Library of Congress's Blog, page 131

Curator’s Picks: All That Jazz

(The following is an article from the March/April 2016 issue of the Library of Congress Magazine, LCM. You can read the issue in its entirety here.)

Music Division Curator Larry Appelbaum highlights items from the Library’s exhibition “Jazz Singers.”

BILLIE HOLIDAY

No matter how many times I’ve seen this iconic portrait of Ms. Holiday by William P. Gottlieb, taken in 1947, I’m always struck by the way photographer William P. Gottlieb captured her beauty and spirit in the moment of creativity. It’s a profoundly revealing image that visually evokes the sound of one of our greatest singers.

William P. Gottlieb Collection, Music Division

 

 

 

 

VISUAL JAZZ

The Music Division’s collections include 23 watercolors by writer, cartoonist and painter Stephen Longstreet (1907–2002). This drawing titled “Club Date Spot Light” is among his compelling images depicting various aspects of jazz culture.

Music Division

 

 

 

 

 

 

CHET BAKER LETTER

The Music Division recently acquired a cache pertaining to jazz trumpeter Chet Baker, including this chilling, undated, false-alarm suicide note detailing his descent into self-destruction. On May 13, 1988, Baker’s body was found on the sidewalk below his hotel room in Amsterdam. The exact circumstances of his death remain a mystery.

Chet Baker Collection, Music Division

 

 

“BETWEEN THE KEYS”

In the Music Division’s Max Roach Collection, I was startled to find a 1980 typescript of an unpublished autobiography by singer Nina Simone in collaboration with her friend Mary Martin Niepold, titled “Between the Keys.

Max Roach Collection, Music Division

 

 

 

 

 

FITZGERALD AND ELLINGTON FILM CLIP

Of the many wonderful videos and film clips in the exhibition that illustrate jazz vocal artistry—including the Mills Brothers, Jimmy Rushing, Sarah Vaughan and Carmen McRae—my favorite is a rarely seen clip of Ella Fitzgerald with Duke Ellington from a 1959 Bell Telephone Hour television special. C’est magnifique!

Motion Picture, Broadcasting and Recorded Sound Division

Gathered Around the Seder Table: Images from the Passover Haggadah

(The following is a guest post by Sharon Horowitz, reference librarian in the Hebraic Section of the African and Middle Eastern Division.)

Exodus 23:15 tells us that Passover should be celebrated in the spring. The rabbis understood this to mean it was their job to maintain the holiday in the spring, which required some manipulation of the lunar-based Jewish calendar because the lunar calendar has fewer days than the solar year. Were it not for the intervention of the rabbis to establish leap years, Passover would occur during various seasons, shifting around our solar year. In order to keep Passover in the spring, Rabbi Hillel II created a perpetual calendar in the fourth century. Since that time, an extra month of 29 days is inserted into the Jewish calendar seven times in a 19-year cycle.

Passover, the Jewish holiday that celebrates the exodus of the Biblical Israelites from Egypt, has as its central ritual an event called the seder. This evening ritual usually takes place in the home, as opposed to the synagogue. As described in the Book of Exodus, groups of extended family and friends were the milieu of this ritual. In the Bible, instructions for the Paschal sacrifice and its meal required that the meat be completely consumed (no leftovers). The most practical way of accomplishing this was to band together in groups. Today, the seder continues to be a good opportunity for family reunions.

The seder rituals include reciting prayers, telling the story of the Exodus, eating certain special foods, singing songs and sharing a meal. The text for the seder is called the Haggadah. The Haggadah serves as a guide, instructional manual and script for the ritual re-enactment of the Exodus.

The oldest complete printed version of the Haggadah is found in a 10th century prayer book compiled by Rabbi Saadia Gaon, who was head of the academy in Sura, Babylonia. The earliest printed Haggadot appeared in either of two formats: as a separate entity or as part of a prayer book that contained prayers for various services of Passover and other festivals. Only in the 19th century did it become common for each person to have his or her own copy of the Haggadah at the seder. Prior to that time only the person leading the seder had a Haggadah.

Most early printed editions of the Haggadah were not illustrated. The focus was on the text and on written commentaries to the text. Over time, illustrations in the printed Haggadah set the scene and filled in various narrative lacunae for its readers. Despite the fact that on the night of Passover Jews are to narrate the Exodus, the received Haggadah text does not include extensive excerpts from the actual story in the Book of Exodus. The illustrations work together with the text to create a cohesive narrative. Illustrations also help to keep young children occupied during the evening.

Let’s look at several illustrations showing families participating in the seder rituals.

*All illustrations are from the African and Middle Eastern Division collections

The illustrations sometimes reflect local customs, such as in the Poona Haggadah. Notice that only men are sitting at the seder table. Women are included elsewhere, however, in a page showing them baking matzah.

These family scenes, with individuals in local dress and with their period interiors, are wonderful to look at. Are the luxurious surroundings of the family sitting at the table scenes real or idealized? Professor of Religion Marc Michael Epstein at Vassar College has suggested that the sumptuousness in these family images was exaggerated and not real. They were meant to bolster identity and assuage insecurities of the privileged class about their privileges and fear of losing them. He suggests we should resist seeing these family scenes as evidence of social mores and physical culture. Passover was a time to “show the face of free people” despite the types of subjugations that the 18th- and 19th-century Jews suffered.

Here’s to a Couple of Ruff Characters

Four hundred years ago this weekend, two of the greatest geniuses in wordcraft this world has ever seen both died: William Shakespeare and Miguel de Cervantes.

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The Bard

Shakespeare’s plays still dazzle, written though they are in Elizabethan English and iambic pentameter; their story lines are still fresh enough to inspire endless straight-play performance worldwide, Broadway musicals (“Kiss Me, Kate”) and international covers such as the Japanese samurai-setting movies by director Akira Kurosawa (“Throne of Blood” and “Ran.”)

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El Principe

Cervantes is known among the Spanish-speaking as “El Principe de los Ingenios,” or “The Prince of Wits,” and is recognized worldwide as the father of the modern novel for his masterpiece “Don Quixote.” Spanish national television stopped by Friday to view rare editions of that classic held by the Library, including a 1605 Madrid edition, a pirated edition of that year printed in Portugal, and a beautiful recent limited edition in Galician, with art by Galician masters.  Cervantes also made it to Broadway, via “Man of La Mancha.”

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The pirated 1605 edition of “Don Quixote”

It is fitting, in the light of their towering talents, that UNESCO declared April 23 World Book and Copyright Day. How amazing is it that the thoughts of two ink-stained men can be delivered to us through books—they still speak to us four centuries after they left this earth. As Shakespeare wrote in his Sonnet 55: “Not marble, nor the gilded monuments/ Of princes shall outlive this powerful rhyme.”

The Bard and El Principe – here’s to the next 400 years.

Pic of the Week: Happy 216th Library of Congress!

The Library of Congress Thomas Jefferson Building. Photo by Shawn Miller.

The Library of Congress celebrates its 216th birthday on Sunday. Founded on April 24, 1800, thanks to an appropriation approved by Pres. John Adams of $5,000 for the purchase of “such books as may be necessary for the use of Congress.” What started with a whopping 740 books and three maps has evolved to more than 162 million items, including more than 38 million books and other print materials, 5.5 million maps, 70 million manuscripts, 14 million photographs, 7.1 million pieces of sheet music and 3.6 million recordings.

The Library adds materials for its collections at a rate of more than 12,000 items per working day — chosen from the roughly 15,000 received daily.

Today, the Library makes freely available online more than 60.9 million primary source files, including manuscripts, newspapers, films, sound recordings and photographs. You can browse by topic the Library’s online collection items.

The Changing Field of Folklife

(The following is an article by Stephen Winick from the March/April 2016 issue of the Library of Congress Magazine, LCM. You can read the issue in its entirety here.)

Folksinger and songwriter Jean Ritchie plays the dulcimer. George Pickow, Jean Ritchie and George Pickow Collection, American Folklife Center.

Changes in technology have facilitated global access to the Library’s folklife collections.

This year, the Library’s American Folklife Center turns 40. During that time, the world has changed in numerous ways—some small and some sweeping. Many changes have been in response to new technologies, including changes in the field of folklife.

The American Folklife Center continues to acquire collections in every conceivable format, including manuscripts, photographs, and sound and video recordings. These include collections by folklorist Alan Lomax, documentary photographers Robert Corwin and Bruce Jackson and musicians Jean Ritchie, John Cohen and David Bromberg. The center also maintains older collections, including wax-cylinder recordings dating back to 1890.

An increasing number of American Folklife Center collections—now numbering about 6 million items—have been digitized and made available online, and many collections now come to the center “born digital”—never having existed in analog (physical) form. The web itself has a culture of its own with its own vocabulary, and that, too, is being documented by the center.

IN THE BEGINNING

The American Folklife Center was established by Public Law 94-201, the American Folklife Preservation Act, which was passed by the 94th Congress and signed into law by President Gerald R. Ford on Jan. 2, 1976. The legislation placed the American Folklife Center in the Library of Congress, making it a national center for folklife documentation and research.

At the time, the nation was celebrating its bicentennial. People were thinking about the founding of the United States and what it meant to be American. Many looked to their roots in the old world and celebrated the folk customs their ancestors brought with them. Folklife programs that brought traditional culture to general audiences thrived, including museum exhibits, films and public performances. Folklorists strengthened their advocacy for folklife by offering grants, organizing apprenticeships, encouraging documentation and providing access to archival collections.

Everett Lilly is interviewed by Mary Hufford. Terry Eiler, 1996. Coal River Folklife Collection, American Folklife Center.

The center’s activities were (and remain) part of this movement. For 40 years, the American Folklife Center has had a leadership role, working closely with a network of colleagues at the Smithsonian Institution, the National Endowment for the Arts, the National Park Service and other agencies, as well as state folklore programs, to preserve, present and publish folklife resources. The center has worked behind the scenes on folklife programming, research and policy on national and international levels. Changing technologies affect all of these activities, from preserving recordings to protecting intellectual property rights. The center’s flagship publication, for example, has transitioned from a paper newsletter to a blog. Similarly, its series of free concerts, lectures and symposia, which go back to 1976, still go on today—but now the center can present them as videos online.

Congress placed the American Folklife Center at the Library of Congress, partly because the Library already had an archive of folk culture, founded in 1928. The folk culture collections had largely been built through fieldwork— recordings made by Library employees and other government organizations. These ranged from Spanish-language hymns of New Mexico and Finnish runic songs in California to the personal narratives of former slaves. They also included materials collected by folk legend Pete Seeger, and even a few Seeger performances.

The newly hired American Folklife Center staff renewed the Library’s involvement in fieldwork in the 1970s, embarking on a series of field surveys. Teams of fieldworkers interviewed people about their traditions on audio and video recordings, and also photographed and shot video of performances, rituals, and daily life. The technology on which their fieldwork was recorded and preserved had changed, but the goal of capturing American life—from cattle ranches in Nevada to the streets of Chicago and the factories of Paterson, New Jersey—had remained the same. Today, an important goal is increasing the number of these collections accessible online. The center reached a milestone with the first installment of an online presentation of the Alan Lomax Collection.

ORAL HISTORY

Folk legend
Pete Seeger sings and
plays banjo. Robert
Corwin, 1997. Robert
Corwin Collection,
American Folklife
Center.

Over 40 years, oral history has grown in the consciousness of the public and the priorities of the Library. The folk archive collected oral histories before the founding of the American Folklife Center, including interviews about the bombing of Pearl Harbor. These inspired an effort to collect similar stories after the attacks on Sept. 11, 2001

The center has also been preserving the memories of the nation’s armed forces since Congress asked the Library of Congress to launch the Veterans History Project in 2000. Since then, the center has collected 100,000 interviews of servicemen and women dating back to World War I. Many of these are available online.

Congress also charged the center to participate in the Civil Rights History Project, collecting interviews with leaders of the civil rights movement and making them available online. The center is also a major partner in the StoryCorps project, which recently launched an app so that anyone around the globe can conduct an oral history interview and share it.

DIGITAL TECHNOLOGY

Changes in technology, especially the Internet, have greatly increased public access to the Library’s collections. The center was quick to seize this opportunity, putting many of its legacy and brand-new collections online in the early days of the web. Digitizing continues to this day, with more collections going online all the time.

While digitizing physical collections is a priority, contemporary collections are increasingly born digital—arriving in the form of digital files. Such collections require entirely different procedures to preserve them and make them accessible to researchers. The center’s staff includes specialists trained to handle digital objects.

Marinera Viva presents dances of Peru in a 2015 “Homegrown” performance at the Library sponsored by the American Folklife Center. Photo by Shawn Miller.

It is also increasingly clear to folklorists that online communities are creating digital culture—much of which is, in itself, folklife. The center’s staff is engaged in critical thinking about how to capture and preserve such digital folklife.

Changes in technology have also made it easier for the public to interact with the center. Its concerts, lectures and symposia are accessible online as webcasts. Folklife events are publicized through social media and email. The public can sign up for the American Folklife Center RSS and email list, “like” its Facebook page and subscribe to the blog “Folklife Today,” all by visiting the center’s homepage.

The staff of the American Folklife Center has kept up with 40 years of change in both the field of folklife and the library world. They’re looking forward to the challenge of keeping up with the next 40 as well.

WWI Exhibit Opens Next Month

An exhibition showing how American artists galvanized public interest in World War I will open Saturday, May 7 at the Library of Congress.

“World War I: American Artists View the Great War” opens in the Graphic Arts Galleries featuring 25 fine prints, drawings, cartoons, posters and photographs drawn from the Library’s Prints and Photographs Division. An additional 70 photographs will be shown in a monitor slide show. The works on display reflect the focus of wartime art on patriotic and propaganda messages—by government-supported as well as independent and commercial artists. In the fall, an exhibition rotation will occur and 27 new items will be placed on display. A total of 40 artists will be represented.

Many of the artists featured in the exhibition worked for the federal government’s Division of Pictorial Publicity, a unit of the Committee on Public Information. Led by Charles Dana Gibson, a preeminent illustrator, the division focused on promoting recruitment, bond drives, home-front service, troop support and camp libraries. Many images advocated for American involvement in the war and others encouraged hatred of the German enemy. In less than two years, the division’s 300 artists produced more than 1,400 designs, including some 700 posters.

Heeding the call from Gibson to “Draw ‘til it hurts,” hundreds of leading American artists created works about the Great War (1914–1918). Although the United States participated as a direct combatant in World War I from 1917 to 1918, the riveting posters, cartoons, fine art prints and drawings on display chronicle this massive international conflict from its onset through its aftermath.

Among those who heeded the call were James Montgomery Flagg (best known for his portrayal of Uncle Sam), Wladyslaw Benda, George Bellows, Joseph Pennell and William Allen Rogers. In contrast, such artists as Maurice Becker, Kerr Eby and Samuel J. Woolf drew on their personal experiences to depict military scenes on the front lines as well as the traumatic treatment of conscientious objectors. Finally, cartoonists offered both scathing criticism and gentle humor, as shown in Bud Fisher’s comic strip “Mutt and Jeff.”

Photography also provided essential communication during the First World War. The selected images detail the service of soldiers, nurses, journalists and factory workers from the home front to the trenches. American Red Cross photographs by Lewis Hine and others employ artful documentation to capture the challenges of recovery and rebuilding in Europe after the devastation of war.

With the most comprehensive collection of multi-format World War I holdings in the nation, the Library is a unique resource for primary source materials, education plans, public programs and on-site visitor experiences about The Great War, including exhibits, symposia and book talks. The Library of Congress blog will highlight in a series of posts online content related to WWI through the year.

“World War I: American Artists View the Great War” will remain open for a year, closing on May 6, 2017.

The exhibition is made possible by the Swann Foundation for Caricature and Cartoon, and is the first in a series of events the Library is planning in connection with the centennial of the United States’ entry into World War I. An online version of the exhibition will be available on the opening date at loc.gov/exhibits/.

 

Pic of the Week: An Encore for the Poet Laureate

Juan Felipe Herrera with young poets Sarita Sol Gonzalez (left) and Elena Medina. Photo by Shawn Miller.

Juan Felipe Herrera, U.S. poet laureate consultant in poetry, has been appointed a second term – an appointment announced, then celebrated in the Coolidge Auditorium on Wednesday night.

“What a great joy, what a great joy this is,” Herrera, the 21st laureate, told the audience. “How beautiful it is to be here. How beautiful the Library of Congress is. How fabulous are the materials – the archives, the manuscripts, the paintings, the prints.”

During his first term, Herrera launched the “La Casa de Colores” project, which invited the public to contribute verses to a poem about the American experience. For his second term, he will develop a new project to be announced later this summer.

At Wednesday’s event, which also served to close out Herrera’s first term as poet laureate, he had two up-and-coming “poet laureate chicas” – 11-year-old Sarita Sol Gonzalez and 12-year-old Elena Medina – join him on stage to read not only their poems but a poem the three had composed together.

Mark Harsell, editor of the Library of Congress staff newsletter, The Gazette, contributed to this report. 

Jacob Riis Exhibition Opens Today

(The following story, written by Mark Hartsell, is featured in the Library of Congress staff newsletter, The Gazette.)

Katie, photographed by Jacob Riis at the West 52nd Street Industrial School. Museum of the City of New York. Gift of Roger William Riis.

Half the world, journalist Jacob Riis once said, doesn’t know how the other half lives, and it doesn’t know because it doesn’t care.

Riis, a social reformer, author and newspaper reporter, used his work to make society take notice, exposing the squalid living and working conditions in late 19th-century New York during the height of European immigration to the city.

“My first assignment as a Reporter – Stayed 25 years – not willingly – after one year wanted to get out – was made to stay,” Riis once wrote about his work in notes for a lecture. “Compelled there to see the seamy side of everything. I looked behind the gore and the grime of it for the cause.”

A new Library of Congress exhibition explores Riis’ life, work and legacy. “Jacob Riis: Revealing ‘How the Other Half Lives’” opens today in the Jefferson Building’s South Gallery and runs through Sept. 5.

The exhibition – a co-presentation of collection items from the Library of Congress and the Museum of the City of New York – showcases correspondence, photographs, maps, drafts and published works, lecture notes, a lantern-slide projector and period camera equipment.

A version of the exhibition concluded at the New York museum on March 20. Other versions will be presented in Denmark later in 2016 and 2017, in Copenhagen and Riis’ hometown of Ribe.

“We settled on a co-presentation approach – creating unique versions of the exhibition for our different audiences that together paint a fuller picture of Riis and his work,” said Cheryl Regan, senior exhibition director in the Library’s Interpretive Programs Office. “The Library’s exhibition brings to the forefront Riis’ passion for social reform, which will resonate with our visitors because the issues Riis sought to address are still very much with us.”

View from the Street

Riis immigrated to the United States in 1870 and, at age 21, embarked on what at first was a difficult life in a new country. He lived an essentially homeless existence for a time in New York City – frequently hungry, sleeping in the street, considering suicide.

Riis eventually found work as a police reporter for the New York Tribune and, later, the New York Evening Sun, work that gave him an intimate view of how New York’s poor lived – a view he shared with his readers.

“He was privy to the inside of people’s apartments, and the people that were in the street in the middle of the night and the alleyways and the newsboys who worked and slept in the street at night,” said curator Barbara Bair of the Manuscript Division. “He got to know all these people. He used their stories in his journalism and books.”

While a reporter, Riis utilized a new German innovation, magnesium powder flash, to photograph residents of the Lower East Side. He used the images in his lantern-slide lectures and published line-drawing and half-tone versions in his articles as vivid proof of the truth of his words.

Shocking into Action

Bandits’ Roost, an alley at crime-ridden Mulberry Street in New York. Jacob Riis, Richard Hoe Lawrence, and Henry G. Piffard, photographers. Bandits’ Roost, 1887–1888. Museum of the City of New York. Gift of Roger William Riis.

Riis once accompanied health inspectors on a raid of a lodging house and photographed a room that measured not even 13 feet long or wide, he said, but still slept 12 men and women, some in bunks, the rest on the floor.

With such images, Riis hoped to show the wealthier classes just how the other half lived and appeal to their Christian charity to support measures to modernize tenements with better sanitation, ventilation and lighting and with parks for children.

“Part of his purpose was to shock people into action. Some of the photographs had a startling or revealing detective-style quality; others invited personal empathy,” Bair said. “He had the idea that you can use visual evidence to persuade people.”

After he left the Sun in 1899, Riis wrote magazine articles, delivered lectures nationwide illustrated by his photographs, and authored several books, including the best-sellers “How the Other Half Lives” and an autobiography, “The Making of An American.” His work made him a celebrity.

Friend in High Places

Riis’ work in the 1890s made a strong impression on New York City’s new police commissioner, Theodore Roosevelt.

Roosevelt called Riis the “most useful citizen in New York” and helped push through reforms to clean up the police department and improve conditions for the poor.

“No one ever helped as he did,” Riis wrote of the future president. “For two years, we were brothers in Mulberry Street.”

He and Riis remained close friends when Roosevelt became president in 1901.

Riis died in 1914, leaving a legacy of dogged reform on issues of housing, homelessness, public space, immigration, crime, education, public health and labor.

“I was a writer and a newspaper man, and I only yelled about the conditions which I saw,” Riis said, three years before he died. “My share in the work of the slums has been that. I have not had a ten-thousandth part in the fight, but I have been in it.”

“Jacob Riis: Revealing ‘How the Other Half Lives’ ” and its programming at the Library are made possible through the support of the Library of Congress Third Century Fund; Queen Margrethe and Prince Henrik’s Foundation; the Ministry of Foreign Affairs of Denmark, Danish Ministry of Culture, and the Danish Agency for Culture and Palaces; the Royal Danish Embassy; and the Robert Mapplethorpe Foundation.

Technology at the Library: StoryCorps Goes Global

(The following is an article by Nicole Saylor of the American Folklife Center for the March/April 2016 issue of the Library of Congress Magazine, LCM. You can read the issue in its entirety here.)

The StoryCorps oral history collection is growing through a new mobile app and website.

In a matter of months last fall, the StoryCorps collection of oral histories more than doubled. The majority of new interviews were conducted during the project’s first annual “Great Thanksgiving Listen,” which encouraged students to record interviews with their families. But the project also got a boost in participation following the recent launch of a new mobile app and website.

Housed at the American Folklife Center at the Library of Congress, Storycorps is one of the largest oral history projects in existence, with more than 50,000 recorded interviews. Selected interviews have been featured regularly on NPR’s “Morning Edition.”

StoryCorps was launched in 2003 by documentary producer Dave Isay in collaboration with the Library of Congress to capture the stories of ordinary people throughout the nation. Interviews have been collected in mobile recording booths across the country, as well as in permanent StoryBooths located in New York, Chicago, San Francisco and Atlanta. The mobile booth will return to the Library of Congress in Washington, D.C., from April 15 through May 18, 2016.

In 2015, Isay was awarded the TED (Technology, Entertainment, Design) Prize, given annually to an exceptional individual with “One Wish to Change the World.” The prize comes with $1 million to invest in a powerful idea. Isay’s vision was to create an app, with a companion website at StoryCorps.me, which guides users through the StoryCorps interview experience from recording to sharing the story online. The website serves as a home for these recordings and provides interviewing tips and editing tools.

Technology has made it possible for anyone to participate via the app or through the StoryCorps.me site. The ability to conduct and share interviews independent of a StoryCorps recording booth provides a global platform whereby anyone in the world can record and upload an oral history.

Using the microphone and speaker in most contemporary mobile devices, the new app “can give you instructions. It can send audio files. Those are the key ingredients,” says Isay. “It helps you pick questions, and gives you all the tips you need to record a meaningful StoryCorps interview, and then with one tap upload it.”

The Library of Congress is able to meet the challenge of acquiring tens of thousands of interviews at a time thanks to the ability to harvest them via the web. This process involves using StoryCorps’ application programming interface (API) to download the data—something Library and StoryCorps technologists spent months engineering. The Library will regularly gather copies of these uploaded interviews from the StoryCorps.me site for long-term preservation.

While traditional StoryCorps interviews can be accessed onsite at the Library of Congress, access to the do-it-yourself recordings will be through the StoryCorps.me website.

“We are excited to see our decade-long collecting partnership with StoryCorps go global,” said American Folklife Center Director Elizabeth Peterson. “This effort is an exciting next step in the project, which is a living record that is truly of, by and for the people.”

Pic of the Week: Alice’s Adventures in the Library

The Mad Hatter and Alice lead children on a parade through the Library following a storytime reading of “Alice’s Adventures In Wonderland.” Photo by Shawn Miller.

In commemoration of the 150th anniversary of Lewis Carroll’s classic “Alice’s Adventures in Wonderland,” the Young Readers Center in the Library of Congress hosted Alice herself, who read from her adventures and led a parade through the halls of the Library’s Thomas Jefferson Building.

The Library of Congress has multiple illustrated editions of Carroll’s noted work, including this digitized copy and an 1866 edition that was also the first regularly published edition.