaturday 9 AM TM2: home.\nSaturday 3 PM TM2: home or out. King stabbing news reaches the household.\nSaturday 11 PM TM2: home. Hughes upstairs working.\nSunday 9 AM TM3: home or at church.\nSunday 3 PM TM3: home.\nMonday 7 AM TM4: home.\n\n5. FAMILY AND HOUSEHOLD. Married to Toy Harper. The couple owned 20 East 127th Street. Emerson lived on the lower floors with Toy while Hughes occupied the top floor. See cc-cmp001-npc-toy-harper for the household structure and purchase history.\n\n6. WORK OR OCCUPATION. Professional musician. CRITICAL UNCHECKED: the existing codex says “pianist and music educator”; the B1 research packet says “reed/woodwind player (clarinet and saxophone) who worked in pit orchestras, dance bands, and radio/theater music.” These conflict. Rampersad Vol 2 is the adjudicator. Until resolved, the DM may present Emerson as a musician without specifying the instrument. Resolution path: Rampersad Vol 2 chapters covering the 127th Street years. Whichever instrument is documented, his professional world was Harlem’s working-musician economy: pit orchestras, dance bands, club dates, radio and theater work. By 1958 he was likely semi-retired or working selectively.\n\n7. VOICE REGISTER. Quieter and more reserved than Toy. The working musician. Would talk about music, the old Harlem of the 1930s and 1940s, fellow musicians, and the house. Less talkative with strangers than Toy. The voice of a man who has spent his life in rehearsal rooms and backstage and does not need to fill silence.\n\n8. PHYSICAL DESCRIPTION. UNCHECKED. Few published photographs circulate. Narrate as an older Black man (mid-60s), quieter bearing than Toy, the musician’s hands. Resolution path: Rampersad; Schomburg holdings.\n\n9. PEDAGOGICAL PURPOSE. Emerson is the Harlem working musician who never became famous. His presence teaches that the neighborhood was full of professional artists whose names do not appear in anthologies. He represents the musical texture of the community Hughes wrote about: the dance bands, the pit orchestras, the radio work that was the economic base of Harlem’s music culture.\n\n10. TIER. T3 secondary-conditional per dm-010. Surfaces when bookworms visit 20 East 127th and Toy introduces her husband, or when the DM needs a musician in the house.\n\n11. NPC-PATH-TRIGGER CONDITIONS. (a) party visits 20 East 127th and Toy introduces Emerson. (b) the party hears music from the lower floors while visiting Hughes upstairs. (c) DM stages Emerson returning from a gig.\n\n12. RELATIONSHIPS. Toy Harper (wife). Langston Hughes (honorary nephew). The Harlem working-musician community. Carl Van Vechten (would know him through Hughes). Fellow musicians from the pit-orchestra and dance-band circuit.\n\n13. IMAGE-ASSET REFERENCE. UNCHECKED: no cc-cmp001-im-emerson-harper entry. Few photographs circulate.\n\n14. THREE SIGNATURE DIALOGUE EXEMPLARS (period-extrapolated; DM-extrapolated per cc-cmp001-npc-supporting-figures ruling).\n(a) In the parlor: “Lang is working. You hear the typewriter? That is the sound of the house.”\n(b) On music: “I played for thirty years in this city. Every club, every pit, every dance hall that would have me. The music is still here. Listen.”\n(c) On the King news: A long pause. Then: “I have seen worse and I have seen better. The man will live. Aubre Maynard is good. What worries me is what comes after.”\n\n15. PRIMARY CITATIONS. Arnold Rampersad The Life of Langston Hughes Vol 2 1941-1967 I Dream a World Oxford UP 1988 ISBN 978-0195145441 (primary source). NYC Landmarks Preservation Commission designation report LP-1135. National Trust for Historic Preservation Langston Hughes House stewardship entry.\n\nCROSS-REFERENCES. cc-cmp001-template-npc. cc-cmp001-npc-toy-harper. cc-cmp001-npc-hughes. cc-cmp001-hughes-house. cc-cmp001-npc-schedule (N14). cc-cmp001-npc-supporting-figures (superseded for Emerson by this entry). cc-cmp001-sg-graph.\n\nORIGIN. June 24 2026 B1 research. New entry, full 15-field dossier. Supersedes the Emerson Harper portion of cc-cmp001-npc-supporting-figures. Instrument conflict flagged UNCHECKED pending Rampersad verification.", "x": "Emerson Harper full dossier. Real-historical T3 new entry. Honorary uncle. Professional musician. CRITICAL UNCHECKED: instrument (piano vs reed/woodwind). Birth year and physical description UNCHECKED.", "cc_links": [ "cc-cmp001-template-npc", "cc-cmp001-npc-toy-harper", "cc-cmp001-npc-hughes", "cc-cmp001-hughes-house", "cc-cmp001-npc-schedule", "cc-cmp001-npc-supporting-figures", "cc-cmp001-sg-graph" ], "tg": "cc, cmp-001, npc, emerson-harper, real-historical, t3, full-dossier, 15-field, 20-east-127th, honorary-uncle, professional-musician, instrument-unchecked, b1-research-fill, jun-2026-24-origin" }, { "id": "cc-cmp001-atlas-quests", "s": "campaign", "r": "cmp-001-pedagogy", "t": "cmp-001 ATLAS LAYER: 42 discovered-quest offers from the surface atlas, boredom-audited and fully wired (June 11 2026)", "b": "Forty-two new optional quests wired from the surface atlas after a pedagogy-and-game-design audit. AUDIT STANDARD: every deliverable had to feel like play, never like school in costume; every WHY had to grow from a want inside the world. CUT AS DUPLICATES, motivation folded into the existing quest: stabbing front page (lives in P-SS0-08 and P002-15, enriched with the ghost-replay witness, the ad executive who grabbed Curry); Theresa shift log (lives in P-SS0-07, now also paying the Theresa Key unlock toward the radio quest); Lady in Satin essay (lives in P001-07, enriched with the defend-a-cracked-voice frame: a younger roomer says her voice is shot, the listener writes to prove what is still there); beauty-shop labor brief (lives in P001-04); Roger Monday diary (lives in P-SS0-15); DeCarava imagined-photo ekphrastic (lives in P001-05). REWORKED FROM ESSAY-SHAPE INTO PLAY-SHAPE: steps argument became a plea made aloud to the cop and the super with one page of notes; spaldeen explainer became The Make-Do Book, an illustrated catalog of street inventions; meal piece became a dare, write it so the reader gets hungry; soul-food note became a one-page journey, one dish traced home through the southern-born roomer's telling; corner-as-classroom became the live senior rebuttal inside the soapbox chain. THE FORTY-TWO, compact wiring, each: WHY / REWARD / COST / JUDGE / WELD-WINDOW.\n\nSUNDAY MORNING SET.\nATL-01 STOOP CENSUS (JR). WHY the super has never known who belongs on his own steps and says so. REWARD Keeper of the Steps standing, named greetings, unlocks ATL-13 and ATL-14. COST the Keeper nod goes to someone else and later quests open one body short. JUDGE the super calls a name off the list and watches who nods. WELD Mrs Jones emerging in Sunday best; morning stoop.\nATL-04A MEAL DARE (JR). WHY a roomer who missed the scene wants to taste what mercy tasted like; the dare is to write the reader hungry. REWARD standing with Mrs Jones and a seat at her table later. COST she notices you did not taste a thing. JUDGE Mrs Jones, plain words only. WELD fifth-door hook; morning or ghost-replay.\nATL-14 HALLWAY SOUNDSCAPE (JR). WHY the ghost-replay plays silent until someone captures what Roger heard through the open doors. REWARD The Hall Sound item, plays under every later replay, feeds the radio quest. COST replays stay silent. JUDGE played back inside the replay, it matches or it does not. WELD fifth door; morning.\nATL-19 MRS JONES WHOLE DAY. WHY she came home at eleven at the end of a day nobody saw; understanding the day changes every scene with her. REWARD Saw the Whole Day standing, story-shift in her thread. COST she stays the woman from the story, flat. JUDGE Mrs Jones, the aches in the right places. WELD her telling on the stoop or ghost-replay; morning. Narrative sibling of P001-04.\nATL-26A SUNDAY BEST (JR). WHY the house dresses for church and a kid wants to be fit to be seen the way Mrs Jones made Roger wash his face. REWARD greeted by name at whichever church, the bells choice opens warm. COST the greeting goes cold. JUDGE the congregation by name per the standing church judge-line. WELD bells hook; morning.\nATL-26B SERMON-POEM. WHY the congregation is shaken, King is a preacher in a hospital bed, and the pulpit pauses; God's Trombones is the model, voice as trombone, rhythm never lecture. REWARD story-shift, the poem becomes the sermon the doors carry out, feeds soapbox and toast. COST the room leaves uncomforted and the march flyer draws on nothing. JUDGE the room says amen or it does not. WELD Salem Methodist, where no canonical sermon is staged; at Abyssinian the canonical Powell sermon is sealed text per runcard-002, so there this quest fires only AFTER his sermon, as the young people's piece at the evening service. Morning at Salem, evening at Abyssinian. Distinct from P002-02 which analyzes; this composes.\n\nSUNDAY AFTERNOON SET.\nATL-01B THE STEPS PLEA. WHY the beat cop says clear the stoop and somebody has to make the case out loud, notes in hand. REWARD the cop's notebook closes, the stoop holds for the weekend, boost in later authority scenes. COST the stoop gets cleared and the games and the party move indoors at penalty. JUDGE cop and super both concede a point. WELD street; afternoon.\nATL-02A BLOCK RULEBOOK (JR). WHY the new kid up from the South keeps wrecking the game and nobody will let him play until the rules exist on paper. REWARD The Block Rulebook item, entry to every game scene, unlocks ATL-02C. COST the new kid stays out and the afternoon breaks up in a fight. JUDGE the kids play a round by the page; a dispute that settles itself passes it. WELD street games; afternoon.\nATL-02B ROPE RHYMES (JR). WHY the turners say the old rhyme is wore out and the rope's beat is fixed, words land on it or the jumper trips. REWARD Turner's Ear badge, feeds the doo-wop lyric and the sermon meter. COST the rhyme trips the jumper and they turn for someone else. JUDGE the two turners jump it. WELD street; afternoon.\nATL-02C THE MAKE-DO BOOK (JR). WHY the only spaldeen went down the sewer and the game must go on with what the block already owns. REWARD Make-Do standing, improvise one needed item in any later scene. COST no ball no game. JUDGE the oldest kid names a missing piece and the book answers it or fails. WELD street; afternoon.\nATL-04B ONE DISH HOME. WHY somebody asks why ham and lima beans mean home to people born in Georgia, and the southern-born roomer's telling is the road. REWARD Migration Map standing, keys the curb-kid diary and the feet monologue. COST the plate stays just food. JUDGE the old roomer confirms the dish's road or corrects it. WELD Sunday dinner cooking; afternoon.\nATL-07A TAKE THE LADDER. WHY the crowd at 135th and Lenox needs the thing said that nobody is saying, and the ladder is empty. REWARD story-shift, the crowd's mood swings, Took the Ladder standing, feeds the march flyer. COST a hothead takes the ladder and turns it ugly. JUDGE the crowd stops walking or it does not. WELD King-news; afternoon corner.\nATL-07B THE REBUTTAL (SENIOR up). WHY a schoolteacher calls the corner rabble-rousing and the woman it educated wants her answer written. REWARD Corner Credential, counts as schooling at the library and school thread doors. COST the corner stays noise. JUDGE the schoolteacher concedes or does not. WELD beside the ladder; afternoon.\nATL-16B FILL THE BUS (JR up). WHY the march King chaired moved to October 25 because of the stabbing, the organizers said the attack added a new dimension, and a bus from this block leaves half empty unless the flyer works. REWARD story-shift, the bus fills, Filled the Bus standing, concrete future for the King thread. COST the block's voice in the march shrinks. JUDGE the organizer counts the sign-ups the flyer brings. WELD church and corner; afternoon into Monday. Junior companion to P002-08.\nATL-06A DREAM KEY. WHY a roomer dreamed a death and needs to know what it plays for before the number is called. REWARD Dream Key item, opens ATL-06B. COST the wrong number gets played. JUDGE the old runner checks the conversions against the book. WELD ambient street; any time, no Sunday drawing.\nATL-06B THE NEIGHBORHOOD BANK (SENIOR up). WHY the bank will not lend in Harlem and the numbers banker will, and somebody has to explain that straight, neither glamour nor sermon. REWARD Reads the Money standing, keys the Theresa essay and the steps plea. COST read as naive, the redlining context stays shut. JUDGE the runner and the churchwoman from opposite sides, both must nod. WELD street and church; ambient.\n\nSUNDAY EVENING SET.\nATL-08A FIND THE ECHO (JR). WHY four voices and no instruments, and somewhere in the building is the room that makes them sound rich. REWARD The Echo Spot location unlock, opens ATL-08B. COST the group sounds thin and quits. JUDGE they sing in the named spot and it rings or it does not. WELD hallway; evening.\nATL-08B WRITE THE SONG (JR). WHY the group has the spot and the lead but no song and talent night is coming. REWARD Wrote the Song badge, feeds the jukebox card and the radio. COST a borrowed tune badly sung. JUDGE bass and lead try the parts. WELD hallway; evening.\nATL-09A THREE PLAYS A QUARTER. WHY one quarter, three songs, and the dare to pick the three that tell the whole block. REWARD Three-Song Card, feeds the radio playlist. COST the quarter wasted. JUDGE the crowd stays for all three or drifts. WELD jukebox; evening where open, Monday counter.\nATL-15A THE PARTY CARD (JR). WHY rent is due on the first and the old fix is a card with a couplet good enough to fill the room; Hughes himself saved these cards. REWARD The Party Card becomes world-text in the hall and opens a Hughes door. COST nobody answers the card by Monday night and the roomer's room plays visibly emptied in the campaign's epilogue beat. JUDGE the block answers the card by Monday night, the RSVPs land inside the campaign window even though the party itself falls after it, and behind his door Hughes judges the couplet. WELD Hughes and rent; evening.\nATL-15B BOTH THINGS AT ONCE (SENIOR up). WHY the churchwoman says sinful and the host says it is how she eats, and somebody has to prove a thing can be survival and joy at once. REWARD Both Things at Once lens, feeds the Holiday journal and the meal dare. COST the party stays sinful and the threads stay split. JUDGE churchwoman and host both nod. WELD church and Hughes; evening.\nATL-13 THE SUPER SEEN. WHY the man with every key was never counted and eats alone in the basement. REWARD The Super's Friend, he opens locked rooms for the rest of play, the basement, the boiler, the route to the Echo Spot. COST his doors stay locked. JUDGE the super reads it and hands over a key if he is seen true, neither villain nor saint. WELD stoop census onward; evening.\nATL-12A THE POSTED SIGN (JR). WHY the landlady wants a new house-rules sign by Monday or everyone is out, and it has to sound like her, firm, proud, a little vain. REWARD the sign goes on the wall as world-text and shields the rent party from a crackdown. COST her harsher sign goes up and guests are banned. JUDGE the landlady posts it only if it is her voice. WELD hallway; evening.\nATL-18B THE BLACK WALDORF (SENIOR up). WHY a child asks why there even needs to be a Waldorf of Harlem and deserves the unflinching answer. REWARD Names the Wall standing, feeds the bank essay and the press scenes. COST the Theresa stays just a fancy hotel. JUDGE the head clerk and the old bellman, truth with pride, not shame. WELD Theresa, open Sunday; evening.\nATL-20 ON THE AIR. WHY every radio on the block is the first hook, WLIB broadcasts from the Theresa, the Sunday King bulletin has a hole in it, and the regular writer is out. REWARD story-shift, the script becomes what the radios say in later scenes, On the Air standing. COST the wire-service version plays, an outsider's voice. JUDGE the program director reads it on mic; it passes if it sounds like radio AND its facts hold against the wire copy, the documented record of King's condition is sealed canon a bulletin may voice but never alter. WELD King-news through the Theresa Key per P-SS0-07; evening.\nATL-22A FEET MONOLOGUE. WHY at the bar the regulars trade Simple tales and a kid who walked all Harlem this weekend has feet with a story; the model says do not look at my face, look at my feet. REWARD Talks Like Simple standing, opens ATL-22B and 22C and a Hughes door. COST the bar turns back to its drinks. JUDGE the regulars laugh the laugh that hides the ache, or do not. WELD Hughes; evening bar.\nATL-22B SIMPLE AND BOYD. WHY Simple is hot about the stabbing and Boyd keeps it bookish, and Harlem's argument with itself wants both voices real. REWARD Two-Voice Transcript, feeds the barbershop debate and the radio serial. COST one-sided, strawman, nothing travels. JUDGE a regular checks that Simple is funny-but-right and Boyd reasonable-but-bloodless. WELD Hughes and King-news; evening.\nATL-22C THE TOAST. WHY the weekend nearly broke the block's heart and the block is still standing, and somebody should say so over a raised glass. REWARD Raised the Glass, the night ends on endurance, not the wound. COST the weekend ends on the wound. JUDGE the bar drinks to it or sets the glasses down. WELD Hughes; last beat of the night.\nATL-24 THE NIGHT PLATFORM. WHY a roomer rides the late IRT home from a shift, fifteen cents and a flickering car, and the long ride deserves to be seen. REWARD The Night Platform item, feeds the photo-text and the eleven-o'clock poem. COST the ride home stays blank. JUDGE a fellow late-shift rider, the echo and the tiredness real or not. WELD streets; evening.\n\nMONDAY SET, the doors-open payoff.\nATL-03A THE DIME LIST (JR). WHY a roomer has a dime and a hungry kid, and the window prices can be read Sunday and proven Monday; a nickel candy bar, a nineteen-cent loaf. REWARD The Dime List item, shares money-math currency with the ledger and the workday. COST the kid goes without and the math errors bounce. JUDGE the counterman checks the prices against his register. WELD Mrs Jones thread; Sunday window-offer, Monday verify.\nATL-03B COUNTER TALK. WHY the truest version of how Harlem feels about King is the unguarded talk over coffee, not the radio's version. REWARD source material that unlocks the barbershop debate and feeds the radio. COST the street's version goes unrecorded. JUDGE the counterman says whether it sounds like Monday morning in here. WELD King-news; Monday counter.\nATL-05A TWO CHAIRS. WHY the barbershop is where Harlem argues and the chairs are full of the stabbing, madness or politics, and the argument cools by noon. REWARD Two-Chair Transcript, feeds the radio and the Monday lead. COST the argument evaporates. JUDGE the barber reads both sides aloud, no strawmen. WELD King-news; Monday shop, Saturday talk by ghost-replay.\nATL-17 THE HONEST LEDGER (JR). WHY a paper-route boy wants to know if a kid can earn blue suede shoes the way Roger could not, three to seven dollars a week against the price. REWARD The Ledger item, money-math boost, the honest answer to Roger's theft. COST the count comes up short and the temptation visibly reopens. JUDGE the newsstand man checks the route math. WELD Roger; Sunday count, Monday route.\nATL-10B THE WALL LABEL. WHY the archive mounts the photograph and needs fifty words a child can read, and the curator cuts every wasted one. REWARD archive standing, opens ATL-27B. COST she writes her own and yours cools. JUDGE Hutson and her blue pencil. WELD archive; Monday.\nATL-10C WHO IS MISSING. WHY the photo everyone calls complete is missing Armstrong, Coltrane, Davis, and Ellington, and the absences have reasons. REWARD Reads the Absence lens, sharpens the empty-rack hook and the news thread. COST the photo stays everyone who mattered. JUDGE Hutson checks the four names against the record. WELD archive and King-news; Monday.\nATL-11B NOT EVIDENCE. WHY the newspaperman wants the hallway photo as proof of slum conditions, and DeCarava's own Guggenheim words refuse that, the strength, the wisdom, the dignity. REWARD Will Not Be Documented standing, boost wherever an outsider tries to define Harlem. COST the photo runs as squalor. JUDGE the essay convinces the newspaperman to run it as art, or fails and the caption runs his way. WELD King-news and archive; Monday press.\nATL-23 DRESS THE WINDOW. WHY the Blumstein's dresser quit after Saturday and the window feet from where King bled must say something worth saying, or the manager hangs a garish sale sign over the spot. REWARD The Window as world-text, merchant standing, feeds the Waldorf essay. COST the sale sign goes up and the block reads it as an insult. JUDGE the manager judges the ad, the block judges the respect. WELD King-news; Sunday roped-off window-offer, Monday doors, stabbing by ghost-replay.\nATL-27A THE THREE BOOKS (JR). WHY books cost money and the branch is free if you know what to ask for, and a kid wants to walk in Monday already knowing. REWARD The Three Books item, reading boost, opens ATL-27B. COST the kid leaves empty-handed and intimidated. JUDGE the branch librarian, real, checkout-able, right for the child. WELD archive and Roger, the honest version of the want; Monday.\nATL-27B THE LONG TABLE. WHY a young roomer wanders in lost the way nineteen-year-old Sonia Sanchez did, and the librarian sits her at the long table of books by and about her own people, and that feeling wants writing. REWARD Found the Table, the deepest archive standing, opens a Hughes door, Hutson held his papers. COST the table stays a room of strangers' books. JUDGE Hutson seats a true seeker at the table. WELD archive and Hughes; Monday, the deepest beat.\n\nGHOST-REPLAY AND AMBIENT SET.\nATL-10A THE CURB KID (JR). WHY five weeks ago and six blocks away, twelve neighborhood kids sat on a curb among fifty-seven jazz giants, and one of them lived in this house. REWARD The Curb Diary, opens the wall label and the photo quests. COST the local thread to the photograph is lost. JUDGE the now-older curb kid says whether it feels like that morning, Basie's hat, the scuffling. WELD archive and Hughes; deep ghost-replay to August 12.\nATL-25 ELEVEN O'CLOCK (JR). WHY the whole story happened at about eleven on a late-September night, and someone who watched the replay wants to keep that exact cold hour. REWARD The Eleven O'Clock, the weather plays under every later replay. COST the replays stay seasonless. JUDGE the poem plays over the scene and the weather matches or it does not. WELD ghost-replay; any time.\nATL-12B THE BUILDING IS A CHARACTER (SENIOR up). WHY a roomer reading The Street says Lutie Johnson is us, the building itself is the enemy, and another says too dark, and the question deserves a real reading. REWARD Reads the Walls standing, deepens the soundscape and the super. COST the building stays scenery. JUDGE the reading roomer tests it against a passage. WELD Hughes and streets; ambient burrow shelf.\n\nROUTING NOTES carried from the master plan: stores, shops, jukebox, Blumstein's, library, Schomburg, and school all closed Sunday, window-offer Sunday and doors Monday; the numbers draw does not run Sunday; Mrs Jones is at church Sunday morning so her workday routes through her telling or the replay; the Theresa and WLIB run Sunday; the street and the churches are the Sunday-live engine; every pre-Sunday anchor routes through dm-012 ghost-extraction per the standing landing ruling.", "x": "Source: the surface atlas and wiring research of June 11 2026, boredom-audited same day. Six duplicates cut into existing quests, five reworked into play-shape. Companion: cc-cmp001-pregame-master-plan. Judges from cc-cmp001-npc-minor-judges serve the press, desk, and vestry scenes; Hutson per her dossier.", "tg": "cmp-001, atlas-quests, 44-projects, discovered-offers, boredom-audit, pedagogy, game-design, 2026-06-11" }, { "id": "cc-cmp001-pregame-master-plan", "s": "campaign", "r": "cmp-001-session-runcard", "t": "cmp-001 PREGAME MASTER PLAN: window distribution, planted details, junior coverage, and chains for the atlas layer (June 11 2026)", "b": "The tasteful-integration scheme for the 42 atlas quests, governing how offers surface without flooding any table. LOAD RULE. No more than six or seven live offers surface in any single window; everything else waits as ambient or routes to its window. Offers fire through discovery, never as a handout. THE WINDOWS. Sunday morning, six offers riding the three hooks: stoop census, meal dare, hallway soundscape, the whole day, Sunday best, sermon-poem. Sunday afternoon, the street cluster: the steps plea, the rulebook, the rope rhymes, the make-do book, one dish home, the ladder and its rebuttal, the bus flyer begun. Sunday evening, a menu by room, the bar gets the Simple set, the hallway gets the echo and the song, the Theresa gets the Waldorf essay and the radio, the late train gets the platform, the rent the party gets its card and its defense, players see only the rooms they wander into. Monday morning, the payoff window where everything closed opens: the dime list proven, the counter talk, the two chairs, the ledger, the wall label, who is missing, not evidence, the window dressed, the three books, the long table. Ghost-replay carries the curb kid, the eleven o'clock, and every pre-Sunday anchor. Ambient any-time holds the dream key, the neighborhood bank, and the building-as-character shelf read. PLANTED DETAILS, the seeds the DM drops so each offer feels found: a chalked skully board and melted-crayon caps, a doubled clothesline, a spaldeen rolling toward the grate, taped price cards in the dark store glass, a thumbed dream book and a runner's stub, a bright party card in the door grille, a brass key rack and a switchboard at the Theresa, a velvet rope and a dropped copy of Stride Toward Freedom at Blumstein's window, the long oak table behind the glass door, the fifth door's newer paint, a record sleeve with strings swelling under a frayed voice, a canvas paper sack and coins counted on a stoop, an ON AIR light with a hole in the script where the King update goes, an empty stepladder against a lamppost, a pressed collar and polished shoes, bells from two directions. JUNIOR COVERAGE CHECK, at least two junior-eligible discoverable offers per window: morning holds four, census, meal, soundscape, Sunday best; afternoon holds three, rulebook, rope rhymes, make-do, plus the flyer lite; evening holds two, the song and the party card, plus the echo; Monday holds three, dime list, ledger, three books; replay-ambient holds two, the curb kid and the eleven o'clock. CHAINS. The news chain runs ladder to flyer to radio to the existing Monday lead. The Hughes doors multiply: the party card, the Simple set, and the long table each open one, beside the four standing doors. The Mrs Jones chain deepens through the meal, the whole day, and the census toward the room essay and the 1978 letter. The archive chain runs curb kid to wall label to who-is-missing to the long table. The street web hangs the games, the plea, the echo, the platform, and the corner off the existing map quest, and the soapbox corner and the Blumstein's window become map nodes. STANDING FORWARD-LINKS. Both Things at Once feeds the Holiday journal and the meal dare; Will Not Be Documented feeds the Waldorf essay and the press scenes; Reads the Money feeds the Waldorf essay and the steps plea; Make-Do grants one improvised item anywhere; The Super's Friend opens the locked spatial layer. STAGING ADVICE carried from the design pass: run the 1978 letter as the closed demo of the quality bar before opening the atlas; hold the closed-surface quests for Monday on purpose, the Monday payoff is what makes Sunday's window-offers feel like setups; let costs land visibly and silently, the empty room, the cleared stoop, the aged-shut door, never a narrated lesson.", "x": "Companion to cc-cmp001-atlas-quests. Integrates with cc-cmp001-landing-after (Sunday morning landing, three hooks), cc-cmp001-project-catalog routing notes, and dm-090 through dm-092 table doctrine.", "tg": "cmp-001, pregame, master-plan, windows, planted-details, junior-coverage, chains, 2026-06-11" } ], "retained_in_cc": [ { "id": "cc-cmp001-party-oscar", "reason": "Actual saved player character; excluded from the reusable module and retained unchanged in CC." } ], "startup_guidance": "Read the story, choose the players, and prepare their wormcards with the teacher. Review the current opening after the story, the session briefing, and the seven preparation topics linked below. The teacher reviews the characters and gives the command to begin. For a three-player demonstration, use three fictional player characters and a fresh demonstration record. Keep the story’s characters separate from the players and keep actual saved student sessions unchanged." }