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As described on its website, Life Magazine Archive “presents an extensive collection of the famed photojournalism magazine, spanning its very first issue in November, 1936 through December, 2000 in a comprehensive cover-to-cover format.
“Published by Time Inc., the magazine has featured story-telling through documentary photographs and informative captions.Each issue visually and powerfully depicted national and international events and topical stories, providing intimate views of real people and their real life situations.
“Articles and cover pages are fully indexed and advertisements are individually identified, ensuring researchers and readers can quickly and accurately locate the information they seek. Life Magazine Archive is valuable to researchers of 20th-Century current events, politics and culture, as well as those interested in the history of business, advertising, and popular culture.”
The covers, articles, and advertisements can all be searched. It is also possible to browse through an issue, once a page of the issue has been retrieved.
Until October 20, 2017, the Library has trial access to the following resources:
Associated Press Collections including,
Associated Press: European Bureaus Collection
Associated Press: Middle Eastern Bureaus Collection
Associated Press: News Features & Internal Communications
Associated Press: US City Bureaus Collection
Associated Press: Washington Bureau II Collection
Associated Press: Washington/D.C. Bureau Collection
Your feedback on the usefulness of these is greatly appreciated.
KKK Newspapers: Hate in America: The Rise and Fall of the Ku Klux Klan in the 1920s is a growing collection of digitized newspapers published by Ku Klux Klan organizations, publishers sympathetic to the KKK, and also some anti-Klan organizations. This resource was developed by Reveal Digital as part of their goal to “document a range of viewpoints that chronicle the historical record of 20th century America.” Their first project, Independent Voices, provides access to alternative press newpapers, magazines, and journals from the latter half of the 20th century.
Access to the first 18 titles in the collection is available to funding libraries, including the UC Berkeley Library. When the project is complete, it will be available to everyone.
The KKK newspapers project was recently featured in Slate, in a feature titled “Guess Whether These Headlines Came from Breitbart or 1920s KKK Newspapers.”
Adam Matthew Digital (AMD) has completed three of five modules of Colonial America, an online resource that will include all 1,450 volumes of the CO 5 series from The National Archives, UK, covering the period 1606 to 1822. The Library currently has trial access to the three modules until October 16, 2017.
It is with the third module of Colonial America that AMD has implemented a technology that allows for full text searching of handwritten documents. The Handwritten Text Recognition (HTR) application uses algorithms and artificial intelligence to determine possible combinations of characters in manuscripts.
The default search will search both metadata applied to documents and their text. When results are found in the text, they are displayed as snippets.
Clicking on a hit will take you to the page where the word appears.
This search function is ground-breaking, but not 100% accurate. I’ve searched for words that exist in a document and have retrieved no results. I have also searched for words that were written sloppily or with a long s and have retrieved results.
I am interested in your feedback on both the value of the database and your successes (or failures) with full-text searches. Email me at firstname.lastname@example.org.
(Please note that PDF downloads are not available during the trial.)
by Steven Black, Bancroft Acquisitions
Things fall apart; the center cannot hold;
Mere anarchy is loosed upon the world…
–William Butler Yeats, from “The Second Coming”
As they do in a teeming metropolis, connections occur naturally among collections in libraries and other repositories. These linkages may involve ideas and people, whether by description (cataloging and metadata), archival arrangement, researcher access and review, or, in the case of a new exhibit at The Bancroft Library, by time-shifted serendipity.
“The Summer of Love, from the Collections of The Bancroft Library” fortuitously brings together two representative figures who, in 1967, circled each other warily, but never met.
Joan Didion’s reportage in “Slouching Towards Bethlehem” is highlighted in a timely Bancroft exhibition along with images of the hippie scene in San Francisco taken by photographer Ted Streshinsky.
One thread running through her piece (in a reproduction of her typescript essay as submitted for later book publication) is a search for the Communication Company printer and publisher Chester Anderson.
Funded by proceeds from his cult-hit novel The Butterfly Kid (1967), Anderson arrived in the Haight district of San Francisco just as the seeds for the coming “Summer of Love” were sown. In January 1967 he purchased a state-of-the-art mimeograph machine from Gestetner “to provide quick & inexpensive printing service for the hip community.”
Among the works issued by this newest member of the Underground Press Syndicate were innumerable Diggers flyers and handbills, a chapbook by Richard Brautigan (All Watched Over By Machines of Loving Grace), revolutionary manifestos, notices for performances, the Invisible Circus, other happenings, and street level public service announcements.
In her quest, Didion describes meeting Com/Co’s co-founder, who (she writes) “says his name is Claude Hayward, but never mind that because I think of him just as The Connection.”
As she is on assignment for a mainstream publication, Didion is considered (in a Diggers phrase-du-jour) to be “a media poisoner.” The Connection urges her to dump the photographer she is with “and get out on the Street” leaving her cash (“You won’t need money”) behind.
Responding to her request to speak directly with Chester Anderson, The Connection says: “If we decide to get in touch with you at all, we’ll get in touch with you real quick.” Although she crosses paths with The Connection again that spring in the Panhandle during an agitprop intervention by the San Francisco Mime Troupe, his passive refusal to hook her up rebuts his street-inflected nickname.
Joan Didion was unable to find the oracular man who could ostensibly help her understand “the scene,” or genius loci. Despite this missed connection with Chester Anderson, by detailing her forays into the Haight-Ashbury and other hippie enclaves around San Francisco, Didion captured in prose a time in violent flux. “Slouching” became the title essay of her celebrated first book of non-fiction, securing her reputation as a caustic and insightful social seismograph.
Today their works are co-located in Bancroft’s Summer of Love retrospective: two radically different writers can be seen in a long-delayed meeting that eluded them in real life.
* * *
Joan Didion (1934-) Joan Didion’s manuscript (BANC MSS 81/140 c carton 1) came to The Bancroft Library as a gift of the author.
Chester Valentine John Anderson (1932-1991) Chester Anderson’s papers (BANC MSS 92/839 c) came to The Bancroft Library via friend and fellow underground journalist Paul Williams.
Paul Williams (1948-2013) founded Crawdaddy, the first zine of rock and roll journalism (predating Rolling Stone), authored many works of hippie (Apple Bay: or, Life on the planet) and new age journalism (Das Energi), books on Bob Dylan and Philip K. Dick (whose literary executor he was, for close to 20 years). Through his imprint Entwhistle Books, he published two books by Chester Anderson: Fox & hare : the story of a Friday night (f PS3551.N358 F6 1980 Bancroft) and Puppies (p PS3572.A395 P9 1979 Bancroft) under Anderson’s pseudonym John Valentine.
Ted Streshinsky (1923–2003) Ted Streshinsky’s photo archive (BANC PIC 2004.132) was a gift of his wife Shirley.
While surveying the Mark Evanoff papers recently during archival processing, it soon became clear that this collection includes a particularly rich array of social movement cultural ephemera about the regional and global environmental impact of the nuclear industry in California. Social movement ephemera is produced in a variety of formats to engage, transform and promote direct action toward a dynamic social cause. The content provides a unique glimpse into a time and place in the life of a socio-political movement and so can be of particular historical importance and value in research and instruction when available.
As objects of a temporary nature, ephemera is always at risk of disappearing once its initial purpose has been served. Accordingly, it usually must be saved by a participant or observer around the time of its creation. This is the case with the Mark Evanoff papers. Evanoff worked primarily with the Abalone Alliance and Friends of the Earth during the 1970s and 1980s to oppose the development and operation of nuclear power plants in Diablo Canyon and Humboldt Bay. He wrote articles for Friends of the Earth’s “Not Man Apart” publication, planned and participated in protest actions (and was arrested twice in the Diablo Canyon blockades), mobilized activists and prepared groups for non-violent civil disobedience training and legal defense.
Evanoff also collected and disseminated educational resources about nuclear power and disarmament produced by local and global pro-nuclear and anti-nuclear groups. The Evanoff papers provide substantial evidence of the anti-nuclear movement, community organizing, direct action and social movement participation at a grassroots level during this period through the correspondence, organizing notes, meeting minutes, legal testimony, public policy clippings, and ephemera contained within the collection.
Since adapting to communication trends is crucial in the progress of social movements, the choices made regarding the information, language, graphic design, artwork, printing and distribution of ephemera produced by these groups can profoundly affect the message. With just a few images and well positioned text, effective social movement ephemera opens minds, pulls at the heart-strings, and/or gets the viewer’s blood boiling and ready for action. It acts as a useful educational and marketing outreach tool to share information, promote ideas, publicize an agenda and provide talking points about a cause. Activist ephemera also usually presents logistical details as to the who, what, when, why, where and how of community organizing, grassroots public policy lobbying, protest marches, fund raising concerts and other actions.
Ephemera is most powerful when designed with eye catching, bold, trending or symbolic imagery, visual cues and creative use of text, colors and fonts. Many flier, poster and zine designs have a cut and paste, DIY (Do-It-Yourself) quality: utilizing photographs overlaid with other compelling graphics and text, including well-known historical quotes or humorous catchphrases, and self-published at home or printed at copy stores. While some other ephemera is professionally graphic-designed and printed on finer quality papers.
Although some materials are undated and may contain questionably reliable content, requiring additional sleuthing to fact check information and find accurate dates, much cultural ephemera can provide valuable incite to researchers long after the date of creation. Social movement ephemera may also act as a jumping off point for scholarly research when used in exhibitions, publications and instruction. The visual aspects and originality of content of this sort of cultural ephemera has the ability to draw a viewer in to study a topic they otherwise may not have known or thought much about previously.
Some of the qualities that make activist ephemera unique can also become challenges when preserving a collection of archival materials. Certain items may be difficult to stabilize and store long-term in their entirety when produced on acidic paper, fabric, metal, plastic or wood; or when they are found adhered to the pages of scrapbooks or attached to handles. There may also be questions as to how best to organize and catalog ephemera materials within a large collection, so that a potential researcher will be able to readily find relevant items. To highlight the research value of the ephemera in the Evanoff papers, it has been arranged so that anti-nuclear materials are separated for the most part from power plant information and nuclear power subject and technical files, and it has been described within the finding aid in a bit more detail than usual.
After nearly 60 years of controversy since construction began on the Diablo Canyon Power Plant, PG&E announced plans for its closure in 2025. While it’s impossible to measure the effect that the activist ephemera produced by the Abalone Alliance and other anti-nuclear groups had on this result, it is easy to see the informational, evidential and aesthetic value in keeping these social movement materials for future researchers. What is important to the historians of tomorrow must be collected and saved today.
The Mark Evanoff papers are now processed and open to researchers at The Bancroft Library.
Background: Each year the Bancroft Library acquires a sizeable amount of new manuscript material. The sheer quantity of this material necessitates that the archivists who handle, process, and catalog these materials, exercise considerable judgment in balancing thorough and accurate descriptions that facilitate access with the need to make the materials available as quickly as possible. Archivists are trained to determine just the right level of description to allow for sufficient discovery. In the case of very large collections, an archivist rarely describes materials at the item-level.
But sometimes a single item merits closer examination and considerable research to render it truly accessible to the library’s researchers. One such item recently caught my attention–
The “Ship Capitol’s Log Book” is the account of a passenger aboard one of the first ships to head to California during the gold rush, arriving in San Francisco in July 1849.
At first glance, it looked like a typical gold rush era journal, with daily entries describing conditions and life aboard the ship as it made its way from Boston to San Francisco around Cape Horn. But this one stood out because it included several finely rendered pencil drawings throughout including ships, shorelines, and even an albatross at rest.
Unlike similar journals that have crossed my desk, this one came with a contemporary inscription inside the front cover identifying the ship and giving the date (and, incidentally, providing a neat title for the catalog record). The accompanying description provided by the vendor was also intriguing, noting that there was an additional inscription in a different hand: “Above this [title] is the inscription of Paul Maraspin, another passenger on the ship and the ancestor of the log’s most recent owner…. It is not clear who authored the journal.” However, upon closer examination, I determined that this might not be the case. It was clearly two initials followed by “Maraspin” but it didn’t look like either a “P” or “Paul.” I could not clearly make out the first initial, but the second one looked like an “L,” and below that a street address of “17 Court Street, Boston” and the date “Feb. 1917.”
The vendor also noted that the lettering of the captions of the drawings was in a third hand, suggesting that someone other than the author of the journal might be the source of those. Also noted was the composer of several songs recorded in the journal, B.F. Whittemore.
The clues from the vendor and my own initial assessment of the journal suggested that a bit more research might make the journal infinitely more discoverable and useful. I became intrigued by the name of the owner of the journal, and the information suggested by the vendor just didn’t seem to fit with the facts the artifact was presenting to me.
Archivists have at their disposal the same research tools many other people do…the internet and access to genealogical sites that hold various records. There is a tremendous amount of information out there that makes this kind of research much more efficient than it used to be. Of course, too much information can also be problematic and it is the skillful researcher who can quickly sort through large amounts information and surmise whether more research will yield tangible results or, lacking that, have to call the effort “good enough.”
In this particular case, I discovered information about the owner’s signature that led to the solution of numerous puzzles presented by the journal itself, including how he came into possession of it, its likely author, the identity of the illustrator, the history of the lyricist of several songs, the author of the final song in the journal, and the history of the ship and its captain, Thorndike Procter.
Because Maraspin struck me as an unusual name, my first step was a Google search on the name. This resulted in the discovery of a Maraspin Creek in Barnstable, Massachusetts. Assuming the creek was named after a prominent family in the area, the information gave me hope that I could find out more about them and explore those connections.
I switched over to Ancestry.com to do a direct search on Paul Maraspin from Barnstable, Massachusetts around the time period of 1849. Numerous records surfaced that indicated a Paul Maraspin from Barnstable had been married and had several daughters, but none of whose initials matched the inscription in the journal. But then I found an application to the Sons of the American Revolution from 1937 for Paul Maraspin that listed his wife, Mary Eliza Davis, and one child, a son, Francis Lothrop Maraspin. Paul Maraspin had this son rather late in life, at the age of 52, and some 16 years after he had sailed to California. Looking back at the inscription, I could see now that the autograph was, in fact, “F.L. Maraspin.”
I then turned to confirming that this was, indeed, the Francis Lothrop Maraspin in the application form. Back to Google, I found an article from the Cape Cod Times lauding a Francis Maraspin’s 100th birthday in 1966. Back to Ancestry.com I found another Sons of the American Revolution application from 1935, this time for a Francis Lothrop Maraspin. I could see print coming through from the backside of the page and paged forward to see it. Right at the top was the statement identifying Paul Maraspin as his father. But the real clincher was at the bottom.The application was signed by Francis Lothrop Maraspin himself with his typed address, 17 Court Street, Boston.
And from the journal again:
As you can see, the signature and address matched the inscription on the journal cover perfectly and we now knew we had our owner and could assume, with reasonable certainty, that the likely author of the journal was Francis Lothrop’s father, Paul Maraspin.
I shared these initial findings with my supervisor, Randal Brandt, who directed me to a publication that would be key to figuring out the rest of the puzzles. The Argonauts of California, published by C.W. Haskins in 1890, is an invaluable source of information about the gold seekers who came to California. The passenger lists it contains were crucial in figuring out the names of people associated with the journal. We now knew who had written the journal but who had done the drawings? And what about the composer of those numerous songs recorded in the journal? A closer examination of the drawings proved fruitful. Of the nine drawings, two of them had the initials “CCH” in the lower right hand corner.
A quick perusal of the Capitol’s passenger list turned up only one possible match, a C.C. Hosmer. Now we knew the name of the illustrator. Back to Ancestry.com again, I went hunting for more information about him and found out his full name, Chester Cooley Hosmer (1823-1879). Because Chester Cooley Hosmer is also an unusual name, on a whim I Googled it along with the word “Capitol.” The very first result was a library catalog listing in the Special Collections of the Jones Library in Amherst, Massachusetts for Chester Cooley Hosmer’s journal documenting the same trip aboard the Capitol. Describing it as a journal “illustrated throughout with his drawings,” the catalog listing included scans of two pages with drawings. Here is one of them.
One can readily see the style of these drawings match those in the Maraspin journal. Not only did we now know our illustrator but also the location of his journal from the very same voyage.
Turning to the name listed as the songwriter, B.F. Whittemore (sometimes spelled incorrectly as “Whitmore” in passenger lists), a search turned up another interesting character. The Wikipedia entry for Benjamin Franklin Whittemore states that he went on to become a minister in the Union Army and then elected to the state legislature of South Carolina and eventually the House of Representatives.
Others identified in this process included the composer of the final song lyrics in the journal titled, “A Song Dedicated to the Officers of the Ship Capitol,” and signed “W.T. old friend.” Again, the passenger lists were the key as only one person had those initials, W.T. Hubbard.
More research on the ship and lists revealed the full name of the captain, Thorndike Procter of Salem, Massachusetts.
As might be true with any group of persons traveling so far from home for so long, there is inevitable tragedy as well as triumph. Captain Thorndike Procter committed suicide in San Francisco Bay on October 17, 1849. It was reported in the papers that the captain “had been lately subject to occasional fits of derangement, during the last of which he jumped overboard, and was drowned….” Nine weeks later, Paul Maraspin’s young “old friend,” William.T. Hubbard, just 23 years of age, also died by drowning in San Francisco Bay on Christmas Eve.
The work of improving access and discoverability to our collections is at the heart of what we do as library professionals. Unknown people become known, their stories and lives become real to us, and as you read this journal now you can see the intertwining of their lives. One hundred and sixty-eight years later, two journals from the same trip are virtually reunited because of the work of archivists and catalogers separated by time and a continent. In this way, library professionals contribute to a very large cultural jigsaw puzzle that, slowly but surely, becomes ever more complete.
To see the completed catalog record for this item please use this link:
A recent acquisition is Proquest’s Women’s Magazine Archive, a searchable archive of women’s interest magazines, dating from the 19th century. It provides access to the complete archives (with some exceptions) of Good Housekeeping (1885-2005), Ladies’ Home Journal (1885-2005), and Woman’s Day (1937-2005). Other titles include:
Better Homes and Gardens 1925-1978
Women’s International Network News 1975-1985
Additional content will be added by September 2017.
Beginning in the 1820s, the Confidential Print series was a selection of key correspondence, orders, policy documents, treaty texts, and memoranda from Great Britain’s Foreign Office and Colonial Office distributed internally to the Monarchy, Cabinet, members of Parliament, and within their organizations. Confidential Print: North America sheds light on controversies surrounding slavery, the treatment of Canadian indigenous peoples, uprisings against colonial rule, labor unrest in the United states, Nazi and fascist activities in Latin America, and much more. The record groups included in this series of Confidential Print are:
CO 880 War and Colonial Department and Colonial Office: Confidential Print North America, 1939-1914
CO 884 War and Colonial Department and Colonial Office: West Indies, Confidential Print 1826-1961
FO 414 Foreign Office: Confidential Print North America, 1824-1941
FO 461 Foreign Office: Confidential Print America, 1942-1956
FO 462 Foreign Office: Confidential Print United States of America, 1947-1956
More details about the contents of these record groups can be found in the Nature & Scope page of the site.