iPRES International Conference on Digital Preservation 2018

Last fall I was able to attend iPRES, the International Conference on Digital Preservation. This was the 15th time the conference has been held, and the first time it has been in North America since 2015. The 2018 conference was held in Boston from Sept. 12-16, 2018. Previously it was held in Kyoto;  the 2019 conference will be in Amsterdam.

Plenary Keynote speaker Eve Blau” Photo credit: Martha Stewart. (some rights reserved: CC BY-SA 2.0)

The conference brought together 421 attendees from thirty-two countries, including scientists, archivists, librarians, and other professionals from disciplines that have an interest in preserving digital information over long time spans. The interdisciplinary approach of iPRES is valuable in digital preservation. Digital preservation is not a problem unique to archives. An interdisciplinary approach lets smaller communities, such as archives, to find out more about how larger communities, often with better resources and larger research budgets, are addressing problems of a similar nature.

As with any conference, there was a mix of sessions that were directly relevant to my day-to-day work and those that, though not directly relevant, were informative and thought-provoking. The program committee assembled and interesting mix of long and short format papers, panels and workshops. Fortunately, it’s possible to catch-up on what I may have missed, as all of the conference proceedings  are available through the Open Science Framework at https://osf.io/u5w3q/. Looking back at my notes, there were a couple of  sessions that earned a disproportionate amount of space in my notebook.

Break time – Joseph B. Martin Conference Center” Photo credit: Martha Stewart. (some rights reserved: CC BY-SA 2.0)

Session 308 addressed the overall feasibility of digital preservation, and the cost associated with it. From an ethical perspective, archives should not acquire material that they aren’t able to preserve. While most archives are very good at assessing this with respect to analog materials, digital preservation is a (relatively) new activity for archives, and it is often unclear as to what long term digital preservation actually means (e.g., how long is “long term”?  Is it even possible to commit to preserving digital material for time spans as short as 20 or 50 years, given the known difficulties associated with digital preservation). The presentations in this session examined criteria to consider when deciding on the feasibility of a given preservation project, and approaches to estimating the costs associated with preservation activity.

It was encouraging to see some research on the issue of cost modeling. Decisions about whether or not an institution is able to preserve something are not only dependent upon whether or not the institution has the requisite skills and technology to do so, but also upon whether they can afford to. The financial sustainability of preservation is something that is often overlooked in preservation planning. Many projects to acquire and ingest born-digital materials or to digitize existing holdings are grant funded. However,  there continue to be ongoing preservation costs after the initial project funds run out. Tools like the digital preservation cost calculator presented by Kate Dohe and David Durden help fill a gap in the existing digital preservation toolkit.

Session 401 examined various preservation workflows. The papers discussed several different workflows:  data recovery from obsolete 8″ floppy disks, transferring files from removable media, and appraising large volumes of email. The presentation by Joanne Kaczmarek and Brent West was particularly interesting. Kaczmarek and West discussed the use of predictive coding and machine learning to train computers to appraise email. Software with this feature is commonly used by lawyers for e-discovery – identifying digital records relevant for discovery within a legal proceeding. By providing the computer with examples of what is and isn’t being searched for, the software can learn and extrapolate the decision criteria to a larger set of documents. The results are statistically comparable to the results provided by a human review of the same set of documents. Although Kaczmarski and West  were only considering its use in appraising records (email) for acquisition, this type of technology could be applied to digital preservation in many ways. It could potentially be used to help identify records with sensitive content  that need to be subject to more stringent access controls (e.g.,  records subject to FOI restrictions), and to help researchers identify records with content relevant to their research enquiry.

There was a lot of really great content present in Boston, and some difficult choices had to be made about what sessions to attend. Other memorable sessions included 203 Capacity and Accomplishment which examined questions like “what is an acceptable level of preservation given institutional constraints and goals?” and “how can outcomes be measured in order to judge success?”, and 302 Minute Madness, which had poster presenters deliver one-minute summaries of their posters to encourage attendees to come see their posters, and the corresponding poster sessions which covered a diverse range of topics.

iPRES – Where everybody knows your name

Congratulations to the organizers for putting on a great conference, and to the presenters for providing consistently excellent content. This was the first time attending iPRES for me. I found it to be very useful to meet and talk to people in other disciplines and see where the similarities and differences in exists in our respective challenges and approaches to digital preservation. Overall, it was a very positive experience. I look forward to attending future iPRES conferences.

Moving House! Hours for Special Collections & Archives January 28, 2019

Moving Day at Florida State University, circa 1960s
Moving Day at Florida State University, circa 1960s. (original item here)

We’re very excited that materials from a remote storage facility are being moved to a new home, Strozier Library! This will help us serve materials faster to our patrons. However, for moving day, we need all hands on deck so our Research Center Reading Room in Strozier Library and the Claude Pepper Library will be available by appointment only on Monday, January 28, 2019, to allow our staff to focus on the move. If you need to make an appointment to access our collections on that day, please email lib-specialcollections@fsu.edu or call 850-644-3271.

The Norwood Reading Room, the Special Collections Exhibit Room, and the Heritage Museum will be open as scheduled on January 28. We will resume normal hours in all our locations on Tuesday, January 29, 2019.

¡El español es fácil!

WNYC was not the only station to offer language instruction over the airwaves. Beginning in late 1942, WQXR partnered with Time, Inc. to produce Let’s Learn Spanish, a 39-part series broadcast three times a week from January 4 through April, 1943, and then from July to October of that year. The collaboration was only the second radio program produced by Time.

The program was an instant success. It was eventually distributed and heard over more than 50 radio stations around the United States, and it spawned a sister production, 1944’s Aprendamos inglés (Let’s Learn English), distributed to 27 Latin and South American radio stations under the sponsorship of Kolynos toothpaste (known also as a sponsor of the radio show “Mr. Keen, Tracer of Lost Persons”).

This book was distributed to listeners who wanted to follow along with WQXR’s Let’s Learn Spanish program in 1943
(WQXR Archive Collections)


Let’s Learn Spanish also garnered some critical recognition, winning First Prize at the Cultural section of the Exhibition of Edu­cational Radio Programs given by the Fourteenth Institute for Education by Radio in Ohio that April. The citation read: “A well organized, interestingly-produced program which demonstrates the use of radio in arousing an interest in a foreign language.”[1] Occasionally, its introduction into a market was accompanied by quite a bit of fanfare: for example, representatives from many consulates attended its introduction to the Philadelphia airwaves.

The fifteen-minute lessons took “the form of a succession of conversational exchanges between ‘Joe Bishop’, man-on-the-street, and a Spanish teacher,” and were “aimed at giving the listener a working Spanish vocabulary”; famed foreign correspondent Joel Sayre wrote the scripts, assisted by I. A. Richards, director of the English Language Studies Commission at Harvard. The programs “combined the use of a book which the listener followed as he listened to the broadcast,”[2] and, indeed, a reported 4,500 listeners requested the Spanish-English word lists.[3]

Alas, our Archives do not own recordings of any of these programs, but our ancillary materials and research seem to indicate that the casual, conversational tone was likely a big part of the success of their success. And their success was long-lived: as late as 1958, New York station W-POW broadcast Let’s Learn Spanish ─still three times a week.

Do you know of any copies of Let’s Learn Spanish? Please write to us at alanset@wnyc.org

[1] Radio Daily, May 3, 1943

[2] Sanger, Elliott M. Rebel in Radio: The Story of WQXR. New York: Hastings, 1973

[3] Time, Monday, Jan. 25, 1943


Amherst Alumni in World War I

As the centennial commemorations of World War I come to a close, we’ve been working to develop two class sessions focused on the local impact of the war. As a result, we’ve been digging into our biographical files on students from the period to track down hidden stories of Amherst students that went off to war.

As soon as the United States entered the conflict, the Alumni Council of Amherst College established a Committee on War charged with requesting information and updates from alumni who had served. Questionnaires sent out were almost universally returned, demonstrating a desire on the part of the alumni to remain connected to the College community and to accurately reflect their service during the war. The Archives’ student biographical files cannot capture the full extent of personal experiences in the war – but the files do provide enough detail to show the hardships faced overseas. In this blog post we present a selection of materials from the class of 1914. These materials present an interesting challenge for researchers. In the face a vast amounts of raw historical data, how do we begin to make sense of it all? And how do we begin to track down loose threads presented in the primary source?


A typical war record information card sent by the Alumni Council (the original is a 3″ by 5″ card). This card lists Donald H. Brown’s (AC 1914) service history.


An excerpt of a letter written by Donald Brown. This is a typescript copy of the original.


Another example of a solicitation for information by the Alumni Council. The form also asks for “non-military” service, if applicable. The Alumni Council also asked for a “photograph of each man in active service, in uniform.”


Charles Morris Mills (AC 1914) – an Amherst alum in uniform. Mills enlisted in 1917 and was discharged in the spring of 1919.



A subsequent 1925 questionnaire for Mills indicates that he was “gassed Argonne Sept ’18” – referring to the Meuse-Argonne Offensive, a major part of the final months of the war.


We’ll end with Merrill S. Gaunt (AC 1914), whose diary is pictured above. After graduating Amherst College, Gaunt attended Andover Theological Seminary before volunteering for the ambulance service in France in January 1916. He was in service at the start of the Battle of Verdun but succumbed to cerebrospinal meningitis. He died in the hospital in Bar-le-Duc, France, April 3, 1916. The Amherst College archives holds his diary for this period. Though only in the war for three months, Gaunt’s brief journal entries offer glimpses into the cruelties of war.


1916 March 4: “Heard a woman cry when son dead.”


1916 March 16: “Receiv’d Helmet and Gas mask.”

The diary also includes his Gaunt’s last entry, written in French:



PoP & Protest: The Musicians’ Union in the 1980s

A new exhibition exploring the history of the Musicians Union in the 1980s, Pop and Protest is on display in the University of Stirling Library until the end of March 2019.  The exhibition draws on material from the archives of the Musicians’ Union, which were deposited with the University of Stirling Archives in 2010, and features some rarely seen items from the collection.

Pop and Protest: the
Musicians Union in the 1980s
is a journey through the campaigns and
memorabilia of the decade which saw membership of the union reach 40,000.  The exhibition illustrates the ways in which
the Musicians’ Union sought to improve the lives and employment rights of
performers.  During this politically
charged decade, members tackled anti-union legislation and spending cuts to music
education thrown at them by the Conservative Government.  They protested the mistreatment of performers
during a series of orchestra strikes and raised awareness of racial
discrimination in the UK and apartheid in South Africa.  Images and archive material about the
flagship campaign ‘Keep Music Live’ have been used to highlight the importance
of live music when new technology threatened the job security of live bands and
singers.  Musicians’ Union members also
used their talents to raise funds for famine relief by contributing to 1985’s
Live Aid concert.

The exhibition was curated by third year students at the University of Stirling taking a course in Exhibition and Interpretation Design.  Kelly Law, Nina Van Rooijen and Kassandra Bailey, students in the Exhibition Design team said “Working on this exhibition has been both challenging and fun. As design team we worked with several different members of the class to incorporate everyone’s aesthetic ideas. Designing this exhibition has been a wonderful opportunity to express our creativity and learn how to work as a team. Our design is inspired by the vibrant ‘80s and it is shown by the colours we have picked. We are excited to present this exhibition to the public and hopefully our hard work will show.”

The University Archivist, Karl Magee, noted “we were
delighted to open up the fantastic research resource which is the Musicians’
Union Archive to this student project. The exhibition they created brilliantly
captures a particularly eventful decade for the Union and shows the huge
potential of this collection for research, exhibition and promotion.”

Update from our 2019 Creative Fellow

Today’s blog post comes from PPL’s 2019 Creative Fellow Laura Brown-Lavoie, who offers us an update on her research and an opportunity to see her perform this weekend:

photo on 1-16-19 at 9.59 am

“Fun fact from the special collections today: 2 out of 3 special collections librarians hate desiccated rubber bands. (‘They are like dried out noodles.’ ‘Ugh.’ ‘Me? I don’t mind them.’) Anyway this is what a rubber band looks like when you leave it in a box of papers for a long time. In other news from special collections: I’ve been studying obscenity, coal of Rhode Island, and pilgrims, and I’m performing some of the poems this Saturday with my synth at the AS220 Mainstage in downtown Providence. Details about the show below, hope you can make it!”

You are invited to attend this special music performance at AS220

on Saturday January 19





LEFT HAND MAN (Laura Brown Lavoie)

9pm $6-10

Dr. Martin Luther King Jr. in Birmingham, Alabama 1963

This tape was recorded in Birmingham, Alabama, Mothers Day, May 12, 1963. The previous night, the parsonage of A. D. King was bombed, as was the Gaston Motel, where Kings brother, Rev. Dr. Martin Luther King, president of the Southern Christian Leadership Conference (SCLC) and a leader of the Birmingham movement, had been staying. Extensive rioting followed.

At a gathering held at the New Pilgrim Baptist Church, Reverend Andrew Young from SCLC introduces a delegation from National Council of Negro Women visiting for Mothers Day. Mrs. A. G. Gaston introduces Dorothy Height of the National Board of the YWCA, who discusses the contributions of women to the movement. There are speeches by Rev. Ralph D. Abernathy and the Reverend Dr. Martin Luther King, Jr. follow.

In this tape of Dr. King, he emphasizes the importance of nonviolence as a response to the violent actions of the previous day and talks of the achievements of the nonviolent sit-in movement that resulted in desegregation action in 210 southern cities.  

The Rev. Wyatt Tee Walker of the SCLC, stands atop a car while speaking to the crowd gathered to protest recent bombing attacks, May 12, 1963.
(AP Photo)


WNYC Director Morris Novik’s Tribute to Mayor La Guardia

Mayor La Guardia’s tombstone at Woodlawn Cemetery in the Bronx photographed in 2008.
(Wikimedia Commons/Anthony22)

On September 20, 1964 at Woodlawn Cemetery in the Bronx, a memorial ceremony was held marking the 17th anniversary of Mayor Fiorello H. La Guardia’s death. Former WNYC Director Morris S. Novik paid tribute to his old boss and the role La Guardia played in making WNYC the nation’s leading public radio station. The following is a transcript of his remarks*

On this, the 17th anniversary of the death of Fiorello H. La Guardia, we assemble as we have done every year to pay tribute to a man we loved. As the years go by, each of us attempts to assess the man. We try to explain the im­prints he made, not only on our lives in gen­eral, but also on our personal lives. The legacy of La Guardia was his identifi­cation with the people; they loved him and he loved them.

Each of us, as the years go by, see Fiorello La Guardia, naturally enough, through his own eyes. Objective though we try to be, we cannot but think in terms of our own personal relationship with him. All of us knew La Guardia as a great man,­ as a great mayor, as a great leader. It was my fortune to know La Guardia as a great communicator.

There are many explanations for the La Guardia phenomenon. One seems to domi­nate. He was able to talk to the widest audience and not only be heard, but under­stood. His phrase was not elegant. It often was not eloquent, but it was always direct, earnest, and completely understandable. It was as though his heart had a tongue that spoke to other hearts. This understanding was not limited to any one group. It reached everyone.

Mayor La Guardia reads the comics to New York’s children during the newspaper deliverymen’s strike of July 1945
(WNYC Archive Collections).

La Guardia pioneered in the use of radio. He understood that It was not merely a me­dium for making  speeches. It  was to him, a medium for talking personally with real people about real-life problems. He talked to people about their problems in their own terms. When he talked about the price of tomatoes on radio, be wanted to help people with limited earnings to make every penny count. He was trying to help them live better and more rewarding lives. Radio helped him ring each doorbell, talk with each person, and help every one of them with the problems of everyday living. This personal recollection of La Guardia is more than a sentimentalized memory. La Guardia saw radio, and in his last years, television–as practically an extension of personal conversation. Many did not agree with La Guardia but they always listened. 

WNYC was in existence for many years prior to Mayor La Guardia taking office. In many ways, It was regarded as an orphan or stepchild of the city government. In fact, previous administrations literally hid its antenna behind the statue on top of the municipal building and assigned the station to the housekeeping agency of the city, concerned with maintenance of buildings and bridges–the department of plants and structure.

It was Mayor La Guardia who first recog­nized the value of a city radio station. It was he who was responsible for the establishment of the radio station as an independent municipal  department. Then be­gan the long-range campaign to establish WNYC as a vital force in the  affairs and lives of the people of the city of New York. This led into the prolonged struggle  with the Federal Communications Commission to obtain recognition for the unique services rendered by WNYC and for its right to have full time on the air. A major step in winning that battle was actually achieved only recently, 26 years later. Hopefully, the final victory will not be long in coming.

Mayor La Guardia as he made his radio address to New Yorkers on December 7, 1941.
(Acme News Photo/WNYC Archive Collections)

During the crucial years of World War II La Guardia saw radio as a personal line of communication between government–local government–and the people. From day to day the people wanted to know not only about the events of the day, but how those events were evaluated by someone they trusted. They trusted Fiorello La Guardia. When the war broke out in 1941, the mayor was the first to realize the importance of radio and WNYC in supporting the war effort on the home front, in civil defense, and in keeping people informed of where and how they could help.

Mayor La Guardia never missed a Sunday broadcast during the war. In the heat of summer–and City Hall was not air conditioned in those days–and in the dead of winter, Fiorello La. Guardia left his home to face the WNYC microphone and press every Sunday to report to the people of New York on city affairs and the contribution the city was making to the war effort.

He reported how and where they could help, when to collect tin cans, what changes were being made in rationing, how to conserve vital energies needed for the war effort. He told them of what he thought about everything connected with the war effort. He lifted high the hope and strengthened the courage and the morale of the people of the world’s greatest city. Just as the bells of the Tower of Parlia­ment inspired the beleaguered  people  of Great Britain, so WNYC broadcast the historic chimes of our City Hall, followed by the identification “WNYC in a city where over 7 million people live in peace and enjoy the benefits of democracy.”

La Guardia wanted the station to be a liv­ing service to the city. He wanted it to draw the people closer to each other and to their city. He wanted it to help, to teach, to en­tertain, to serve, to unite–and to continue. Regularly during the war, the civil defense programs and services of WNYC were transmitted to the commercial stations in the city for rebroadcast. WNYC was the keystone in the arch that never cracked security during almost four years of voluntary censorship and self-regulation. Many are commemorated by statues, monuments or public facilities named in their honor such as airports, bridges, and tunnels.

While one of the great New York airports bears his name, I prefer to think that Mayor La Guardia’s principal monument is radio station WNYC. The station established a standard of excellence and a code of public service for broadcasting that even today is still unique. The station still plays a leading role in the cultural and civic affairs in the city.

Seated at his desk in City Hall, Fiorello H. La Guardia makes his final radio talk to the people of New York as mayor Dec. 30, 1945.
(AP Photo/Harry Harris)

That is the monument on the ether waves to Fiorello La Guardia. It is a voice that still speaks long after its innovator has  passed from us. It is a voice that has meaning and responsibility. It is listened to because of its authority. It is a living thing, a monument to his pa­tience, his fortitude, his fighting spirit. Perhaps I have spoken too much about La Guardia’s great  contributions to WNYC and the field of communications. That is natural for me. On this the 17th anniversary of his death, I know that all of us here feel his presence. We still miss him for his concern with a hundred causes. We miss him as a man. We miss him as a friend. He was sometimes difficult. He was sometimes violent. He could be gay. He could be sad. 

Fiorello La Guardia is missed, and he will never be forgotten. 

Fiorello H. La Guardia signature card.
(A. Lanset Collection) 


You can listen to Mayor La Guardia’s weekly WNYC program at: Talk to the People.

In addition we’ve posted many addresses in and around the city at: Mayor La Guardia.

*Source: Senator Jacob Javits (R-New York) placed Novik’s remarks in the September 29, 1964 (pages 23033-23034) edition of the Congressional Record published by the U. S. Government Printing Office. 

Editor’s Notes: I would be remiss if I didn’t provide some additional information and context to these remarks. Mayor La Guardia was indeed a champion of WNYC but that wasn’t always the case.

Medallion marking La Guardia’s election in November 1933.
(A. Lanset Collection)

1) When running for Mayor in 1933 part of La Guardia’s campaign platform included the elimination of the station to save taxpayer money. Following his election, among his first actions was to send Seymour N. Siegel over to the Municipal Building to shut the station down. Fortunately, Siegel, and I imagine a few others, convinced him to look into the matter more carefully and, to his credit, he did. A committee of ‘experts’ was impaneled to assess the station and make recommendations. 

The report on WNYC for Mayor La Guardia in 1934.
(WNYC Archive Collections)

2) The committee, composed of network executives William S. Paley (CBS), Richard C. Patterson (NBC) and Alfred J. McCosker, (WOR/Mutual Radio), essentially concluded the station was worth keeping if reforms were made. Their report coincided with the depth of the economic depression and the Roosevelt administration’s launching of the various WPA programs. This allowed La Guardia (and Siegel) to begin to turn the under-performing station around largely at federal government expense while putting unemployed New Yorkers to work. Under the WPA, a significant amount of airtime was filled by the Federal Music Program musicians, and Federal Theater Program-Radio Division actors. The Federal Art Program underwrote the cost of six abstract murals and a sculpture (although only four were completed and hung). And finally, under the WPA, new studios were built in the Municipal Building and a state-of-the art transmitter facility was established in Greenpoint, Brooklyn. 

WNYC Director Morris S. Novik (1903-1996), circa 1945
(The La Guardia and Wagner Archives, La Guardia Community College/The City University of New York)

3) La Guardia’s hiring of Morris S. Novik in 1938 was indeed a significant vote of confidence for the station and its potential service to the city and its residents. Novik had proven himself an energetic innovator at WEVD and was well connected to labor and progressive movements in the city. By that point too, La Guardia well understood the power of the medium and what it could do for his political and social agenda. It was no accident that 1938 also saw the creation of The Municipal Broadcasting System, an agency reporting directly to the mayor.

In the 1994 Mayor Giuliani was accused of pressuring WNYC’s Tom Morgan to hire Guardian Angels founder Curtis Sliwa (r) as a host. To his right are show hosts Brian Lehrer and Leonard Lopate.
(WNYC Archive Collections)

4) Mayor La Guardia, like his predecessors and successors, was often accused by critics of using WNYC for partisan political purposes. Indeed, there is no doubt that mayors from John Hylan to Rudolph Giuliani did, at times, use WNYC for partisan political advantage. Some were more heavy-handed than others. When a government or governmental entity owns or controls a broadcaster, it’s nearly impossible to avoid the direct or indirect editorial influence. And even if it isn’t the case, the perception is almost always there, making a good argument for the broadcaster’s independence. For more on WNYC’s trek to freedom, please see: Going Public: The Story of WNYC’s Journey to Independence.       

5) For more on Novik and Siegel, the two men who helped Mayor La Guardia make WNYC an archetype of public broadcasting, please see: “Under Two Visionary Directors, New York’s WNYC Became An Incubator of Pubmedia Innovation.”


A Song for You: Remembering the Life and Artistry of Donny Hathaway

It was forty years ago this week that the world lost Donny Hathaway, the recording artist remembered by most for his top-40 hits with Roberta Flack, Where is the Love and The Closer I Get to You.  But to fans of 1970s soul and R&B, Hathaway is remembered first as a consummate artist, a musician whose technical ability and expressive powers produced a body of work like no other. Atlantic Records producer Jerry Wexler said, “I used to think we had two geniuses on Atlantic: Aretha Franklin and Ray Charles. When Donny Hathaway signed up, I announced to one and all that I think we’ve found our third genius.”[1]

Donny Edward Hathaway was born on October 1, 1945 in Chicago.  He was raised in St. Louis by his grandmother, Martha Pitts, a gospel singer and guitarist.  By the time he reached age four, Hathaway’s grandmother recognized his musical gift, bought him a piano, and nurtured his talent. His youth was immersed in an array of music making. He sang at his family’s Pentecostal church, Trinity Baptist; he performed on the St. Louis gospel circuit under the stage name “Little Donnie Pitts”; he studied classical piano, and in high school performed Grieg’s Piano Concerto in A minor; [2] and after graduating from high school he attended Howard University, where he studied music on an academic scholarship.

It was while studying at Howard that Hathaway formed some of his most important and enduring artistic relationships: with Roberta Flack —his classmate and the collaborator on his most popular recordings; with Leroy Hutson —his roommate and the writing partner on his first major single, The Ghetto, Pt. 1; and with Ric Powell —his classmate, band mate and the co-producer of his first album, Everything is Everything.

In 1969, after a successful two-year period working as an arranger, producer, and session musician at both Chess Records and at Curtis Mayfield’s Curtom Records, twenty-three-year-old Donny Hathaway was signed as a solo artist by Atlantic Records to its Atco division. Over the course of the next four years, he released three critically acclaimed solo studio albums, as well as the million-selling duet album, Roberta Flack & Donny Hathaway, his legendary album, Live, the holiday classic This Christmas, the film score for the Samuel Goldwyn Jr. production Come Back, Charleston Blue, and the theme song for CBS Television’s hit series Maude. In those same years, he remained in demand and active as an arranger and session musician for the recordings of a diverse group of major artists, including Lena Horne, Willie Nelson, Aretha Franklin, and Freddie King.

Donny Hathaway at a promotional event at the Plaza Hotel in 1971
(Cash Box, 5 June 1971/NYPR Archives)

The thread running through Hathaway’s prolific and diverse output is, of course, the artistry of Atlantic Records’ “third genius.”  It is an artistry built on a synergy of craft (“the most brilliant musical theorist I ever encountered,”[3] according to Wexler), virtuosity, roots in the music traditions that came before him, and a commanding voice imbued with fearless expression. His songs, whether originals or covers, have the sublime quality of being at once deeply personal and universal: Someday We’ll All Be Free, I Love You More Than You’ll Ever Know, A Song for You, Giving Up.

In a 1971 review, the New York Times critic Don Heckman seemed almost at a loss to describe his encounter with Hathaway’s music. His extremely brief review begins:

Donny Hathaway, appearing at the Bitter End this week, should be heard.  That’s the way one usually ends a review, but in this case I’m much more concerned with urging you to go experience his music for yourself than I am with making critical points.

 He concluded, four sentences later:

So, to repeat myself, Donny Hathaway should be heard.[4]

Excerpt of the New York Times review of Donny Hathaway’s 1971 appearance at The Bitter End
(Don Heckman, New York Times, 29 October 1971)

But as his creative and professional life flourished, Hathaway’s mental health began to decline. According to his wife, Eulaulah Hathaway, “He was hospitalized on several occasions. I guess by ’73 or ’74 it was determined that he was a paranoid schizophrenic.” [5] From 1974 until 1979, Donny Hathaway’s recording career and public performances were largely halted by the debilitating effects of the disease and of its treatment.

Late in 1978, after a nearly four-year hiatus, plans were underway to resume Hathaway’s career. He would return to the recording studio to reunite with his old friend and collaborator, Roberta Flack; they would produce another duet album, a follow-up to their 1972 gold record.  The sessions for the new album began in January of 1979 and some takes were recorded, including those for the singles Back Together Again and You Are My Heaven. But part way into the session of January 13th, Hathaway became irrational, overwhelmed by an episode of the mental illness that plagued his life. The session was canceled, the musicians sent home.  Later that evening, at the age of 33, Donny Hathaway ended his life.

In 2011, Hathaway’s daughter, the singer Lalah Hathaway, spoke to Studio 360’s Eddie Robinson about her father, his legacy, and the transcendent quality of his music.

Lalah Hathaway on Studio 360, December 9th, 2011

Studio 360’s full interview with Lalah Hathaway is available here and is part the New York Public Radio Archives collection.


[1] Unsung, season 1, episode 3, “Donny Hathaway,” A. Smith & Co. Productions, 2 December 2008

[2] Cheers, D. Michael, “The Mysterious Death of Donny Hathaway,” Ebony, April 1979

[3] Kandia Crazy Horse, “Donny Hathaway: a soul man who departed too soon,” The Guardian, 8 January 2014

[4] Heckman, Don, “Donny Hathaway Plays Bitter End,” The New York Times, 29 October 1971

[5] Wells, Chris, “Eulaulah Hathaway Exclusive,” Echoes, 24 October 2013

New in the Public Domain 2019

On January 1st, the copyright expired for some of our holdings: these are now in the public domain in Canada. These digital materials may now be legally re-used for any purpose. Here’s a quick look at some of the images and maps that have become easier to re-use. There are many more!

Ross Lort was a Vancouver architect who began his career with the firm of Maclure and Fox, and spend the latter part of his career as the principal of the firm Ross A. Lort Architect. He was also an accomplished artist and we have a few of his works digitized.

“False Creek”, by Ross Lort, 1933. Linocut showing sawmills on False Creek. Reference code AM1562-: 2010-084

Hugh Pickett was a legendary local impresario. We have recently made his records available and will be digitizing some of the photographs in that fonds. Here is a photograph of Hugh with American actor-singer-dancer Mitzi Gaynor.

Hugh Pickett and Mitzi Gaynor. 1950s. Barry Glass, photographer. Reference code AM1674-S9-F06-: 2014-089.0933

This map, published by C.D. Shultz and Company, is in the form of an aerial photograph overlaid with annotations to show landmarks, tourist sites and trails in Stanley Park.

Stanley Park, Vancouver, B.C., 1968. Reference code AM1594-: MAP 1059

This map was created by the Office of the City Engineer by adding colour-coded information to a copy of a base map.

Sheet E : University Endowment Lands to Wallace Street and Sixteenth Avenue to Twenty-seventh Avenue. Date of creation is ca. 1925, with revisions to Nov. 23, 1943. Reference code: COV-S303-MAP 343-: MAP 343.30

This is just a small selection of the items which have recently come into the public domain.

The Answers in the archive…

The recent publicity surrounding the rediscovery of a time capsule buried in the University’s Gannochy Sports Pavilion during its construction in 1969 highlights the value of our archives in preserving the institutional memory of the university. The current redevelopment of the university’s sports facilities brought the presence of this item to light, the university being alerted to the presence of the time capsule in the building by Campbell Chesterman, former University Facilities Manager.

The exact location of the capsule was determined by checking the administrative records for the university for 1969 held in the University Archives. A file relating to the official duties of Lord Robbins, the first Chancellor of the University of Stirling, was found to contain a document entitled ‘University of Stirling – Gannochy Trust Pavilion Ceremony’ (ref. UA/A/4/1/1).

The document describes in detail the arrangements for the event which included the laying of the foundation stone for the building, the filling of the time capsule with a selection of items chosen to represent the University of Stirling in 1969 and the securing of the capsule within the walls of the building. A full list of the contents of the time capsule (or ‘casket’ as it was referred to in the document) is also included. With the date of the event established as 18 June 1969 a search through our press cutting files unearthed an article from the Stirling Observer which provided further details and also included a photograph of the ceremony taking place (ref. UA/H/1/3).

Armed with the information gleaned from the archival records the time capsule was located and removed from the building site. The University Archives was delighted to host the event where the capsule was re-opened, guests including Mr Chesterman, who had alerted the university to its presence in the Gannochy building.

Karl Magee (Archivist, University of Stirling) examines bottle of Bell’s whisky as (L-R) Duncan Scott (University of Stirling swimmer); Cathy Gallagher (Director of Sport, University of Stirling), Professor Malcolm MacLeod (Senior Deputy Principal, University of Stirling); and Campbell Chesterman (retired Facilities Manager, University of Stirling) look on. (Photo. Greg Christison)

The capsule captured a snapshot of the University in the
summer of 1969 its remarkably well preserved contents including sporting
equipment, exam papers, university publications, local and national newspapers,
stamps and currency (both decimal and pre-decimal denominations). Also included
was a bottle of Bells Old Scotch Whisky, in recognition of the support of the
Gannochy Trust for the new university (the Trust being founded in 1937 as a
charitable institution by the Bells Whisky family). 

The time capsule and its contents will be stored in the University Archives for the duration of the current redevelopment of the university sports facilities. It is planned to rebury the capsule in the new building, which is due for completion in 2020, adding a number of contemporary items to the original 1969 memorabilia. With these plans in place we will continue the tradition started in 1969, add to the history of the institution and preserve the record of the capsule and its contents in the University Archives (ref. UA/TC).

A selection of Scottish banknotes were among the items included in the time capsule in 1969. (Photo. Greg Christison)

Maestro Eugene Plotnikoff Conducting

Side 4 of 8 of Eugene Plotnikoff conducting WPA FMP concert airing on WNYC May 29, 1938.
(WNYC Archive Collections)

Eugene Plotnikoff conducted musical performances heard regularly over WNYC for more than half of the 1930s and into the forties, when he was with the WPA’s Federal Music Project [1] —including the broadcast above, Tchaikovsky’s Overture to Romeo and Juliet. The recording, pieced together from eight 12-inch 78rpm lacquer disc sides, comes from an all-Tchaikovsky concert by the New York Civic Orchestra on May 29, 1938. The full concert also featured material from the opera Mazeppa; Lensky’s aria from Eugene Onegin; and Symphony No. 5 in E minor. The soloists were Ruth Peters, soprano and Charles Heywood, tenor. It is just one of the hundreds of live concerts that WNYC broadcast during the WPA era.Plotnikoff, a veteran of the Moscow Imperial Theater’s orchestra pit, knew Tchaikovsky, whom he called “the kindest man I have ever known.”[2] But the great Russian composer wasn’t alone on Plotnikoff’s celebrity list of friends and acquaintances, which included Serge Rachmaninoff, Nikolai Rimsky-Korsakov, Reinhold Glière, Alexander Glazounov, and Mill Balakireff.Plotnikoff began as a cello student at the Imperial Music School in Odessa. Progress there led to the Moscow Conservatory, where he was a student of the composer Vasily Sergeyevich Kalinnikov and played in the orchestra under Tchaikovsky’s baton. Out on his own, Plotnikoff took up the conducting reins at Moscow’s Imperial Theater, where he directed the world premiere of Rimsky-Korsakov’s opera Sadko. The Imperial is also where he was ballet director for five years, when Rachmaninoff was the theater’s general operatic director. [3]

A poster for the WPA Federal Music Project Russian symphony concert series conducted by Eugene Plotnikoff in 1938.
(Library of Congress)

Plotnikoff left the Soviet Union in 1921 to conduct a series of operatic performances in Paris and toured the United States as a conductor for the Chaliapin Opera Company before joining the WPA Federal Music Project soon after its inception.

The Daily Worker described Plotnikoff as the “conductorial mainstay” of the New York City Federal Music Project. He began his tenure leading the Festival Orchestra (later known as the Federal Symphony) and then the 100-member New York Civic Orchestra. The New York City Symphony Orchestra followed that, and in April 1941 he took over the directorship of the WPA Manhattan Chorus.  It was the WNYC broadcast of Plotnikoff’s Brooklyn Museum concert performance that was famously interrupted by the first domestic news bulletin announcing the Japanese attack on Pearl Harbor. He also conducted the WNYC Concert Orchestra at least a dozen times for American Music Festival and Brooklyn Museum concerts.  In spite of the hard times during the Depression, Plotnikoff was impressed by the wealth of talent and energy among the city’s unemployed musicians.

I can’t help but think that merit alone or lack of it, was not the factor that put these men and women out of work. It must have been unfortunate circumstances, for assuredly the musicians that come to me are qualified to play in any orchestra anywhere. Honestly, I think that if I had the financial backing to form a symphony orchestra, I would audition my artists from the ranks of the unemployed. I am sure I could get as good an orchestra there as elsewhere. [4]

In a February 1940 interview with Etude Music Magazine, Plotnikoff said it was impossible to give enough praise to the WPA Federal Music Project.

Organized some time ago, in the hope of bringing dignified assistance to unemployed musicians, they have rapidly become a splendid means of furthering music education. My orchestra numbers one hundred expert performers, many of whom have been ‘spotted’ and engaged for ranking symphonic organizations. Our programs are chosen for their purely musical value, without regard to box office popularity.[5]

Plotnikoff went on to emphasize that his experience had shown that catering to what is ‘popular’ was not a factor for winning a loyal and sizeable audience. He added that the concerts, which were at first free and later charged a nominal fee (35 to 55 cents), were regularly sold out.

This is a true test of the public interest in good music. It is satisfying to report that these concerts, which are attended solely for their musical worth, and not for any reasons of fashion or glamour, are reaching the very people who need them most. Perhaps only in America would a project of this kind be possible today. [6]

Label from a 16″ WPA Federal Music Project Radio Division transcription disc with Eugene Plotnikoff conducting
(WNYC Archive Collections)

Although New York-based, Plotnikoff’s conducting prowess could be heard throughout the United States via the WPA Federal Music Project’s distribution system. This pre-satellite ‘syndication’ relied on the U.S. Post Office delivering thousands of 16-inch broadcast transcription discs like this one (left) to participating radio stations around the country. The music follows below.

Eugene Plotnikoff conducting a WPA Federal Music Program orchestra.
(Courtesy of The New York Times)

Eugene Plotnikoff died tragically of a heart attack September 29, 1951 while conducting The New York City Amateur Symphony Orchestra at their City Center rehearsal of Tchaikovsky’s Fifth Symphony. He was 73.[7]


[1] For more details please see: The WPA Federal Music Project is a Major Presence at WNYC.

[2] Heylbut, Rose, “Medallions of Russian Masters of Yesteryear by Eugene Plotnikoff,” The Etude Music Magazine, February 1940, pg. 137.

[3] “Russian Program at Museum,” The Brooklyn Eagle, June 4, 1939, pg. 6.

[4] “Let There Be Music —Despite Pink Slips,” Daily Worker, October 31, 1939, pg. 7.

[5] Heylbut, Ibid.

[6] Ibid.

[7] “E Plotnikoff Dies Leading Symphony,” The New York Times, September 29, 1951, pg. 14.



Digitizing Leon High School Newspapers

In collaboration with Leon High School, we just finished digitizing the first batch of their newspapers which date from 1920-1956. As with most collaborative efforts, this was a multi-step process involving several parties and today we’re going to briefly discuss the digitization portion of this project. The goal is to have the entire Leon High Newspaper Collection digitized, loaded into DigiNole and made accessible to the community.

The first step in the process was to take a glance at what we were working with and to prep the papers for digitization. The newspapers were picked up from Leon High and delivered to Strozier Library neatly sorted and grouped by decade, with most stored in protective mylar. Considering their age, the papers themselves were in decent condition and they arrived stored in several large archival boxes.

Sorting Leon High Newspapers

Sorting Leon High Newspapers
Sorting through the Leon High Newspapers

The plan was to efficiently digitize these objects using multiple pieces of equipment at once; larger issues would be digitized with our overhead reprographic camera set up while the smaller ones would be scanned on our Epson 11000XL flatbed scanners.

In order to get started, we sorted the newspapers by size and had them distributed to their respective scanning stations. This allowed us to save time by not having to manually refocus and position our overhead IQ180 camera each time a different-sized newspaper was encountered. Leaving the camera in one position allowed for faster capture time and guaranteed each photo would be captured at the specified resolution.

IQ180 Camera Setup
IQ180 camera aiming down at a Leon High Newspaper

When photographing this sort of material, it’s important to reduce as much depth as possible. Peaks and valleys caused by folds or creases in the objects can sometimes cause problems when trying to achieve evenly-sharp focus throughout the frame. Thankfully, most of the newspapers from this first batch laid relatively flat without too many folds or bumps.

We were able to flatten the few troublesome papers by carefully utilizing a set of custom-sized glass plates. By lowering the angles of the lights and by using low-glare glass, we were able to prevent any unwanted reflections from showing up in the final images.

These problems typically don’t occur when using flatbed scanners since closing the lid does a good job of flattening most objects. The scanners also allow for even lighting across the entire object without the risk of unwanted reflections, especially with non-glossy material such as these newspapers.

Epson 11000XL
Epson 11000XL getting ready to scan

Images from the flatbed scanner were cropped and saved to our servers directly from the VueScan software while images captured with our camera setup were edited and processed with Capture One CH.

Capture One CH Software
Typical Capture One CH session

While both pieces of software are quite powerful, they both have very different features. We primarily use VueScan as a scanning/processing software, while Capture One has the added bonus of offering file management and batch processing features as well as powerful capture tools. This allows us to quickly capture hundreds of photos consecutively and apply a set of edits/crops to the entire project at once. Capture One CH also offers specialized auto-crop and batch-crop features, which can be a massive time saver.

Once the images are all processed and saved onto our servers, they move onto final steps which include quality control, metadata creation, and loading of the images into DigiNole. Once the project has been safely uploaded, we will be ready to start all over with the second batch of newspapers! These newspapers will become part of the Leon High School Collection where we already have a full set of yearbooks for our users to browse.

We are ready to start digitizing the second batch of Leon High Newspapers after the holiday break, so keep an eye out for them to show up in Diginole later in 2019!

The Capitol Dance Orchestra: Blind Musicians Are WNYC Regulars

New York City’s Capitol Dance Orchestra was among the most publicized of the Federal Music Project’s units for the blind. Organized in August 1936, it consisted of five musicians (with an additional four slots), and it listed WNYC as its leading performance venue. Clarinet and saxophone player James Sumner told the Daily News at the time, “I made a good living before the Depression, playing at clubs and dances…I guess I can satisfy radio audiences.”[1]

The group’s size fluctuated over its seven-year run and included some thirty different blind or sight-impaired musicians. Most members of the group had been graduates of the New York Institute for the Education of the Blind but some, like accordion player Oscar England and banjo/guitar player Ray Dinsmore, (pictured above) went to the Indiana State School for the Blind before coming to New York. They all, however, learned their repertoire from Braille music and popular records. 

“The musicians believed that the project had rescued them from oblivion and poverty and had given them equal treatment. Like most other Americans, these musicians wanted ‘jobs we are equipped to handle…[The] Federal Music Project is a fair project and ours is a fair job,’ said Oscar England, unofficial leader of the group.”[2] They were each paid $23.86 for their weekly WNYC broadcast.

Headline from The Brooklyn Daily Eagle, December 30, 1936..
(WNYC Archive Collections)

Unfortunately, Oscar England’s last performance at WNYC was on December 29, 1936, when a tragic accident ended his life. After the performance, England left the broadcast studio with his bandmate James Sumners. With their white canes, the two musicians were headed home to Brooklyn by subway; while transferring from the BMT to the Broadway-Canarsie line at Union Square, a misstep tragically landed England between the platform and the train. The New York Times assigned Meyer Berger, one of its best reporters, to cover the story of the accident. His heartfelt piece was on page one the next day. Oscar England was 34 years old, married, and a father of three. [3]  By January 1943, the Federal Music Project was coming to an end. The band’s last concert was on January 18th. The ‘WPA unit’ tallied more than 3,000 performances and in retrospect was noted as being one of the more popular WPA-sponsored dance bands. Towards the end, the remaining six members of the group changed their name to the Musical Bombardiers with the hope of getting paying gigs entertaining workers at defense plants.[4]

Clipping from the Radio Guide of July 24, 1937, pg.21.
(Internet Archive)


[1] “WPA Organizing Band of Blind to Go on Air,” Daily News, September 27, 1936, pg. 151.

[2] Bindas, Kenneth J., All of this Music Belongs to the Nation: The WPA’s Federal Music Project and American Society, University of Tennessee Press, 1995. pg. 39.

[3] Berger, Meyer, “Blind Musician, Groping in Subway, Miscounts Steps, Is Killed By Train,” The New York Times, December 30, 1936, pg. 1.

[4] “Concert and Opera Asides,” The New York Times, February 14, 1943, pg. X5.


“Los Municipios de México: Hacia la implementación de la Ley General de Archivos”

Los Archivos Históricos Estatales y Municipales y la nueva Ley General de Archivos

El pasado mes de agosto de 2018 se llevó a cabo la Segunda Reunión de Trabajo de los Archivos de las ciudades capitales de México, titulada: “Los Municipios de México: Hacia la implementación de la Ley General de Archivos”.

Crear y operar los Sistemas Estatales de Archivos bajo los lineamientos de la nueva Ley General de Archivos es una tarea laboriosa que actualmente se desarrolla en el país.

Entre los temas tratados se pueden mencionar los siguientes:

-Análisis del contenido, alcance y obligaciones de la Ley General de Archivos para conocer las implicaciones que tendrá con respecto a las Leyes Estatales en materia de Archivos pertenecientes a las entidades federativas.

-La armonización legislativa a partir de la Ley General de Archivos con los Sistemas Estatales de Archivos, la identificación de los mecanismos de coordinación para la elaboración o actualización de las Leyes Estatales de Archivos y su integración a los Sistemas Estatales de Archivos.

-El desarrollo de lineamientos, guías y manuales derivados de la Ley General de Archivos y de las Leyes Estatales para el diseño, operación y actualización de los Sistemas Institucionales de Archivos.

-Impulsar la profesionalización de los Coordinadores de los Archivos Municipales desde una perspectiva multidisciplinaria.

-Impulsar que en las Leyes Estatales se tomen en consideración las atribuciones y presupuesto que les permitan a los Archivos Municipales atender los requerimientos de la normatividad general.

-Establecer mecanismos de interlocución y coordinación con los Archivos Generales Estatales para el desarrollo de la normatividad en la materia, integración y operación del Sistema Estatal de Archivos y la vigilancia de su cumplimiento.

-Promover la colaboración y el respeto de las atribuciones y ámbito de competencias de los Archivos Generales Estatales y Municipales frente a los órganos garantes de transparencia, acceso a la información y protección de datos personales, así como ante los órganos de fiscalización estatales.

-Difundir el valor multidimensional y transversal que poseen los Archivos en todas las actividades de la sociedad.

El acuerdo general de la reunión mencionada fue hacer del conocimiento de las autoridades municipales y estatales para iniciar con la armonización de las leyes y disposiciones en materia de Archivos con la nueva Ley General de Archivos aprobada por el pleno de la Cámara de Diputados y publicada en el Diario Oficial de la Federación el 15 de junio de 2018.

Atender la diversidad de los Municipios de México será tarea fundamental sobre todo tratando de vincular el trabajo que se realiza en los llamados Archivos de Concentración en materia administrativa con las actividades propias de los Archivos Históricos Estatales y Municipales, en los cuales se busca resguardar, organizar y difundir la Memoria Histórica Local y Regional de las comunidades.

La Dra. Mercedes de Vega, directora general del Archivo General de la Nación y Presidenta del Consejo Nacional de Archivos, mantiene contacto con los Archivos Municipales y Estatales con los que trabaja de manera entusiasta en la implementación en todo el país de la Ley General de Archivos.

Archivo Histórico del Municipio de Mexicali. IMACUM.

Files, la app de Google de gestión de archivos

Files, la app de Google de gestión de archivos, ya cuenta con soporte para USB OTG

De todas las aplicaciones oficiales de Google para Android posiblemente una de las menos conocidas es Files, una herramienta para la gestión de archivos, que desde su lanzamiento ha ido mejorando sus prestaciones de forma notable. Lo último ha sido algo que era muy esperado por muchos usuarios, debido a su utilidad: incorporar soporte para USB OTG.

Con su actualización a la versión 1.0.224103129, además de corregir errores menores Google Files añade esta función (que para aquellos que no estén al tanto cabe explicar que USB OTG es un ‘acrónimo’ de On The Go con el se indica que al terminal se pueden conectar periféricos) de manera que ahora es posible, con el cable pertinente, conectar un lector de tarjetas o pendrive al dispositivo y gestionar su contenido desde éste.

De esta forma, Google Files recibe un espaldarazo importante que le permite competir de tú a tú con las aplicaciones referentes en la materia que hasta ahora sí contaban con esta importante ventaja frente a la herramienta de la compañía de Mountain View. La aplicación, cuyo objetivo es mejorar la organización del contenido así como optimizar el almacenamiento en los dispositivos, ya ofrecía recomendaciones para desinstalar aplicaciones que utilizamos poco, o borrar archivos -temporales, caché…-; detectar y ayudar a eliminar el correo no deseado y el duplicado de imágenes; facilita la localización rápida de archivos importantes como fotos, vídeos y documentos; y hace más sencillo el compartir archivos online de forma rápida y segura, haciendo uso del Bluetooth y el GPS .

Google Files se puede descargar de forma gratuita en la Play Store. Para su funcionamiento basta con contar con Android 5.0 o una versión posterior del sistema operativo del gigante de Internet.

El Expurgo descongestiona los archivos

Xustiza liberará los archivos de los juzgados de Viveiro y Mondoñedo

Durante la Consellería de Xustiza liberará espacio en los archivos de los juzgados de Viveiro y de Mondoñedo. Son dos de los elegidos para continuar con el expurgo judicial, un procedimiento con el que se decide que documentos deben conservarse y cuales pueden destruirse. Así «desconxestiona as distintas instalacións xudiciais».

Galaroza: el aporte de la comunidad a los archivos municipales

Galaroza, años treinta: Lieva documenta una de las etapas menos conocida de la localidad cachonera
La investigación histórica está viviendo momentos importantes en Galaroza. El Archivo Municipal y las colecciones privadas están aportando datos de mucho interés pertenecientes a diversas etapas históricas que están siendo sacados a la luz por parte de personas y colectivos. Su divulgación a través de boletines culturales y las redes sociales está aportando un relevante caudal de información y está despertando muchas emociones en los cachoneros.

Uno de los artífices de esta acción cultural es la Asociación Lieva, que publica revistas como ‘La Regaera’ o el ‘Boletín de Archivos Cachoneros’ en los que se incluyen datos, documentos y fotos fruto de sus investigaciones.

Su trabajo más reciente está siendo el descubrimiento y recopilación de datos y archivos procedentes de la década de los años 30 del siglo XX, desarrollado gracias al proyecto que presentó el Ayuntamiento de Galaroza denominado ‘Rescate de la Memoria cachonera, el rescate del olvido’, y que ha sido apoyado por Consejería de Presidencia, Administración Local y Memoria Democrática.

Entre las finalidades perseguidas, se encuentra la búsqueda de documentos de la década de los años treinta en archivos públicos y privados, conversaciones con vecinos para detectar otros documentos, sobre todo fotografías para que puedan incorporarse al proyecto, concienciación de los más jóvenes en valores como el respeto y la convivencia, la puesta a disposición del Ayuntamiento de un amplio catálogo de archivos escaneados para que formen parte de su archivo o la investigación de otros relatos que puedan incluirse en este discurso cachonero.

Las tareas están procurando una amplia cantidad de documentación entre las que se encuentran una memoria de gestión del Ayuntamiento republicano desde 1931 a 1935, los expedientes carcelarios de cachoneros a partir de 1936, microbiografías de vecinos represaliados y asesinados, trabajos de creatividad en torno a la tragedia de la Guerra Civil, detalles sobre la persecución religiosa, fotografías de lugares y escenas propias de la época y un sinfín de datos que están siendo recopilados.

Entre los documentos recogidos se encuentran cientos de reseñas procedente de hemerotecas y archivos de medios de comunicación como Odiel, ABC, La Vanguardia, El Sol o El Heraldo, que recogen lo más relevante sucedido en Galaroza durante el período entre 1930 y 1940. La investigación se extiende también a la esfera social, incluyendo descripciones y documentos relativos a iniciativas de los vecinos durante esa etapa, tales como la convivencia en Casinos de Sociedad como la ‘Unión Recreativa’ o la ‘Unión Patronal’, la creación del Club Deportivo Cachonero, la memoria de la Sociedad de Socorros Mutuos ‘La Alcancía’ o iniciativas culturales como el periódico ‘El Manicomio’.

Además, el objetivo es, sobre todo, la sistematización y catálogo de los documentos dispersos y su recopilación y unificación, para que todo quede condensado en un cuerpo archivístico que pueda ser consultado por investigadores e historiadores.

Otra finalidad del proyecto es la difusión de este trabajo mediante boletines culturales y la divulgación en medios de comunicación y redes sociales, a través de los cuales los cachoneros podrán conocer su historia y el público en general pueda apreciar este amplio trabajo de investigación.

Para la Asociación Cultural Lieva, sobre la que recae la responsabilidad de la investigación, supone uno de los retos más importantes para 2019, año en que celebra su vigésimo aniversario. La conmemoración de esta efeméride estará compuesta por un amplio programa de actividades con el que van a colaborar instituciones como la Fundación Unicaja.

Preserving Modern Books


Usually when people think of preservation work in archives and special collections, the first thing that comes to mind is crumbling old letters and ancient volumes, but the reality is that modern materials can pose even greater preservation challenges. The last 50 years has seen an explosion in the kinds of materials used in books and book arts: from the huge variety of plastics to experimental inks, dyes and paints; new photographic processes to unusual substrates like metal or concrete; books that include electronics to books that include dirt and seeds. It is clear that caring for modern books is not for the faint of heart!

A couple months ago, I attended a conference titled “Now! And Then? Preserving Modern and Contemporary Collections in Libraries and Archives“. It gave me a great excuse to pull together many of the modern items in our collections that pose particular preservation challenges. I’ve put together a photo montage of some of my favorites, click on an image to learn more about the item and its preservation concerns.

2013 by Justin James Reed
La autonomía es la vida, la sumisión es la muerte.
I Pledge by William Harroff
Freedom of Expression TM
R217A : Resolution 217A des Nations Unies : Déclaration universelle des droits de l’homme by Didier Mutel
Indignity and resistance in the foothills of the Andes: a case study of Villa Grimaldi, Chile, 1973-1978/ Indignidad y resistencia en los pies de los Andes: estudio de caso de Villa Grimaldi, Chile by María Verónica San Martin
McSweeney's magazine
The story of the parrot and the merchant by Jalaluddin Mohammad Rumi, interpreted by Zahra Partovi with unique binding by Gabby Cooksey
The/Rapist by Maureen Cummins
Your House is Mine by Bullet Space
Earth Clock by Ginger R. Burrell
End Papers Box Set by Sto Len
Pictures of pictures by Sara Cwynar
Social me: Sofia Szamosi's social media box set
Philosophiae naturalis principia mathematica by Isaac Newton; imprimatur Didier Mutel
On the slates by Clark Coolidge

A number of these artist books have been explored in greater depth in other posts on this blog:


10 consejos para emprendedores en Venezuela en el 2019

Consejos para emprendedores
Voy con un hilo de 10 consejos para emprendedores en este 2019 que recién comienza. Son ideas generales a tener en cuenta, pero que pueden servir de ayudar en el entorno tan difícil que vivimos. Espero sea útil. #Consejos2019

1. Genere sus propias divisas, ya sea exportando o haciendo su propia cobertura financiera. La época “cadivi” afortunadamente no volverá y ya el Estado no puede proveer dólares baratos. #Consejos2019

2. Ten claro quien es tu consumidor objetivo. La crisis no afecta a todo el mundo de la misma manera, y además hay cambios importantes en los patrones de consumo de la población. Parte de tu éxito es descubrir tu cliente potencial. #Consejos2019

3. Genere indicadores de gestión de su negocio. Son de vital importancia para decidir con rapidez, un punto de honor para enfrentar una hiperinflación. La intuición ayuda pero no es suficiente y equivocarse en este entorno que vivimos es muy costoso.

4. Otorga la máxima remuneración posible a tus colaboradores. Y construye una estrategia salarial que sea independiente del decreto de salario mínimo.

5. A la hora de fijar precios hay que considerar tanto la inflación como la devaluación, un proceso que no es sencillo en hiperinflación.

6. Pide todo el crédito bancario que puedas. Pero en tu negocio trabaja de contado. El crédito es un regalo en la economía hiperinflacionaria venezolana, por esa razón acceder a el no está fácil pero no hay que dejar de intentarlo.

7. Calcula tu “inflación interna” para evitar un descalce entre tus ingresos y tus gastos. Es muy importante tener una idea de cómo suben los costos, no solo a modo general sino por cada rubro en particular.

8. Trabaja en optimizar el flujo de bolívares, por ejemplo, la inversión en títulos de la bolsa de valores es una manera de hacerlo.

9. Está atento a las oportunidadesdel mercado, por ejemplo, hay muchos activios subvalorados. Y también hay vacíos que llenar ppr empresas que han abandonado el mercado. #Consejos2019

10. En hiperinflación el horizonte de planeación es de muy corto plazo. Así que, como los alcohólicos en remisión: “un día a la vez”. #Consejos2019

Mensaje directo

Para iniciar el año: Consejos de seguridad para tu PC y Movil

Cinco consejos sencillos para mantener tu ordenador y móvil seguros

Empieza el nuevo año con estos simples consejos para mejorar tu seguridad digital

Cinco consejos sencillos para mantener tu ordenador y móvil seguros

En 2019 es indispensable para cualquier persona proteger sus datos y sus comunicaciones. Todo en Internet está a unos clicks de distancia —o un par de malas decisiones— de acabar en manos indeseadas. Por mucho que tu banco o tu servicio de correo electrónico intenten proteger tus datos, no pueden protegerte de ti mismo.

La norma más útil es mantener siempre nuestros ordenadores, tabletas y smartphones actualizados a la última versión posible. Es una condición totalmente indispensable con una clara excepción que puede que ser un muy buen motivo para no hacerlo: las nuevas versiones harán que todo funcione más lento. Si tienes un ordenador viejo con Windows XP o un móvil con Android 4 deberías pensar en comprar uno nuevo, porque seguramente será incapaz de ejecutar las versiones más nuevas, potentes y seguras de Windows y Android.

Ten siempre tus programas y sistemas operativos actualizados

Actualizar el software es nuestra primera línea de defensa. Nos libra de ataques constantes como el secuestro de ficheros (ramsonware) por parte de delincuentes digitales que nos pedirán un rescate monetario para recuperarlos, de infecciones de virus o del ataque de troyanos. Las grandes empresas del software y muchas de las personas más inteligentes del mundo en el campo del software libre trabajan duro para que todos podamos tener una vida digital más segura, lo menos que puedes hacer es respetar su trabajo y configurar tus dispositivos para que se actualicen automáticamente.

Siempre que puedas, y el bolsillo te lo permita, utiliza tu propia conexión de datos

El segundo gran punto es revisar las conexiones que utilizamos. La Wi-Fi de nuestra casa puede estar llena de agujeros de seguridad aprovechados por tus vecinos para colarse en ella. Revisa que no haya nadie conectado a tu Wi-Fi, y evita siempre en lo posible conectarte a las redes gratuitas de sitios públicos como centros comerciales. Intentarán acceder a la información de tu teléfono móvil, ver qué aplicaciones tienes instaladas y en muchos casos incluso saber qué claves utilizas para tu correo electrónico, tus redes sociales, etc.

Siempre que puedas, y el bolsillo te lo permita, utiliza tu propia conexión de datos, que permanecerá privada entre tu teléfono y la antena, salvo catástrofe digital que lo impida. Si puedes pagar una conexión segura a través de un VPN de pago, mejor que mejor. Muchas empresas fuerzan a sus trabajadores a utilizarlas en todo momento, y tus datos siempre estarán más seguros circulando de forma privada a través de ellas.

En tu email: dos claves para estar seguro

En cuanto a tu correo electrónico, hay dos normas básicas a tener en cuenta: no descargar archivos adjuntos de nadie que no conozcas y no confiar en correos que te pidan rellenar tu contraseña por algún motivo, sea cual sea.

El primer caso es uno de los más típicos y viejos conocidos: un fichero aparentemente inofensivo de Word, ZIP o PDF puede contener código malicioso que se apodere de tu ordenador, hacer que descargues programas raros o peor aún. Manten tu navegador web actualizado y si tienes dudas de quién te lo ha enviado, no lo abras. Pregunta a algún familiar o amigo que sepa un poco más “de Internet”. Un consejo rápido para estos archivos sospechosos, si tienes un iPad o un iPhone, prueba a abrirlos desde ahí en vez del ordenador. Son dispositivos más seguros y con menos capacidad de ser “atacados”.

El segundo ejemplo también requiere estar un poco atento a las cosas que hacemos, si recibes un correo con el título o el propio mensaje escrito de forma rara, con espacios entre las palabras, en inglés u otros idiomas que desconoces, lo más seguro es borrarlo. Si recibes otro de tu banco, una red social o una tienda online afirmando que tienes que introducir tu contraseña por sorpresa (sin haber solicitado tú el cambio), también bórralo.

Limpia automaticamente archivos temporales que ya no usas de tu PC

Cómo y por qué borrar automáticamente los archivos temporales de Windows 10

Cómo y por qué borrar automáticamente los archivos temporales de Windows 10
Desde hace tiempo, Windows tiene una carpeta llamada Temp en la que se van acumulando los archivos temporales del sistema, algo que puede llegar a ocupar bastante espacio en el disco duro. Hasta hace poco había que eliminar estos archivos temporales de forma manual, aunque en las últimas versiones han implementado una función para automatizar el proceso.

Y eso es precisamente lo que vamos a explicarte hoy. Te vamos a explicar paso a paso cómo y por qué borrar automáticamente los archivos temporales de Windows 10, mencionando primero qué son y por qué puedes querer borrarlos, y después el método para automatizar su borrado periódico.
Por qué borrar los archivos temporales de Windows

La principal razón por la que borrar este tipo de archivos es la de ahorrar espacio en el disco duro de tu ordenador. Aunque estos archivos se crean para realizar operaciones concretas, con el paso del tiempo se acaban acumulando sin que tengan especiales utilidades. Y de ahí que si andas mal de almacenamiento borrarlos sea uno de los primeros pasos a dar.

Como te decíamos al principio, Windows 10 tiene, como las versiones anteriores, una carpeta llamada Temp en la que acumula los archivos temporales del sistema. Muchas de las aplicaciones que utilizan crean este tipo de archivos para controlar la edición y el avance de sus usuarios. Estos archivos, por poner un ejemplo, hacen que puedas deshacer ediciones en Word, Excel o cualquier otra aplicación de forma instantánea, puesto que guardan versiones anteriores de los documentos.

Otras aplicaciones también crean archivos temporales para dejar espacio a otras que puedas estar utilizando, e incluso cuando vas a imprimir un archivo se crea una versión temporal de este archivo. En definitiva, estos archivos temporales son los que permiten tener diferentes versiones de un mismo documento o archivo que estés editando, desde uno de texto hasta los audiovisuales.

De la misma manera, cuando estás navegando en Internet tu navegador también crea archivos temporales. Estos elementos son todas las imágenes y datos que se almacenan en tu ordenador (o cualquier otro dispositivo) cuando estás navegando por la red, algo que tu navegador hace para que la próxima vez que visites una página esta cargue de forma más rápida.

Por lo tanto, el único problema que puedes tener al eliminar archivos temporales de tu ordenador es la de perder versiones sin guardar de documentos, algo que no causa problemas si guardas siempre al terminar, o que determinadas aplicaciones como tu navegador tarden un poco más la primera vez que visitan páginas o realizan tareas para las que necesitan temporales. Pero a cambio, habrás borrado muchos otros archivos que tu ordenador ya no utiliza.Cómo borrar automáticamente los archivos temporales.


En el pasado ya te hemos enseñado a borrar manualmente los archivos temporales de tu ordenador. Pero ahora Windows 10 te permite configurar un borrado automático periódico. Para ello, abre la Configuración de Windows, y en ella pulsa en la opción Sistema.

Sensor Almacenamiento

Una vez entres en la sección Sistema de la Configuración de Windows, pulsa en la categoría Almacenamiento (1) que verás en la columna de la izquierda. Cuando estés en ella, ahora activa la opción Sensor de almacenamiento (2).

Cambiar Modo

Con esta opción, habrás activado la eliminación periódica automática de archivos temporales de Windows y los que tienes en la papelera de reciclaje. Sin embargo, para tener todo el control de cómo se eliminan estos archivos ahora pulsa en la opción Cambiar el modo de liberar espacio automáticamente que aparece justo debajo del botón de activación.


Una vez dentro de Cambiar el modo de liberar espacio automáticamente, tienes que elegir la frecuencia en la que quieres que se eliminen los archivos temporales. Por defecto estarán configurados para liberarse cuando haya poco espacio, pero puedes establecer una frecuencia diaria, semanal o mensual.

Temporales 2

Justo debajo, activa la opción Elimina los archivos temporales que mis aplicaciones no usan para que Windows detecte los que están sin uso y los elimine. En esta misma sección también puedes establecer el borrado automático de los archivos de la papelera de reciclaje o los de la carpetaMis descargas.

Inicia el año limpiando tu ordenador de archivos que no usas y duplicados

Parallels Toolbox, una caja de herramientas que facilita todo mucho máshttps://www.mrmoviliano.com/

Esta es otra entrada de Mr.Moviliano. Se podría decir que un ordenador es la herramienta más completa que tenemos en nuestro poder, con un sinfín de programas, atajos de teclado y facilidades para que nuestras tareas se hagan lo más rápidas posible. Pero en ocasiones no resulta tan sencillo o tenemos que dar un rodeo demasiado grande para conseguir lo que deseamos. Como respuesta a nuestras suplicas nace Parallels Toolbox, un complemento perfecto para cierto tipo de programas. 

¿Qué es Parallels Toolbox?

Como he introducido anteriormente, a pesar de que un ordenador es una excelente herramienta, flaquea en algunos trabajos que se quieren realizar con él. Parallels Toolbox viene al rescate para tareas de sistema, para presentaciones y a la hora de trabajar y capturar contenidos audiovisuales. Y es que justamente son esos los tres paquetes sobre los que se basa cada una de las herramientas que podemos adquirir con cada uno de ellos o todos juntos.

Parallels Toolbox 2

Un día de trabajo o de hobbies con parallels Toolbox

Una ventana se nos abrirá a la derecha de nuestro escritorio, Parallels Toolbox se muestra por primera vez con las herramientas que se incluyen en el paquete que hemos adquirido. En una primera sección tendremos todas las herramientas disponibles. Más abajo existirá otra que mostrará las utilidades que más hemos utilizado y las que son nuestras favoritas. Ambas secciones se podrán ocultar. Y el resto de opciones que tendremos ya estará en la configuración sobre la cual hablaremos más adelante.

Si tuviese que hablar de cada una de las herramientas que ofrece Parallels Toolbox, podría no acabar nunca, y por eso si que me gustaría hablar de algunas de ellas que me han resultado bastante útiles incluso no necesitándolo en mi día a día.

Por ejemplo, todas la posibilidad de grabar tanto mi pantalla, lo que escucha el micrófono o simplemente hacer un pantallazo. Y esto sobretodo reside por la falta de opciones de calidad por el propio sistema operativo. En todas estas posibilidades podremos grabar o capturar en un área definida por nosotros, en toda la pantalla o incluso en una única pestaña. Que si bien no se enfoca en el streaming por ser una herramienta algo más simple que programas como OBS, sí que nos facilita el mostrar lo que estamos haciendo en nuestro ordenador y tener un archivo listo para subir o simplemente para pasar a algún compañero de trabajo por motivos laborales.

Parallels Toolbox 1

Pasamos a otra agrupación de herramientas como son la limpieza de archivos o la búsqueda de aquellos que están duplicados. Opciones más enfocadas al mantenimiento de nuestro ordenador. Volvemos a lo mismo, funciones muy básicas que se simplifican a más no poder con 3 o 4 opciones que me han parecido más que suficientes.

Y por último quiero comentar otras funciones que en un primer momento no me han resultado siquiera atractivas pero que una vez vayas encontrando el momento para usarlas sí que me han resultado incluso imprescindibles. Estoy hablando de la posibilidad de vaciar mi escritorio de accesos directos y archivos, tener un modo presentación y el No Molestar. Y es que no valoramos lo que es poder mostrar algo a un compañero o a un público y cuidar los detalles. Debido a que tenemos tantos programas funcionando en segundo plano o que no recordamos que se abren al iniciar el ordenador que ya se permite un mensaje de skype o tener los accesos directos de nuestros programas en el escritorio, donde todo el mundo puede verlo. Se debe volver a esta preocupación por mejorar nuestro resultado y es aquí donde Parallels Toolbox ha aportado su granito de arena.

Así pues, y tras mi experiencia de uso, me ha sorprendido como tener estas opciones disponibles en mi ordenador me ayudan en ciertos momentos tanto de mi vida laboral como personal. Todo es muy minimalista y muy directo. Y eso me gusta porque no pierdes el tiempo configurando mil parámetros, pero también te impide tener más control de ello. Si bien es cierto que me resulta una decisión acertada cuando intentas abarcar tantas funcionalidades distintas y evitando tener que competir con las grandes marcas de cada una de dichas funcionalidades.

Parallels Toolbox 3

Todo esto mejora una vez entramos a la configuración, bastante necesario en mi opinión. Podemos elegir donde guardar nuestras capturas y grabaciones, podemos esconder del dashboard aquello que no vayamos a usar e incluso mostrar alguna que otra sección. Pero sin lugar a dudas lo mejor es elpoder definir un atajo de teclado para cada una de las herramientas disponibles que mejoran aún más nuestra productividad. Un rollo configurar al principio todo lo que queremos, pero una maravilla en el momento en el que ya está todo y te has echo a ello.
Parallels Toolbox, precio y disponibilidad

Parallels Toolbox se encuentra ya disponible en su página web a través de una suscripción anual por 19,99€ al año todo el pack o 9,99€ al año cada uno de ellos por si preferís comprarlo por separado.

Autor: por Javi
Parallels Toolbox
  • Diseño – 6/10

  • Calidad del producto – 8.5/10

  • Funcionalidad – 9/10

Idylls of the King

From the Winter 1999 WNYC Program Guide:

“As we stand poised on the edge of a new millennium, travel back to another world on the verge of change. The Idylls of the King, based on the poems of Alfred Lord Tennyson is a radio play that gloriously recreates the legend of King Arthur, his queen Guinevere, and the dawn of a new age.”

The production was edited and adapted for radio by Christopher Cartmill and features Christopher Cartmill and Kathleen O’Grady. It was directed by Tom Palumbo and produced by WNYC’s Scott Borden and Gads Hill for a first broadcast on December 31, 1999.  The late great Margaret Juntwait announces. Engineering was by Wayne Schulmister.



2018: End-of-year review

The festive season always brings it end-of-year polls and ‘best of’ lists. We’re partial to a good list @unistirarchives so we have reviewed our user statistics recording visits to our archives reading room and enquiries received about our collections to come up with our annual rundown of our most popular collections.

In 2018 our most used and enquired about collection is the NHS Forth Valley Archive. Since the original transfer of material in 2012 it has consistently been one of our most popular collections (also topping our end-of-year chart in 2013, 2014 and 2015). The collection includes historical patient records that are of great interest to family historians. Alongside the regular genealogical enquiries we receive 2018 also brought a marked increase in the use of the collection by students at Stirling for dissertations and project work. This year also marked the 70th anniversary of the NHS and the 21st anniversary of Nursing at Stirling, both events generating further interest in our medical collections.

Case books from the Stirling District Asylum Archive.

The University of Stirling celebrated its 50th anniversary in 2017 and the interest generated in the history of the institution continued into 2018 with the university’s own archives taking second place on our list. Another anniversary of note occurred in 2018 with the university celebrating the 40th anniversary of the establishment of Film & Media Studies as a subject at Stirling. With this anniversary in mind its fitting that the final entry in our top three of 2018 is our film archive collections which include the personal and working papers of John Grierson, Norman McLaren and Lindsay Anderson. 2018 also marked the 50th anniversary of the release of If…., Lindsay Anderson’s iconic tale of rebellion at an English public school. The anniversary generated much research interest in the film and we were also invited to contribute to a number of events, screenings and exhibitions relating to the film during the year.

Material from the Lindsay Anderson Archive.

Other Archives & Special Collections highlights in 2018 included: the award of an Honorary Degree to the writer Patrick McGrath by the University in June in recognition of the generous donation of his literary papers to the University Archives to support learning and research; the display of a specially-curated version of our Hosts & Champions exhibition at the 2018 Commonwealth Games, Gold Coast, Australia in April; and the fantastic exhibition created by our ARTUHR5 students in November – Pop and Protest: the Musicians’ Union in the 1980s showcases material from the Musicians’ Union Archive (and is on display in the University Library until March 2019).

Finally we would like to thank our team of volunteers who have worked so hard throughout the year to support us making our collections more accessible to all. And a big thank you to Lucy, our Heritage Studies student, who raised the profile of our collections on Wikipedia.

We wish all our users and supporters a very happy Xmas.

The University Archives will reopen on 3 January 2019.

Previous years:

2017: 1. University of Stirling; 2. NHS Forth Valley; 3. Peter Mackay

2016: 1. NHS Forth Valley; 2. University of Stirling; 3. Lindsay Anderson

2015: 1. NHS Forth Valley; 2. Musicians’ Union; 3. University of Stirling

Happy Holidays!

The Archives will be closed for the holidays from 5pm on Friday, December 21, 2018, and reopen at 9am on Wednesday, January 2, 2019.

A delightful Season’s Greetings card depicting a woman in a poinsettia dress holding a wreath with a man in a black top coat. Reference code: AM968–

This year’s season’s greetings card comes from the Lorne Brown fonds. Lorne Ellis Brown (1908-1976) was a teacher in the Vancouver public school system when this card was sent to him in 1930 or 1931. Later in his career, he became the Provincial Superintendent of Physical Education in the Department of Education (1944-1946), the Director of Health and Physical Education at the Provincial Normal School (1946-1955), and Associate Professor in the Faculty of Education at the University of British Columbia (1955-1973), and Vancouver Park Board Commissioner (1967-1968).

Lorne Brown married Annie May Adams (better known as May Brown) in the 1940s. May shared Lorne’s interest in physical education, and has had a highly distinguished career in her own right. Highlights of her impressive career include faculty member of UBC’s School of Physical Education and Recreation and coach of the UBC women’s field hockey (1947-1955), Park Board Commissioner (1973-1976), and Alderman on the Vancouver City Council (1980-1986). She also has received a number of accolades, including the Order of Canada (1986). The Archives’ holdings contain records from her time in civic office (City of Vancouver fonds, series 462).

Inside of greeting card, sent from Captain Westy. Reference code: AM968–

Together, Lorne and May ran Camp Deka, a private boys’ camp in BC’s interior, from 1961-1976. May donated the Camp Deka records to the Archives in 2011.

As a testament to this couple’s commitment to physical education and Vancouver’s Park Board, the May & Lorne Brown Park located on Beach Avenue, was named in their honour in 1998.

Archivo de Juan de la Cierva recuperado por la Policía Nacional

La Policía Nacional recupera el archivo desaparecido de Juan de la Cierva

Algunos de los documentos recuperados./GUILLERMO CARRIÓN / AGM

Se trata de 938 legajos, 117 cajones, 19 archivadores, 150 carpetas y 157 libros contables que el bisnieto del ministro trasladó a un lugar desconocido hasta la fecha

Una operación desarrollada por la Policía Nacional en los últimos días ha permitido recuperar cientos de archivos del fondo documental de Juan de la Cierva y Peñafiel, ministro de Gobernación, Guerra, Hacienda y Fomento durante el reinado de Alfonso XIII. Los archivos, de gran valor histórico, se encontraban desaparecidos desde el año 1998.

En los últimos días los investigadores los hallaron en un local de Murcia y en una nave de Cabezo Cortado. Se trata de 938 legajos, 117 cajones, 19 archivadores, 150 carpetas y 157 libros contables que el bisnieto del ministro trasladó a un lugar desconocido hasta la fecha. Entre los documentos figuran cartas del ministro con Azorín o Ramón y Cajal.