In the July issue of the 1884 Dickinsonian, it briefly mentions this short phrase in its 'Miscellany' section. "Hurrah for Co-education!" was placed in this section randomly amongst other short unrelated paragraphs. This phrase is unique because it shows up a few months before the decision to have co-education at Dickinson.

The 1911 Microcosm includes a piece on the success of the Y. W. C. A.'s night of entertainment for the college. The show included two dramatic acts, one entitled, "The Costs of Independence or an Old Maid's Regrets" and the other called, "Beautiful Belinda or Why Girls Leave Home." One of the more successful parts of the night though was not on stage, according to the men, but more so in their bellies. Candy that the girls had made was sold between acts and the men bought it because "it was made by her own little hands."

"Mysterious Code for Co-Eds" was published in the 1911 Microcosm complaining about the use of words by the co-eds on campus.

In the senior class history in the 1911 Microcosm, there is a short paragraph written on the fear amongst the college that their women would turn into suffragettes. From this fear, the college held a meeting only for the females about their decision. A joint meeting was then held and "negotiations [were] entered into, and a treaty formed."

The 1910 Microcosm comments upon the show that the women of the college were to put on. All of the advertisements, tickets, etc., were punctuated with question marks, leaving the theme of the show open to much speculation by its audience. The program declared that the entertainment was to be presented by the Y.W.C.A., which some men thought it meant "Young Women Can't Act" but were made to think differently. The first act was a comedic piece titled "Mrs. Oakley's Telephone" about the many conversations between various characters that takes place on this one telephone.

The 1910 Microcosm publishes this song titled the "Lloyd Hall Alma Mater" for the ladies who reside in the women's dormitory. The song's main theme is about bells and how they are found in all aspects of women's lives. From calling bells to door bells to wedding church bells, their life is "beginning and ending with bells."

"The Night Before Prayer Day" is a humorous poem about the women's decision not to have male escorts to the Prayer Day event, causing quite an uproar on campus. In support of the Women's Suffrage Movement, the co-eds of the class of 1910 decided to escort themselves to Prayer Day, which is scandalous to not be escorted to the church by a male. The male students were trying to force the women to be escorted by them, but instead the women declared that, "We'll leave for the church at half-past ten, but walk with those brutes? O, never again!"

"Lest We Forget, the Suffragette" is a satirical piece written for the Microcosm about the Women's Suffrage Movement. The piece begins with all of the women are trying to decide which man they will use as an escort for Prayer Day. After much deliberation and defeat, the women then resolve to go to the Prayer Day event together, leaving the men to go alone.

Tara McCallum, in hopes of aiding in the movement towards creating black awareness on Dickinson's campus, contributed to the monthly publication, The Black Perspective, published by the Congress of African Students.  Her work appears in the April edition of the Perspective. McCallum has several creative poems published, all harkening back to the struggles of black individuals.

Dickinson College’s annual Black Arts Festival or Multicultural Fair featured a concert by The Philadelphia Dance Company “Philadanco” on Sunday, March 6, 1988.  The company, which was comprised of predominantly black dancers, presented a program of five pieces of contemporary choreography.  The only female choreographer of the bunch was Elisa Monte; her piece was entitled “Dream Time.”

As a further elaboration on her "Women as Leaders" survey, a female graduate reminisces on some mischief she participated in on campus. She remembers sunbathing on the Drayer roof, crawling out of Drayer's basement windows after hours, climbing into the Denny bell tower at night and climbing onto the roof of the library when it was under construction. She also remembers "going to that funny monument between Adams Hall and the Law School to do silly things" as well as "sitting in boxcars on the railroad" near the Biddle Field."

The Prime Minister of the Congress of African Students, Robin Wilson,  wrote a formal letter to the President of Phi Kappa Sigma, Steve Persichetti, voicing concern, or outrage rather, at a poster advertising a Phi Kap event with “racist and stereotypic overtones.”  Writing on the behalf of the entire Congress, Wilson spoke out against the “insensitivity and degrading” nature of the poster in hopes of increasing sensitivity and consciousness of Black awareness within the Dickinson College community.

A female graduate of the class of 1969 elaborated about her physical education experiences at Dickinson in her "Women as Leaders" survey. While at Dickinson, she participated in Field Hockey out on Biddle Field, which she commented that it seemed much too far away for them. The graduate also had a squash class that was in the courts that were attached to the math building that "had a lump in the floor. She had a square dancing class in the gymnasium and golf on the lawn near Drayer.

In her "Women as Leaders" survey response, a female Dickinsonian remembers how the Dickinson experience was for her. Being only one of two African American women on the campus, she felt that her social life was restricted. She remembered the two other African American students on campus, Judy Rogers and Skip (Everett) Hewlett.

A female graduate of the class of 1965 remembers her involvement with the literary publications at Dickinson in her "Women as Leaders" survey. In addition to the Dickinsonian, she recalls another publication of a similar nature that appeared during her sophomore or junior years. It was a group known as the "neurotic nine" who wrote a parody of the daily paper. This unnamed paper was distributed on campus by boxes nailed to trees.

A female graduate of the class of 1964 discusses how athletics were treated at Dickinson in her "Women as Leaders" survey response. While at college, the student participated in Intramural Basketball and Volleyball, as well as Field Hockey. She remarked that "very limited emphasis" was placed on women's sports but that Dickinson in general always emphasized academics rather than athletics.

In the minutes recording for the first meeting of the Congress of African Students of Dickinson, an account of issues addressed during the meeting and introduction for new members is given.  During this meeting , which was the group’s first of the fall semester, each of the ministers on the board of the congress introduced themselves to new members and gave brief descriptions of their given ministries.  Of the seven ministers, five were black, female women.  Robin Wilson served as Prime Minister, Brenda Gordy as Minister of Culture and Education, Michelle Arter as Minister of Action, Patien

In her "Women as Leaders" survey, a female member of the class of 1961 describes the living conditions for the women while she studied at Dickinson. She felt they were "excellent, with variety available." The women had meals served to them, along with tablecloths, proper "dressing" for meals, etc. She called mealtime "an oasis with close friends twice a day."

A female Dickinson graduate comments in the "Women as Leaders" survey about the academic caliber of the students at Dickinson. She had always felt that the women in her classes and the classes around hers, "were superior to the men in talent." However, the "men dominated the visible offices easily" and they outnumbered the women, such as in her graduating class there were 65-70 women out of 200 or more students. The college did attract a "high calibre of women" but she never had an overwhelmingly high regard for the "academic prowess of the men."

 A poem by poet Sonia Sanchez was published in the newsletter, NIA.  The piece's straightforward language and tone stirs the audience and calls attention to the black perspective.