Do You Have What it Takes to Be a WNYC Announcer?

Remain in your seat, eyes on your own paper and print your answers neatly.

We’ve reproduced a selection of questions from the exam given to the people vying to become WNYC radio announcers back in 1948. The exam was an all-day affair. Part one was comprised of 100 multiple-choice questions that fell into four main categories: station policy, radio history, classical music, and world news. 

Test your announcer skills with the four quizzes below and let us know how you do! 

You can read more about the history of the exam itself here.

Station Policy Quiz

Station Policy (20 Questions): If you answered 15 or more correctly, consider yourself a contender for that coveted Announcer position!

Radio History Quiz

Radio History (12 Questions): If you answered 8 or more correctly, you’re a sure radio buff! I’d trust you on the board in the Master Control Room!

Classical Music Quiz

Classical Music (21 Questions): If you answered 16 or more correctly, you could be our next WQXR host!

World News Quiz

World News (9 Questions): If you answered 7 or more correctly, you’ve reached News Reporter status!

A true candidate will tally up all four quizzes.

Full Announcer Exam (All 62 Questions!): You show true dedication! Find your ranking below!

If you got at least 25 questions correct, consider yourself…

Anthony Marvin, WNYC Announcer

If you got 26-37 questions correct, consider yourself…

Lloyd Moss, WXQR Announcer

If you got 38-49 questions correct, consider yourself…

Shirley Zak Hayes, WNYC’s first woman staff announcer

If you got 50-62 questions correct, consider yourself…

Tommy Cowan, WNYC Chief Announcer

Legacy & Stories: The Samuel French Archives

This is part of an ongoing series of entries being written about the Samuel French archives at Amherst College

peekaboo

M. Abbott Van Nostrand served as the head of theatrical publishing company Samuel French, Inc. for an incredible thirty-eight years, from 1952 until his retirement in 1990. Early on, he realized that French’s history and output could be immensely valuable to scholars, performers, and theatrical enthusiasts.

Van Nostrand approached Amherst College (his alma mater) in 1964, offering a gift of Samuel French records and publications to the Amherst College Library. Over the next fifty years, the library accepted more than four hundred and fifty linear feet of unprocessed archival material including thousands of plays and publications, photographs, costume design illustrations, acting editions, musical scores, theatrical ephemera, and documentation of the Samuel French’s business transactions dating back to the mid 1800’s. (Take a moment to watch Mr. Van Nostrand talk about his experiences working at Samuel French in these oral history videos from 1994!)

you're the salt in my stew

Sheet music for “You’re the Cream In My Coffee” [Samuel French Company Theater Collection, Amherst College Archives and Special Collections, Amherst College Library]

As I work on processing this collection, I will be posting updates about my findings here on this site of course, but I will also be serving a term as featured columnist for the official Samuel French blog.  To read the rest of this article and learn more about more about the work I’m doing, the types of materials included in the French archive, and interesting tidbits about archival processing (Example: where do all these boxes live? Spoiler–it’s in a decommissioned Cold War-era bunker!), head over to French’s “Breaking Character” site. And while you’re there, be sure to make a bookmark so you can follow my whole series of archive columns as new entries are posted during the next year.

Mad Men and the End of Cigarette Advertising

Remember in season four’s “Blowing Smoking” when Don bought that full page The New York Times ad, promising SCDP would no longer be in the cigarette business? It was a big deal to the agency, especially considering that in 1969, tobacco companies were the single largest product advertisers on television.¹  Listen to the above audio sample from that era, brought to you by Caviler Cigarettes.

Don’s decision may just have presaged one of the biggest changes in the ad industry at the time: the passage of the  Public Health Cigarette Smoking Act, signed by Richard Nixon on April 1st, 1970, which officially banned all cigarette advertisements on radio or television.

Advertising for Benson and Hedges cigarettes in February 1970

We’ve seen Don deal with small restraints in advertising cigarettes throughout the series. In the pilot episode, researcher Dr. Greta Guttman warns him that the desire for cigarettes is actually a death wish, a notion that he throws away quite literally in the trash. In season 4, we’ve also seen Draper try to calm down Lee Garner Jr., owner of Lucky Strike cigarettes, when new restrictions banned using role models like celebrities and athletes in advertisements, for fear that it encouraged youth smoking.

As Mad Men approaches its end, critics have been wondering if the series will end on a uplifting or cynical note.  Don hasn’t stopped puffing away in the mid-season premiere, but it’s obvious that the popularity of one of the show’s central characters is coming to an end.

graph of Annual adult per capita cigarette consumption

 
http://www.history.com/this-day-in-history/nixon-signs-legislation-banning-cigarette-ads-on-tv-and-radio

PIDB Member William Leary to Participate in NDC Public Forum on Prioritization

We are pleased that PIDB member William (Bill) Leary will participate as a panelist at the National Declassification Center’s next public forum.

The forum’s theme is NDC Prioritization: What Secrets Do People Want to See?  This is an excellent opportunity for Mr. Leary to discuss the PIDB’s recent supplemental report, Setting Priorities: An Essential Step in Transforming Declassification, and offer commentary on the six recommendations in the report that support the need for new declassification policies that include topic-based declassification.

The forum will be held on Friday, April 10, 2015 from 10:00 a.m. until 12:00 p.m. in the William G. McGowan Theater at the National Archives Building (700 Pennsylvania Avenue, NW, Washington, DC).  We encourage you to attend the forum, which is free and open all who are interested in access to historical records(enter via the Special Events entrance on Constitution Ave and 7th street, NW).  You can find more information on the forum here.

Archivist of the United States David S. Ferriero will provide opening remarks and NDC Director Sheryl Shenberger will update the public on NDC prioritization practices and ongoing declassification progress.

The forum will feature a panel of experts addressing the topic “What Secrets Do People Want to See?”  Other panelists include historians from Government agencies, researchers, and representatives from Civil Society groups.  The forum will conclude with a question and answer session.

Session highlights include:

  • An overview of the role of provenance in archival holdings processing and arrangement, by Rick Peuser, Supervisory Archivist.
  • “Approaches to Prioritization” panel discussion with experts: David Robarge, chief historian, CIA; Stephen Randolph, The Historian, Department of State; Katherine Hawkins, National Security Fellow, OpenTheGovernment.org; Nate Jones, FOIA Coordinator, National Security Archive; William Burr, Senior Analyst, National Security Archive; and Bill Leary, Public Member, Public Interest Declassification Board (PIDB).

For additional information or to submit questions in advance question, contact Don McIlwain at don.mcilwain@nara.gov or (301) 837-0587.

Another tour! – Commonwealth Tartans

After opening our touring Hosts & Champions Exhibition at Trinity Church, Irvine, Jocelyn Grant, one of our Exhibition Assistants, provides a tour highlighting some of the items on display.

In the Hosts and Champions Exhibition in Irvine items from the Commonwealth Games Archive highlight the history of the Commonwealth Games internationally, and locally within Scotland. This includes some of the legacies that have been left behind by the Games, not only in buildings and facilities that the public can use, but in design as well. Today’s tour looks at the tartans that have been created for the Commonwealth Games in Scotland.

Another tour to follow soon!

New! Tickle-Me-Melvil!

Update: Happy April Fools Day!

Amherst College Archives and Special Collections is very excited to announce our newest product: the Tickle-Me-Melvil (Dewey) doll! Now you can have your very own squeezable, huggable version of this library icon!

Give your Tickle-Me-Melvil a good squeeze and he’ll say one of the following playful phrases:

Click to view slideshow.

Melvil Dewey created his famous Dewey Decimal Classification System here in the Amherst College library and we’re proud to honor his legacy today with this one-of-a-kind doll. You can too – order yours today!

_DSC0178

Judging Books by Their Covers

bookbindings_leather
Fig 1. Back cover. Leather binding, tooled in blind over wood boards, c. 1450 (BT769 .A56)

When it comes to studying the history of the book, the study of bookbinding presents a unique set of challenges to scholars. While today we might be tempted think of a book as an all-in-one package, whether we buy it in a bookstore or download it to an e-reader, historically the process of creating a book from conception, to publishing, to binding has been anything but neat and tidy. Prior to the mechanization of printing in the early nineteenth century, books were often bound years, even decades, after publication. Some books were bound by binders associated with publishing companies, some were “bespoke” by wealthy patrons according to their personal specifications, and others were shipped as unfolded, uncut sheets to be bound in distant countries. Since a book can be bound and rebound any number of times in its life, associating a bookbinding with a particular place, time, and bindery is at best a game of educated guesswork. Even so, bindings have a lot to tell us about the history of the book, and the FSU Special Collections & Archives rare books collections contain many notable examples of bookbinding materials and techniques.

Materials

bookbindings_fabric
Fig 2. 18th century embroidered binding with metal clasp (BR1705 .A2 V526 1547)

The most common coverings for books through the nineteenth century were those made out of animal skins, either leather or vellum.¹ One of the oldest leather bindings in our collection is on a fifteenth century Italian manuscript (fig. 1), believed to be in its original binding. Although much of the leather has worn with time, a pattern of knot-work stamps worked in blind around a filleted central panel is still visible. A manuscript like this would have taken considerable time and labor to produce, and its binding reflects its preciousness.

Leather was the material of choice for monastic and university libraries, but books owned by private (i.e. wealthy) collectors were often covered in embroidered fabrics or velvet. It is difficult to determine just how widespread the use of fabric bindings was because so many of them were not made to withstand the test of the time as well as their leather counterparts.² The embroidered binding in fig. 2 is believed to date from the eighteenth century, and it covers a 1547 Italian printed book on the lives of the Saints (Vite de Santi Padri). It is precisely these types of devotional works that were often given special coverings by their owners.

bookbindings_paper
Fig 3. Paper covering on an 18th century almanac (PQ1177 .A6 1767)

On the other end of the spectrum, increased book production after the Renaissance led to a shortage of binding materials, and cheaper methods of binding came into use to meet growing demands. By the eighteenth century, simple paper wrappings had become a common cover for inexpensive pamphlets and small-format books, such as the almanac in fig. 3.³ This copy of the 1767 Almanach des Muses, a serial of French poetry published annually from the mid-eighteenth to the early nineteenth century, is comprised of seven quires with untrimmed edges sewn together and wrapped in decorated paper, which is glued to the first and last pages of the volume. The use of blue paper was often characteristic of French paper bindings.³  Unlike modern day book jackets, these paper coverings bear no relation to the text within. Since these bindings were not designed for longevity, they often do not survive intact or are removed when the books are rebound and the pages are trimmed.

The FSU Special Collections & Archives rare book collections run the gamut from medieval manuscripts bound in tooled leather with gilt edges to untrimmed almanacs wrapped in publishers’ scraps. Their value, form, and function may vary, but they all contribute to the same history. Prior to the mechanization of book production in the early 1800s, each book was constructed by hand, and, as such, each can be thought of as a miniature work of art, just waiting to be discovered.

Katherine Hoarn is a graduate assistant in Special Collections & Archives. She is working on her Master of Library and Information Science degree at Florida State University.

Notes

1. D. Pearson, English bookbinding styles 1450-1800, London, 2005, p. 20-21

2. P. Needham, Twelve centuries of bookbindings 400-1600, New York, 1979, p. 107.

3. M. Lock, Bookbinding materials and techniques 1700-1920, Toronto, 2003, p. 48.

What’s New in the National Archives Catalog: Photographs from the Battle of the Bulge

The National Archives’ Strategic Plan includes the bold initiative to digitize our analog records and make them available for online public access.

Our new digitization strategy outlines the many approaches we will use to achieve this goal, and I am proud share with you the results of some of our recent digitization work.

Recently digitized by staff in the National Archives Still Picture Branch, these stunning color photographs from the Battle of the Bulge were taken by the U.S. Army Signal Corps in St. Vith, Belgium. The photos depict the wreckage in St. Vith in the days after units of the 7th Armored Division liberated the town in January, 1945.

Wreckage in St. Vith Belgium
Wreckage in St. Vith, Belgium. National Archives Identifier 16730732

Snowsuited Soldiers Walk through the Snow Covered Streets of St. Vith, Belgium
Snowsuited Soldiers Walk through the Snow Covered Streets of St. Vith, Belgium. National Archives Identifier 16730733

 

American Soldiers Man a Dug-In Mortar Emplacement near St. Vith, Belgium
American Soldiers Man a Dug-In Mortar Emplacement near St. Vith, Belgium. National Archives Identifier 16730734

M-4 Sherman Tanks Lined up in a Snow Covered Field, near St. Vith, Belgium
M-4 Sherman Tanks Lined up in a Snow Covered Field, near St. Vith, Belgium. National Archives Identifier 16730735

Yanks Trudge through Snow from Humpange,Belgium to St. Vith

Yanks Trudge through Snow from Humpange,Belgium to St. Vith. National Archives Identifier 16730736

I will be featuring more digitization projects in upcoming blog posts.

More photos from the Battle of the Bulge are featured on Today’s Document Tumblr, and you can read more about “The Bloodiest Battle” in Prologue Magazine.

Sidney Farber, Chemo Crusader

As a teenager growing up in Buffalo, Sidney Farber witnessed firsthand the power and mystery of a cruel disease. When he was 15, the 1918 flu epidemic hit the city with force, and —despite precautions that included the closing of almost all public spaces— Buffalo eventually lost more than 2,500 citizens to influenza.

As an adult, Farber would go on to dedicate the bulk of his career to battling perhaps the cruelest malady of all: cancer.

Shortly after graduating from Harvard Medical School, Farber started his pathology work at Children’s Hospital in Boston, regularly examining diseased tissue under a microscope. He was so troubled by the number of autopsies he was performing on young leukemia victims that after World War II he set his sights on finding a way to successfully treat pediatric leukemia patients.

At the time, the most effective cancer treatment was surgery or radiation therapy, options which didn’t work for blood cancers like leukemia and lymphoma —so virtually all leukemia patients were dying of the disease, most within a few weeks of diagnosis.

Farber was not deterred. It was well understood that leukemia was caused by immature white blood cells called blasts that arise in the bone marrow and crowd out healthy white blood cells, leaving patients unable to fight disease. He knew that folic acid, an essential vitamin, stimulated the growth and maturation of bone marrow; if he could somehow block folic acid and keep blasts from invading, he believed he could stop leukemia from becoming fatal.

A new drug called aminopterin then being tested had this folic-acid blocking ability. In November 1947, Farber and colleague Louis Diamond, MD, gave aminopterin to 16 children seriously ill with leukemia. Ten of them went into temporary remission, the first time that a drug tested as an anticancer agent had proved effective against the disease.

The results, reported in The New England Journal of Medicine in May 1948, were initially met with skepticism by many in the medical community. Over time, however, as Farber continued seeing positive results, more and more patient families began traveling to his Children’s Cancer Research Foundation clinic (today Dana-Farber Cancer Institute) for treatment.

And so, by the time Farber spoke at the New York Academy of Medicine dais on January 12, 1951 (later broadcast as a WNYC Lecture to the Laity), cancer care had entered the era of chemotherapy —treatment by drugs administered into the bloodstream— thanks in large part to his work. Rather than focus on his own success, however, Farber spends his talk recounting the work of other physician-scientists that have lead up to this point —from the 19th century cellular work of Louis Pasteur and Sydney Ringer to the fortuitous discovery during World War II that a chemical related to mustard gas used in warfare (nitrogen mustard) could help thwart cancer.

“Our discussion tonight is based upon research – most of it no older than 10 years, and as recent as this moment,” he tells the crowd. “But it is only the breakthrough which has come in these last few years. What has been accomplished is based clearly upon contributions, made through the centuries and from a variety of disciplines, by individuals and institutions scattered over the world.”

Listening to the recording of Farber’s lecture, one is reminded how far cancer treatment has come since 1951. At the time, chemotherapy could temporarily slow or stop disease, but Farber notes how the vast majority of patients were still dying. “All anti-cancer effects produced by chemical compounds are temporary in man,” he says, “with effects lasting from weeks to months – and only occasionally for periods as long as six years.”

Farber does offer hope, however, that with patience and hard work these results will continue to improve. “There will be no one V-Day when the cure of cancer will be achieved,” he says. “Progress will be achieved in spurts, with great unevenness and irregularity. . . Anti-cancer compounds are being used in daily practice now, producing effects which would have aroused intense excitement a scant five or seven years ago.”

Today the progress continues, as do the achievements. Survivorship for many cancers is now often measured in decades rather than months, and Farber’s vision has become reality.

Historical zoning maps available

We’ve made a group of zoning maps available online. These are frequently consulted by our researchers, so we’ve made them easily available to everyone.

March 1990 zoning map. Reference code PUB-: PD 2100.6.

March 1990 zoning map. Reference code PUB-: PD 2100.6.

The maps were published:

Created by the City of Vancouver Planning Department, the maps allow you to see the permitted uses of land over time. These maps are used as a first step for an environmental assessment of a site. They are also useful for those studying the history of urban planning.

Detail from March 1990 zoning map. Reference code PUB-: PD 2100.6.

Detail from March 1990 zoning map. Reference code PUB-: PD 2100.6.

Two of the maps include text explaining the zoning and its intended use.

Detail from verso of January 1998 map. Reference code PUB-: PD 2100.8-PD 2100.8.2.

Detail from verso of January 1998 map. Reference code PUB-: PD 2100.8-PD 2100.8.2.

Please let us know if you find these maps useful.

Claude Pepper and the Lend Lease Act of 1941

Committee to Defend America event flyer. Claude Pepper Papers, Series 204D.
Committee to Defend America event flyer. Claude Pepper Papers, Series 204D Box 4 Folder 17.

This year marks the 74th anniversary of the passing of the Lend Lease Bill, which allowed the sale of arms and material to the Allied Nations during the Second World War, aiding the fight against the Axis Nations until American involvement in the war helped to turn the tide fully. The President as well as like-minded Senators such as Pepper and others, knew that American involvement in the war was inevitable and that American Neutrality would last for only so long. It was to this end that President Roosevelt created the Lend Lease Act to “Further promote the defense of the United States” and it was vigorously promoted by Senator Pepper during 1940 and 1941 leading up to the act’s passage into law on March 111941 with aid lasting until September of 1945. In a press release put out on the third anniversary of the passing of Lend Lease on March 111944, Senator Pepper reflected on the benefits of its passage, which provided some $50 billion dollars in aid to Free France, Great Britain, China and the USSR:

“Secretary of War [Henry L.] Stimson has defined Lend Lease as the “program designed to hasten the day of victory by permitting us to put the weapons of victory into the hands of our allies with a flexibility based on strategic considerations.” All over the globe lend lease material and skills supplied by the United States are slowly but surely bringing the enemy to his knees preparatory to the final blow which will forever free the world from the crushing force of aggression. Everywhere that the Nazis and the Japanese are being defeated in battle, lend lease is playing a vital role.” (Claude Pepper Papers, Series 204D Box 4 Folder 17)

Telegram from Pepper to the US Senate urging aid to the Allies. Claude Pepper Papers, Series 431A.
Telegram from Pepper to the US Senate urging aid to the Allies. Claude Pepper Papers, Series 431A Box 14 Folder 18.

Up to this point, 21,000 aircraft had been furnished to the Allies along with 4,700 tanks and tank destroyers, 100,000 sub machine guns and over one million tons of steel and other metals.  Throughout the year of campaigning for the act, the young senator from Florida worked tirelessly for its eventual passage and routinely spoke at events put on by the Committee to Defend America by Aiding the Allies. During one such speech given on June 28, 1941, just a few months after the act passed, Pepper called attention to the dire need to continue American support for its allies abroad:

“They [isolationists] are those who said there would be no war in Europe, if Roosevelt did not cause it. They are those who denounced Roosevelt when he said, at Chicago, that the aggressors must be quarantined. They are those who refused to repeal the Arms Embargo and incited Hitler to unloose the dragons of war. They are those who opposed the Selective Service Act; those who fought against the Lend Lease Bill; who have thrown every possible obstacle in the path of the President, the Congress, and the people who have thus far made some contribution to the cause of stopping Hitler.” (Claude Pepper Papers, Series 203 Box 8 Folder 4)

Pepper hung in effigy, August 22, 1940. Image courtesy of the Washington Post.
Pepper hung in effigy, August 22, 1940. Image courtesy of the Washington Post. Claude Pepper Papers, Series 205 Box 1 Folder 15.

This vocal support of Lend Lease as well as the Selective Service Act earned Pepper the dislike of groups such as the Congress of American Mothers, who, fearing that their sons would be called off to fight, gathered in front of the halls of Congress and hung the Senator in effigy. The passing of the Lend Lease Bill is widely regarded as an important piece of legislation with regard to helping shorten the Second World War, which exacted a terrible cost on the world from 1939 to 1945. To learn more about Claude Pepper’s involvement during the War Years and beyond, please visit the Claude Pepper Library online, at our Facebook page or in person from 9 AM-5 PM Monday through Friday.

Play for Pay: the “Kane Controversy” of 1902

Amherst's baseball team of 1902. Dunleavy and Kane are seen sitting together in the middle row, far right.

Amherst’s baseball team of 1902, the year of the “Kane controversy.” Dunleavy and Kane (both AC 1904) are seated together in the middle row at far right. [Athletics Collection, box OS-1, folder 8]

Today all American colleges and universities are bound by the rules of the National Collegiate Athletic Association (NCAA) regarding the amateur status of their athletes. No student-athlete may compete in a sport in which he or she received compensation elsewhere. Prior to the NCAA’s founding in 1906, rules concerning pay-for-play seem to have been adopted and enforced locally, informally, and inconsistently. Amherst’s first encounter with the issue occurred in 1901 and came to a head the following year with the so-called “Kane controversy,” which was partly responsible for Amherst’s withdrawal from the Tri-Collegiate League (Amherst, Wesleyan and Williams, now known as the “Little Three”). Let’s take a look at this controversy.

At the start of the 1902 baseball season, a new set of Tri-Collegiate League rules governing student eligibility — and more importantly, the question of how those rules should be interpreted — had the entire college in confusion and uproar. In April of the previous year, representatives of the three colleges had met in Springfield to discuss professionalism. At that meeting, one player at each of the colleges was identified as having taken money for baseball, and their eligibility was challenged. At Amherst, the player in question was an outstanding left-handed pitcher named John F. Dunleavy (AC 1904). Dunleavy had definite aspirations to play major league ball and had been touted by scouts when he played a season for Malone (N.Y.) in the Northern League.

DOC542

In the spring of 1902, Amherst’s star sophomore was barred from playing because of his involvement with the Malone team, and he would never play for Amherst again. However, this did not prevent team manager Swift from hiring Dunleavy as a coach. “Dunleavy’s experience as a ball player makes him especially fitted for the position,” the Amherst Student reported on March 1 — while at the same time making him unfitted for playing. And, indeed, Dunleavy’s baseball skills were bona fide: he eventually left Amherst after his junior year and played three major-league seasons with the St. Louis Cardinals, followed by a string of engagements with minor league clubs through at least 1910.Jack_Dunleavy

It might be said that the Dunleavy case was one of several that were instrumental in establishing eligibility rules regarding professionalism, at least within the Tri-Collegiate League; and it probably also had an effect on the rules set up nationally by the NCAA after 1906.

The Kane controversy, on the other hand, presented an early case study on how those rules were to be enforced.

Frank Kane (AC 1904) came to Amherst from Maine and established himself as a talented and popular athlete. He served as gymnasium director for his class and was a very effective pitcher. If his entry from the Olio yearbook is a fair indication, he was known among his Amherst classmates for a certain rustic manliness:

DOC535“What the newspapers [had] to say about him” was plenty. Controversy started brewing on April 25, 1902, when the Wesleyan members of the Tri-Collegiate League brought charges against Kane for receiving pay for playing baseball for two teams in Maine the previous summer; further, that he played under an assumed name so as to avoid detection; and also that while he had ostensibly worked in an insurance office in Waterville that summer, “eye witnesses” there never saw him actually working in the office, and that therefore there was a strong appearance that he had merely been paid to play baseball.

After examining Kane on these charges, a “Faculty Committee on Eligibility” received “affidavits” from the managers of the two teams he had played for, stating that he had not received any remuneration. It also had a letter from his employer stating that Kane “worked regularly for me as a clerk in my office during the months of July and August.” As to playing under an assumed name, the committee “found that … there was nothing in the constitution on the eligibility rules to debar a man for [this], and further that it had been frequently permitted”! Kane was acquitted of all the charges.

In the meantime, Kane continued to play ball, and very effectively indeed, as shown in the box score below of the Tri-Collegiate championship game that Williams played under protest. Kane struck out ten Williams batters.

boxscore_1902may3

Amherst vs. Williams, May 3, 1902.

This was how formal charges were handled under the Tri-Collegiate rules: investigated and ruled upon by a supposedly unbiased and honorable faculty committee at the defendant’s host institution. Not surprisingly, Wesleyan appealed the committee’s decision. The league scheduled a hearing in Springfield on the evening of May 9, 1902. The arguments essentially came down to circumstantial evidence, not entirely credible testimony, and a strong whiff of insincerity. By the time the parties adjourned at 1 a.m., the vote was 2-1 to declare Kane ineligible. The whole outcome was reported in great detail in a special issue of the Amherst Student of May 12:may12amay12b


Kane’s ouster from Tri-Collegiate play was, according to Amherst administrators, the last straw in what was vaguely referred to as an increasingly strained relationship with Wesleyan and Williams. At a mass meeting of students, faculty and administrators, the college decided to withdraw from the league at the end of the season. This decision not only affected baseball, but all Amherst athletic teams in the following year. Interestingly, Frank Kane was allowed to play on the team for the 1903 season, since the only rules he officially violated were those of the Tri-Collegiate League. A few years later, Amherst would be bound by much more comprehensive NCAA rules regarding pay-for-play.

may20_boston

Suzanne Fernando – An interview with a Queen’s Baton Bearer from Irvine

Jocelyn Grant, one of our Exhibition Assistants, interviews Suzanne Fernando, a Queen’s Baton Bearer in Irvine, Trinity Church at the Hosts and Champions Exhibition.

During one of my visits to the Hosts and Champions Exhibition to record footage for a series of tours that highlight different aspects of the exhibition, I had the delight of meeting Suzanne Fernando. Both Suzanne and her daughter were selected to be Baton Bearers during the Glasgow 2014 Commonwealth Games. Here is what she has to say about the experience. Additional footage has been supplied courtesy of Glasgow 2014 Commonwealth Games Scotland.

Defining (and Challenging) the Book

The Poems of William Shakespeare from the Kelmscott Collection, published 1893
The Poems of William Shakespeare from the Kelmscott Collection, published 1893

How do you define “the book”?

What functions do books serve?

What are the essential qualities of a book?

How have these characteristics changed over time?

Those are a sample of the questions raised during the Special Collections & Archives instruction sessions for the “Introduction to the History of Text Technology” classes (ENG 3803) and the “What is a Text” class (ENG 4815).  For each class, we pull a variety of relevant materials from the Rare Books Collection, encouraging students to interact with the materials during the class session.  The visit to Special Collections is an opportunity for students to explore in-depth the specific class themes by engaging with the rare and unique materials in Special Collections & Archives.

"Venus and Adonis," from The Poems of William Shakespeare, published by the Kelmscott Press, 1893
“Venus and Adonis,” from The Poems of William Shakespeare, published by the Kelmscott Press, 1893

The concept of the codex (as seen above and left with The Poems of William Shakespeare) dominates initial discussion on the form and function of a book.  But for the “Introduction to the History of Text Technology” class, we’ve placed nineteenth century ledgers alongside Babylonian cuneiform tablets that detail temple transactions from 2350 BCE, illustrating a continuity in the function, if not form of the text (see the FSU Digital Libraryrare booksrare for more information on the Cuneiform Tablet collection).  For the “What is a Text?” class, students’ notions of what constitutes the essential characteristics of a book is challenged by materials from the Special Collections & Archives Artists’ Book Collection.

From the Artists' Book Collection, Fam-i-ly:  a Book by Rita MacDonald, for more information, see here
From the Artists’ Book Collection, Fam-i-ly: a Book by Rita MacDonald, for more information, see here

An artist’s book plays with the form and function of a book.  By reinterpreting the text, images, or the very structure of the codex, an artist’s book pushes at the boundaries of what the essential qualities of a book should be.  According to Johanna Drucker, artist and critic, the artist’s book “interrogates the conceptual or material form of the book as part of its intention, thematic interests, or production activities.”1

Many of the artists books from Special Collections & Archives abandon the structure of the codex entirely (as seen in the artist book, Fam-i-ly: a Book by Rita MacDonald, pictured right and Julie Chen’s A Guide to Higher Learning, pictured below).  Other artists books play with the connection between text, image, and structure, such as in Emily Martin’s More Slices of Pie.

Special Collections & Archives has a rich collection of artists’ books, from a portfolio containing Alice’s Adventures in Wonderland illustrated by Salvador Dali to books created in the last decade that expand our notions of the essential qualities of a book.  Each artist book contained in the collection is unique.  Through the artist’s interpretation of text, image, and structure, the question of how to define a book is given new meaning.

For more information about artists’ books, check out this Research Guide here.

From the  Artist's Book Collection, Julie Chen's A Guide to Higher Learning.  For more information,  see here.
Julie Chen’s A Guide to Higher Learning. From the Special Collections & Archives Artists’ Books Collection.  For more information on this book, see here.

1 As cited by Megan L. Benton, “The Book as Art,” in A Companion to the History of the Book, eds. Simon Eliot and Jonathan Rose, Malden, MA: Blackwell Publishing, 2007: pg. 505.

Rebecca L. Bramlett is a graduate assistant in the Special Collections & Archives Division.  She is working on her Master of Library and Information Science at Florida State University.

Digitization challenges – a discussion in progress

Internet Archive book scanner | Wikimedia Commons

It has been some time since we hosted our Digitization Matters symposium, which led to our report, Shifting Gears. This event and findings from the surveys of archives and special collections in the US and Canada, and  the UK and Ireland have helped to shape our work in the OCLC Research Library Partnership for some time. However, we felt like enough time had gone by, and enough had changed that it was time for us to begin some new discussions in order to frame future work.

We often hear from library colleagues that they continue to experience challenges associated with digitization of collections, so earlier this month we hosted some discussions (via WebEx) to try to get a handle on what some of those challenges are. Prior to the conversations, we asked participants to characterize their digitization challenges, and then did some rough analysis on the responses. Challenges fell into a number of areas.

  • Rights issues (copyright, privacy)
  • Born Digital, web harvesting
  • Issues with digital asset management systems (DAMS) or institutional repositories (IR)
  • Storage and preservation
  • Metadata: Item-level description vs collection descriptions
  • Process management / workflow / shift from projects to programs
  • Selection – prioritizing users over curators and funders
  • Audio/Visual materials
  • Access: are we putting things where scholars can find them?

We opted not to include the first four issues in our initial discussion — copyright, and rights issues in general, are quite complicated (and with a group that includes people from Canada, Europe, Asia, Australia, and New Zealand I’m not sure we could address it well). We have done quite a bit of work on born digital (and are currently investigating some areas related to web harvesting). At least for our first foray, discussions on DAMS and IRs seemed like they could have gone down a very tool-specific path. Likewise with storage and preservation. Even taking these juicy topics off the table, we still found we had plenty to chew on.

Metadata: Item-level description vs collection descriptions

Many of our discussion participants are digitizing archival collections — there is an inherent challenge in digitizing collections at the item or page level when the bulk of the description is at a collection level. People described “resistance” to costly item level description, and a desire to find an “adequate” aggregate description. On the other hand, there was an acknowledgement of the tension between keeping costs down and satisfying users who may have different expectations. A key here may be a more nuanced view of context — for correspondence, an archival approach may be fine. In other circumstances, not. Some institutions are digitizing collections (such as papyri) where the ability to describe the items is not resident in the library. How can we engage scholars to help us with this part of our work?

Process management / workflow / shift from projects to programs

Many institutions are still very much in project mode, looking to transition to programs. For those who have or are working towards digitization programs, there is a struggle to get stakeholders all on the same page: at some institutions, the content owners, metadata production unit, and technical teams seldom if ever come together; here, getting all parties together to establish shared expectations is essential. Some institutions are looking to establish workflows that will more effectively allow them to leverage patron-driven requests, while others are thinking about the implications of contributing content to aggregators like DPLA. One institution has started scanning with student employees — when students have a few minutes here or there, they can sit down at a scanning station and scan for 10-15 minutes — this leads to a steady stream of content.

Selection – prioritizing users over curators and funders

Many institutions are still operating under a model whereby curators or subject librarians feed the selection pool, either through a formal or informal process. Even in these models, it can be difficult to get input from all — there tend to be a small pool of people who engage in the process. At one institution, people who come with a digitization request are also asked to serve as “champions” and are expected to bring something to the project — contributing student hours to enhance metadata, for example. One institutions views selection as coming through three streams — donor initiated, vendor or commercial partner initiated, and initiated by the curatorial group (emphasizing that the three are not mutually exclusive). Another institution is looking at analytics and finding that curator initiated requests generate less online traffic than patron initiated requests. In a similar vein, a third institution is looking at what is being used in the reading room and considering making digitization requests based on that information. Even though people’s survey responses indicated that they would like to move selection more towards directly serving researchers needs, from the discussion I’d observe that few institutions have established models to do so.

Audio/Visual materials

As with born digital, everyone has A/V materials in their collection, and making them more accessible is a concern. A participant from one institution observed that they see key differences in interest for these formats — for example, filmmakers, not scholars, are the people who will seek out video. If there is a transcript for materials, that may impact demand. A/V projects tend to focus on at-risk materials, since costs are so high. Some institutions are beefing up their reformatting capacities, in anticipation of needing to act on these materials. If you are interested in this area, you will want to track the activities of the  (US based) Federal Agencies Audio-Visual Working Group.

Access: are we putting things where scholars can find them

For many institutions, aggregation is the name of the game, and thinking as a community about aggregating content is key: “Standalone silos don’t help users find our things.” Whether materials are in discovery repositories that are hosted by the institution or elsewhere, discoverability and user experience are concerns. One institution assigns students to search for materials via Google and in repositories. Are collections findable?

Thanks to all who took part in our discussions! I hope we’ll have more to report in the future.

 

 

The Ticker of Times Square

Times Square is an icon, a Hollywood backdrop, the heart of the Big Apple, and One Times Square sits right at its center. The “Times Tower” was built for The New York Times in 1904, and Longacre Square was renamed Times Square in honor of the newspaper. In 1908, the owner of the Times, Adolph Ochs, organized the first New Year’s Eve ball drop. The electric news ticker sign – “The Zipper” – went up in 1928, displaying headlines within a minute of a story breaking. The Times had moved their headquarters one block west by then, but they still maintained ownership of the building.

In this episode of New York: A Portrait in Sound, you’ll hear from the people who kept the sign running each day until closing at midnight each night. The lights of Times Square may shine 24/7 now in the city that never sleeps, but this piece brings us back to a time when even Times Square went to bed.

The New York Times no longer owns the building or the news ticker, but Times Square has remained an exciting hub of the city. More about the history of One Times Square can be discovered through this timeline.

 

Prioritization and the National Declassification Center

In our 2014 supplemental report, Setting Priorities: An Essential Step in Transforming Declassification, the PIDB advocated for a coordinated, government-wide approach to declassifying information based on those records most sought after and of most historical significance to the public.  To this end, we believe topic-based prioritization is a viable alternative to prioritizing records simply by age and level of difficulty and effort to review.  Prioritization is one component of the overall transformation needed to sustain declassification given the growth of information across government and the dwindling resources available to agencies.

We are looking forward to participating in the upcoming NDC public forum.  This forum will focus on the topic of prioritization for improved declassification.  A member of the PIDB plans to discuss the six recommendations from our Setting Priorities supplemental report and provide comments on next steps in making topic-based prioritization a possibility in government.

The NDC completed the quality assurance review of over 351 million pages of records, commonly referred to as the “backlog,” in February 2014.  We are pleased to know the NDC is using this forum as a way to involve the public and stakeholders to improve its processes now that the “backlog” has been retired.  With this large challenge completed, there is an opportunity to rethink how the NDC and agencies operate and how they may prioritize records for declassification review so that those of most importance to the public are processed first.  We are thankful for the opportunity to begin dialog on this topic and look forward to the NDC public forum.

Please continue to follow our blog, Transforming Classification, to learn more details about our participation in the upcoming NDC public forum.

A Small Tour of Our Commonwealth Mascots!

Continuing with our tours of the Hosts & Champions Exhibition at Trinity Church, Irvine, Jocelyn Grant, one of our Exhibition Assistants, introduces some of the mascots on display.

A family favourite, mascots are now a staple of the Commonwealth Games. Starting from Mac in 1986, Glasgow 2014’s mascot was an adorable thistle that won the hearts of the city during the Games. There are however several mascots that have featured internationally as the Games has travelled across the Commonwealth. Here are a few that are currently housed in the Hosts and Champions Exhibition.

The Travels of a Fox on His Way to the Grapes

The Shaw Childhood in Poetry Collection has just received the gift of a crocheted representation of Aesop’s fable “The Fox and the Grapes.”

A Seychelles Crochet, “The Fox and the Grapes,” ca. 18th C. Gift of Jacqueline Dupont, PhD 1962 FSU, to the Shaw Collection, March 2015.
A Seychelles Crochet, “The Fox and the Grapes,” ca. 18th century. Gift of Jacqueline Dupont, PhD 1962, to the Shaw Collection, March 2015.

Sometime many years ago, an industrious native of The Seychelles, a country of islands nearest to Africa in the Indian Ocean, used a crochet hook to knot this piece of fabric art. Early in the 20th century, Louise Dupont, another native of The Seychelles, immigrated to England and then to Florida. In 1938, on a return holiday to her birthplace, she obtained this piece of fabric and brought it back to the United States with her.

Detail of an illustration designed by Thomas Bewick in the 18th century, from the book Bewick’s select fables of Aesop and others . . .with wood engravings by Thomas Bewick; Longmans, Green 1878.
Detail of an illustration from the book Bewick’s select fables of Aesop and others by Thomas Bewick. London: Longmans, Green, and Co. 1878.

In the 1960s Louise was living in Plant City, Florida near her son’s family when her granddaughter, Jacqueline Dupont, came to Florida State University to study for her Doctorate. When she graduated, Jackie arranged for her family members to stay with local Tallahassee friends. She chose John and Lillian Shaw to host her Grandmere Louise. By this time, John Shaw had given his Childhood in Poetry books, including editions of Aesop’s Fables, to Florida State.

From Aesop's Fables, Coblentz and Syverson. Norwalk: C.R. Gibson Co. 1968.
From Aesop’s Fables, Coblentz and Syverson. Norwalk: C.R. Gibson Co. 1968.

Having worked closely together, Jackie and her major professor Harvye Lewis remained friends after she graduated and Harvye moved to Louisiana State University in Baton Rouge. Her Grandmere Louise presented this piece of Seychelles crochet to Harvye in 1974 in gratitude and respect for Harvye’s mentoring and friendship with her granddaughter. Harvye had it framed and wrote a note on the back of it indicating that it “should be given to Jacqueline L. Dupont.”

When Harvye died in 1998, Jackie, recognizing that “The Fox and the Grapes” would appear often in the Shaw Childhood in Poetry Collection, gave it to John Shaw’s daughter, Cathmar Prange, in whose Iowa home it hung ever since Harvye’s death.

After traveling halfway around the world and thousands more miles within the United States, this fox has been delivered to his final stop in Strozier Library’s Special Collections & Archives at Florida State. He is yet to get the grapes however.

Illustration from Aesop's Fables by Percy J. Billinghurst. Ware: Omega Books Ltd. 1984.
Illustration from Aesop’s Fables by Percy J. Billinghurst. Ware: Omega Books Ltd. 1984.

Cathmar Prange is a long time volunteer and donor to Special Collections & Archives and every winter, shares her time in helping to curate and grow her father’s, John Mackay Shaw, collection.

Team Scotland Uniforms! – A Tour of Irvine, Trinity Church

After opening our touring Hosts & Champions Exhibition at Trinity Church, Irvine, Jocelyn Grant, one of our Exhibition Assistants, provides a tour highlighting some of the items on display.

After our successful preview and opening last Friday we have received some wonderful feedback from visitors to the exhibition, who have been delighted by some of the items on display, and have started contributing more things! These contributions will no doubt be incorporated and featured in future venues when this exhibition begins to tour round the country. To celebrate this and highlight some of the themes that are currently present in the unique displays for this venue, I am happy to present a small tour of the Team Scotland Uniforms!


Stay tuned for more highlights soon!

Post Post, A Sampling and Tribute to Some Classic Live Morning Music Moments

Steve Post was the antidote to an industry riddled with chronic cheerfulness. With the world going to hell in a hand basket, how could we possibly  listen to a morning radio personality who sounds like they’re smiling or even about to chuckle or laugh?  For the hard-core tsoris-laden New Yorker there was only one choice and that was Morning Music host Steve Post. His sarcasm, wit, rants, puns, droll observations and commentary with a classical playlist even made listening to fundraising perversely entertaining.

Like a lot of people, I grew up listening to Post on WBAI. There he honed his dyspepsia and futilitarian world view only to release it, fully matured (or immature as the case may be) on WNYC listeners couched in a kind of cranky poise and resonant voice that somehow made my half empty glass, half full.

What exactly was it in Steve’s live nihilist radio recipe through the 1980s and 90s that somehow girded us to face another modern day in New York City and its environs?  Could it have been the artful station identifications?

Perhaps it was his style of news delivery developed long before Howard Beale’s Network rant.

Or, maybe it was Steve’s insights into the weather?

His respect for authority?

Could it have been his keen sense of self?

Or maybe it was just the theme (Chopin’s Marzurka in C Major (Op. 24 No. 2)) and tone set at the beginning of each Morning Music program?

And just how did Steve, as he liked to say, “get away with it?” After all, he was pretty much free to say whatever entered his head, within the bounds of the law. Indeed, he retained creative control over the spoken portion of his program, a rare thing in broadcasting. Remember, this is before XM and Sirus radio, before webcasting and podcasting. In a 1996 tribute to former WNYC President Mary Perot Nichols, Post explained it this way:

After the demise of Morning Music in the wake of 9/11,  Steve went on to many more years of perfecting his art of broadcasting on The No Show, a weekly compendium of whatever was on his mind. Sadly, Steve passed away August 3, 2014 at the age of 70. He is recalled here, by Executive Producer and former Sunday Best host, Sara Fishko.

There will be a memorial for Steve this Friday evening at 6 PM at Symphony Space. For more information see: Post Memorial.

Steve, you are missed.

 

 Thanks to Irene Trudel and Sara Fishko for contributing some of these vital bits of Steve.

Black Lives of Amherst College: Non-Alumni Edition

I am currently putting the finishing touches on our new exhibition: Race & Rebellion at Amherst College. This exhibition explores the history of student activism and issues of race, beginning with the founding of the Anti-Slavery Society in 1833 and the “Gorham Rebellion” of 1837 through the takeover of campus buildings by black student activists in the 1970s. No exhibition on a subject as broad and complicated as race can ever claim to be truly comprehensive and all-inclusive. This exhibition focuses on recovering the deeper history of African-American lives at Amherst College between 1826 and the late 1970s; we could just as easily have mounted an entire exhibition about more recent events of the last 25 – 50 years.

Two books about Amherst’s black alumni have been published: Black Men of Amherst (1976) by Harold Wade, Jr. and Black Women of Amherst College (1999) by Mavis Campbell. Both of these books need to be revised and brought up to date. One theme in the exhibition is the recovery of black lives at the college that were not included in either published volume. In some cases, we have identified African-American students who graduated from Amherst in the 19th century who were not included in Black Men of Amherst, but there are entire categories of people who were intentionally left out of both books.

Prof Charley

The first category is that of service staff at the college. Charles Thompson, for example, was born in Portland, Maine in 1838, spent some time in Boston then worked on three long sea voyages before returning to Boston to work as a coachman. Sometime in 1856 or 1857, Charles Thompson came to work at Amherst College, where he spent the rest of his life in service.

As fraternities began to build and manage their own houses in the 1870s and 1880s, many employed black servants.

Beta-Theta-Pi - Copy

The solitary black figure at the back of this group portrait of the members of Beta Theta Pi fraternity in 1890 is identified as “Olmstead Smith ‘The Dark’” on the back of this photograph. The large feather duster in his hand emphasizes Smith’s position as the fraternity custodian.

Delta_Upsilon_1908

This fraternity group portrait also includes a single African-American, Perry Roberts. Perry Roberts served as the custodian for Delta Upsilon from approximately 1882 until the early twentieth century. Delta Upsilon group photos regularly show Roberts seated front and center holding the fraternity seal.

James Denton

Although Edward Jones was the first African-American to graduate from Amherst back in 1826, it wasn’t until 1964 that the college hired its first black faculty member. Professor James Q. Denton taught mathematics and statistics at Amherst until his retirement in 2005.

Sonia Sanchez

Poet, activist, and scholar Sonia Sanchez was the first African-American woman to join the faculty at Amherst College. She arrived as a visiting assistant professor in 1972 and left for a position at Temple University in 1975.

Andrea Rushing

Professor Sanchez was soon followed by Andrea Rushing who was hired in 1974 to teach Black Studies and English. She retired in 2010.

Mavis Campbell

Mavis Campbell, author of Black Women of Amherst College, came to campus in 1976 to teach Black Studies and History. She retired in 2006.

These names and faces just scratch the surface of the multiple lives of people of color at Amherst College. In this exhibition we have chosen to focus specifically on African-American individuals, but we encourage others to use the resources of the Archives to explore other minority groups and their experiences at the college.

Always a Harding at Florida State

mary
Mary Agnes Harding was a member of the Home Economics Club
winnifred_yearbook
Winnifred Harding, class of 1945

In 1938, Mary Agnes Harding transferred to FSCW from Florida Southern College. Little did she and her family know that she would be the first in line of Harding siblings to attend Florida State – her four sisters Winnie, Doris, Lena, and Lucy, and her brother Edward, would also attend Florida State over a 17 year period. From 1938 through 1955, there was always a Harding at Florida State.

lena_yearbook
Lena Harding, class of 1947

When Mary first moved to Tallahassee, she lived in an off campus house for college students. She recalled a time in winter, when it was particularly cold out, leaving a heater near the bottom of the stairs and a fire breaking out. Because the students weren’t able to go down the stairs to exit the building, they jumped out the windows or climbed onto tree limbs. Mary remembers that she jumped into a ligustrum that was just outside her window. After the fire, FSCW found room for everyone on campus, and Mary moved into Reynolds Hall. Aside from studying for her major in home economics, Mary enjoyed going to Camp Flastacowo on the weekends, and walking to see movies at the theatre with her friends.

lucille_yearbook
Lucille Harding, class of 1949

The Harding family tradition of attending Florida State was carried on by Winifred (or “Winnie”) who went on to be a laboratory technician; Lena, who taught business education; Lucille (or “Lucy”), who taught physical education; Doris, the sister they all called “the brain” (Mary remarked that Doris “graduated Cum Laude – the rest of us just graduated”) worked for the U.S. Geological Survey; and Edward, the last Harding sibling to graduate from FSU studied industrial arts education.

doris_yearbook
Doris Harding, class of 1951

After graduating in 1940, Mary married Ken Galbreath, and they started a dairy farm in Fruitland Park, FL, and also taught for over 40 years. She continues to live on the farm they started with her family.

edward_yearbook
Edward Harding, class of 1955

To see more photographs, ephemera, and artifacts related to the history of Florida State, check out the FSU Heritage Protocol Digital Collections or like the Heritage Protocol Facebook page.

 

Sunshine Week and Open Government Progress

We are pleased to announce the Presidential appointments of Ms. Laura A. DeBonis and Mr. Solomon B. Watson, IV as members to the PIDB on March 12, 2015.  It is fitting that the newest members of the PIDB are able to participate in our executive session meeting being held today.  As we reflect on the significance of Sunshine Week and public access to Government information, we intend to use our meeting today to both review what has happened in the past year and decide on plans for the coming year.  We will take a detailed look at past year Government accomplishments to see what policymakers and practitioners have made to advance open government initiatives, particularly those committed to the transformation of the security classification system.  We will also take this opportunity to see what challenges and impediments still exist and see where we may be able to advocate for more change and modernization.

The National Archives and the Central Intelligence Agency earned well-deserved praise for the pilot projects they spearheaded at the Center for Content Understanding (CCU). We were able to view firsthand their accomplishments when we traveled to the Applied Research Laboratory at the University of Texas at Austin in September 2014.  Some of the technologies developed at the CCU are already in use at the CIA and are leading to improved efficiency and better reviews overall.  Still, we will continue to advocate for the adoption and use of these technologies across declassification programs in the Government, including at the National Declassification Center.  Although the records included in the pilot project are not yet publicly available, the results are an important step forward to declassification modernization.

Another open government commitment of particular interest to the PIDB is for change in the treatment of obsolete historical nuclear information.  We were excited to hear that the Department of Defense (DoD) created the Formerly Restricted Data (FRD) Working Group in response to this National Action Plan commitment and were pleased to learn that DoD made reviewing obsolete FRD information for declassification its flagship open government initiative.  Just last week, the DoD updated its website to show the eight facts it declassified through the working group process and in cooperation with the Departments of Energy and State.

Still, we believe there is more work to be done on both these important initiatives to wholly fulfill their commitments included in the Second National Action Plan for Open Government.  We urge senior leaders to increase actions, allow for wider implementation, and greater public access to the Reagan email collection and no longer sensitive nuclear information that is of historical interest.  Additionally, we hope to see agencies increasing public access to Government information of interest to the public, a focus of our Setting Priorities report to the President last year.

As Sunshine Week continues, we will comment more on open government initiatives. We want to thank the hardworking professionals who conduct declassification and access reviews at the agencies for their dedication to Government transparency and thank them for their work on behalf of the public.

 

How Irish Tape Saved Civilization

Besides Scotch tape of the sticky kind, those in the audio world know about Scotch audio tape. But what about Irish brand tape? Turns out that its creator, John Herbert Orr, survived a land mine and near financial ruin in order to pursue his dream: bringing audio tape technology to the United States.

It all started on a fateful day in late spring 1945, when thirty-five American and British men, most of whom worked in war intelligence or propaganda, gathered in the studios of Radio Luxembourg. The station, which during the war had been one of the most powerful stations in Europe, had recently been captured from German hands; but the retreating army had willfully destroyed much of the facilities. As a consequence it had taken a team of Allied engineers a few months to rebuild the station, during which they had learned firsthand about advances in German technology —advances which had, until then, been hidden behind enemy lines. But nothing had prepared the thirty-five men present for what they witnessed that day: a rebuilt German Magnetophon, or tape recorder, played back sound that was virtually indistinguishable from the original, with a lifelike presence far beyond what American and British recording technology allowed at the time.

Among the seventeen engineers present at that demonstration was John Herbert Orr, the son of Alabama farmers whose passion for radio and electronics had led him, through a tortuous path, to work for the Anglo-American Psychological Warfare Division. For Orr, the demonstration only confirmed his suspicion that Adolf Hitler’s speeches were often not broadcast live, but recorded using this technology. Orr, charged with tracking Hitler’s movements, had been puzzled at the speed with which the Nazi leader had seemingly moved from the location of one broadcast speech to another. He had learned about German tape recording technology the previous year, and had strongly suspected that this was the answer. Now he was certain, and he became obsessed with the technology.

A spectacular blunder gave Orr the opportunity to put his obsession to work. Radio engineers at Radio Luxembourg, who often re-used the plentiful stock of audio tape from the studios, were broadcasting a pre-recorded speech by Eisenhower when suddenly the general’s voice faded and instead an animated voice took over the airwaves –the sound of a previously recorded speech by the Führer, once again broadcast over the most powerful station in central Europe. This went on for several minutes before the engineers realized their gaffe; Eisenhower, none too pleased, issued an order that only new tape be used for broadcasting. Orr was the logical man to be put in charge of re-starting tape manufacturing, and consequently he traveled around occupied Germany learning all about the technology from local engineers. –especially BASF’s Karl Pfaulmer, with whom he became friends.

During one of these research trips, Orr almost lost his life when his Jeep hit a land mine. But the accident brought an unexpected result: while recuperating in a hospital, Pfaulmer gave Orr his version of the philosopher’s stone —all the known formulas for tape manufacturing, contained in a small envelope.

Armed with all this knowledge (and some machines), John Hebert Orr returned to Alabama in late 1945 and continued to experiment with tape manufacturing. Four years later he founded OrRadio and started selling Irish brand audio tape (The name incited controversy for its perceived parallels with 3M’s Scotch tape, but Orr always claimed sprung from an Irish nurse, Molly, he befriended while at hospital). Orr’s nascent company was plagued by technical and financial difficulties for years, but the years 1952-53 proved to be a turning point. In 1952 he hired engineer Herbert Hard, who two years later developed the “Ferro-Sheen” process.

    

Thanks to this process, which involves heating the tape during manufacturing (during his experiments, Hard ruined at least one of his wife’s irons), Irish brand tape became 60 years ago one of the world’s finest. But Orr knew that technical advances were only part of the equation: he also hired Nathaniel Welch, who designed clever advertising campaigns (including the leprechaun F. R. O’Sheen) and focused on the home “hi-fi” market. Swiftly, sales went up 307% in two years, and OrRadio became an established competitor to manufacturing giants 3M and Ampex. Orr’s dream had finally come true.

For the rest of the twentieth century, the magnetic recording industry would blossom into what we have today —a world of data tape, massive servers and solid state cards (one of Orr’s original designs was a primitive magnetic disk very much like today’s hard drives). Orr would later claim that the men who developed this entire industry in the U.S. were all —to a man— at that fateful presentation in 1945. As for Orr himself, in 1960 Ampex bought his company, and he went on to pursue other technologies (including early prototypes of the 8-track). An industrial park in Opelika, Ala., is named after him –and the colorful designs of his tape boxes live on in innumerable collections.

 

You can hear above some Irish tape being put through its paces in a recording of a 1957 concert by WNYC’s David Randolph of Bach’s B-minor Mass–definitely some oversaturation and dropouts going on, but not bad!

Participate in the #1000pages Transcription Challenge

Calling all history enthusiasts and citizen archivists! Participate in the Transcription Challenge this week and help us meet — and surpass! — our goal of transcribing more than 1000 pages.

Join us in celebrating Sunshine Week and transcribe records in our new National Archives Catalog. We’ll be tracking our progress every day this week, so help us get to 1000 pages by Monday, March 23.
#1000pages graphic
Visit the Transcription Challenge webpage for more information. Use the hashtag #1000pages and tweet us @USNatArchives. Share with us what you discover in the records.

We have millions of pages of handwritten and typed documents that are waiting for you. Check out all of our Transcription Missions, or search for your favorite records.

You could work on transcribing more than 100 pages of the widow’s pension file for Harriet Tubman Davis or use your skills to read the difficult handwriting in the Papers of the Continental Congress.


Congress
Deposition of John Robins Regarding Hostilities at Lexington.
Transcribe this record

You can transcribe any record in the catalog by using the “View/Add Contributions” button underneath the digitized records. You’ll need to create a login to transcribe.

Since it’s Sunshine Week, it’s a great time to work on transcribing declassified records we have online.  You’ll see a classification and declassification markings, along with evidence of important historical events.  You can help transcribe National Security Decision Directives (NSDDs), like the image below:


Space Policy document
NSDD 42 National Space Policy, 7/4/1982.
Transcribe this record.

Transcribing is fun, but also an important open government activity.  Celebrate Sunshine Week with the National Archives and help us get to #1000pages!

Pete Seeger in Conversation with Steve Post

In 2002 WNYC’s Steve Post celebrated Pete Seeger’s 84th birthday with a double show featuring the legendary singer in conversation and song. We present selections from those conversations and the original liner notes (below) from the limited-release CD that ensued the following year, entitled Little by Little.

 

PERHAPS NO OTHER SINGLE PERSON HAS DONE MORE TO preserve the heritage of folk music and to pass it down to generations of young people than has Pete Seeger. / I have had the good fortune to meet Pete Seeger several times through the years, but it was not until last spring, on the occasion of his 84th birthday, that I had the opportunity to get him into a studio and interview him. I was surprised when he showed up carrying his banjo, and I was delighted that he played and sang for much of the hour I spent with him. / That hour was a highlight of my generally low-lit life. And these two CDs preserve the experience and provide a sketch—in music and conversation—of the man, his life, and his work. / The first CD deals with Pete’s early years on the folk scene from the time he dropped out of Harvard to accompany Alan Lomax on a field recording trip through the American south, to his travels with Woody Guthrie, and his association with first the Almanac Singers and later The Weavers. Pete discusses his lifelong commitment to social activism and how he developed “cultural guerilla tactics” to counter McCarthyism’s attack on his career and his art. This CD also contains a rare recording of my producer and me singing along with Seeger on his new composition, “Take It From Dr. King.” (The reason for the rarity of the occasion will be self-evident.) / This CD concludes with Pete reciting—from memory—a poem that sums up much of Pete’s philosophy: “The Republic of Conscience,” by Seamus Heaney. / The second CD continues to examine the marriage of art and politics that forms Seeger’s social activism. He relates his experience at a Paul Robeson concert in 1949 in Peekskill, New York, when he and his wife, Toshi, barely escaped a stone-throwing mob, as his most formative political experience. Pete used some of the stones that smashed into his car to build the fireplace in his home, and the song, “Hold the Line,” which he wrote with Lee Hays, commemorated the attack. Although Pete was always there, his music and activism first had an impact on people of my generation during the Civil Rights Movement of the 1960’s and the Vietnam War. He discusses the role of music in the struggles of the 60’s and segues into a discussion of his later work on behalf of the environment. But it was in response to my question as to what has sustained him in the face of many political setbacks that Pete demonstrated a deep faith in the unprovability of human society. His parting words to us express both his personal determination and summarize his moral philosophy: “Well, you keep on keepin’ on.”

I should be so lucky.

Steve Post September 2003

PRODUCER FRANK MILLSPAUGH / ENGINEER GEORGE EDWARDS / RECORDING ENGINEER IRENE TRUDEL / CONSULTANTS EDWARD HABER & LAURA ROSENBERG /

Third wave of BC Sugar records now available

We are pleased to announce the public release of the third batch of records from the British Columbia Sugar Refining Company fonds (BC Sugar), donated to the Archives in 2011 by Lantic Inc.

The records of BC Sugar document the activities of Vancouver’s first large-scale industrial operation that was not a sawmill or related to the railways. The company continues to operate its historic refinery on Vancouver’s waterfront to this day.

This third release focuses on the holdings of the BC Sugar Museum, founded as a unit at BC Sugar in the mid-1970s. This release predominantly consists of photographs that document the full range of activities at BC Sugar and its Canadian subsidiaries, the life of the Rogers family, and other sugar refineries in Canada, including:

  • photographs documenting construction and renovations at the refineries in Vancouver; Raymond, Taber, and Picture Butte, Alberta and Fort Garry, Manitoba; and photographs of staff and operations in the refineries;
  • photographs acquired from and about the Rogers family;
  • material displayed by the BC Sugar Museum at their purpose-built display rooms at the Vancouver refinery; and
  • small additions to a number of non-photographic records series.

We hope to make most of the photographs available online later this year; for now they are available only in their original format in the Archives’ reading room.

Finds in this third release of records include photographs from the Rogers family, many of them documenting the family’s active social life. These photographs, acquired by the BC Sugar Museum, complement the many photographs in the Rogers family fonds (AM1368).

B.T. [Benjamin Tingley] Rogers and Margaret swimming; Reference code: AM1592-1-S2-F08 : 2011-092.3807.

B.T. [Benjamin Tingley] Rogers and Margaret swimming; Reference code: AM1592-1-S2-F08 : 2011-092.3807.

In the 1940s, BC Sugar embarked on a twenty-year reconstruction program, replacing or expanding many of the original structures at the refinery. These projects are well documented in this release, which includes a large body of progress photographs.

Construction of new office building: framing second floor; Reference code AM1592-1-S2-F06: 2011-092.1976.

Construction of new office building: framing second floor; Reference code AM1592-1-S2-F06: 2011-092.1976.

A variety of photographs which document the staff of the Vancouver and other refineries, both at work and at play, are included in this release. This release includes a number of photographs of staff picnics and other social events, as well as staff at work in the refinery.

Women workers in cube department; Reference code: AM1592-1-S2-F01 : 2011-092.0467.

Women workers in cube department; Reference code: AM1592-1-S2-F01 : 2011-092.0467.

Additions to the fonds will be released over time as the records are processed. These later additions will include the company’s extensive collection of sugar-related publications and periodicals, more architectural drawings of the various refineries and small additions to various records and photograph series. Stay tuned for further information!

The City of Vancouver Archives would like to thank Lantic Inc. for its financial support for the archival processing of the BC Sugar fonds, which has made it possible for the Archives to make these records available to the public at this time.

Lantic corporate logo

 

 

Maps of the Caribbean

The Florida State University Digital Library (FSUDL) has been a contributing member of the Digital Library of the Caribbean (DLOC) since its formation in 2004. Since then, the FSUDL has uploaded historic and rare maps of the islands to DLOC. These maps were created by some of the world’s most talented cartographers and explorers and our oldest map, created by Abraham Ortelius, dates all the way back to 1584.

IMG_20150223_161831
Abraham Ortelius’ map, Pervviae avriferæ regionis typvs

The FSU Digital Library Center was asked by DLOC to contribute to the collection by selecting and photographing some of the unique maps held here in Special Collections & Archives at Florida State University. The intention was to expand the scope and geographic area of the existing DLOC collection and, once the maps were uploaded to the Digital Library, they would be made viewable to the public. The availability of these digital images will help reduce the wear-and-tear caused by repeated handling of these fragile maps.

wholemap
Carte du Golphe du Mexique et des isles Antilles

In addition to adding more maps to the collection, the Digital Library Center at FSU decided to re-photograph its previously digitized maps that were originally captured on a now-obsolete piece of scanning equipment. The updated images were photographed by a more powerful overhead, medium-format camera and lighting kit which ensured the maps were digitized at a higher resolution. Now these high-quality images in the collection accurately represent the true detail and colors of these works of art.

Phase One overhead camera and map of Trinidad
Phase One overhead camera and map of Trinidad
Closeup of Trinidad map
Closeup of Trinidad map

 

 

 

 

 

 

 

 

 

Most of the maps in FSU’s previous contribution consisted mainly of the West Indies, Eastern Caribbean, Cuba and the Bahamas. However, the Digital Library Center has since included some areas of the Western Caribbean as well as parts of Central and South America.

Artwork detail on Kaarte van de Golf van Mexico
Artwork detail on Kaarte van de Golf van Mexico

Some of the images in the Caribbean Maps collection display detailed drawings, etchings and engravings printed with vibrant colors. Other maps are equipped with informative, color-coded keys that show which countries controlled the islands at the time. In these maps, each island is painted according to the colors in the key.

Color key showing ownership
Color key showing ownership

To view the maps in our Caribbean Collection, click here. To view other FSUDL material, including historic books, photographs and ephemera, head over to the Florida State University Digital Library.

Stuart Rochford is the Digital Library Center manager at FSU and has worked with Strozier Library since 2011. He graduated from FSU with a BFA in graphic design and is currently working on his Master’s Degree in Library Science.