The Caffè Lena Audio Archive Inside This Issue

Summer 2014 The Caffè Lena Audio Archive Jocelyn Arem, Producer The Magic Shop

Nestled in the quaint upstate town of traditional folk, blues, singer- ‘Live At Caffè Lena’, a 3-CD Saratoga Springs, New York is Caffè songwriters, jazz and bluegrass. box set, the result of years of Lena, the oldest continuously operat- investigative research, con- ing folk music coffeehouse in the US. Luckily, many performances tains 47 tracks, all released were caught on tape through the for the very first time, along- Opened by Lena Spencer in 1960, this years, offering the listener a side previously unpublished tiny room has played host to influential thrilling seat inside this hallowed photographs. Images include artists across diverse genres of music; venue. selections from the archive of esteemed photographer Joe Alper, who captured many iconic, intimate portraits from the folk era of the 1960s. The CD set was mastered by Jes- sica Thompson. (Continued on page 2)

Inside this issue:

Musical Poetry in Idaho 3 Rabbi Olan on Dallas Radio 4 Digital Preservation Resources 6 Pacifica: American Women 7 Crowdsourcing Clara Luper 8 Reel-to-Reel at the Bentley 10 The “Possible Tape Exchange” 12 Brad Bennett Soundtracks 13 Oral History at CSU Fullerton 15

Editor: Jack Falk

Photo: Eric Jenks

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With grant support from “...A landmark the GRAMMY Foundation, the Magic Shop Studio suc- outpost of folk cessfully digitized and re- music in America...” stored the shows, with both (New York Times) the digital and physical components donated to the American Folklife Center That Caffè Lena is still at the Library of Congress open for business to- for researchers and music night is a testament to lovers to enjoy. Lena's legacy. An index of the recordings ‘Live At Caffè Lena’ is collection and sample au- an important visual and dio is also available for re- audio document, com- search and licensing prising more than 40 through an online, search- years of music un- able database: earthed from dozens of www.history.caffelena.org “lost” tapes – night af- Courtesy of Saratoga Springs History Museum ter night, show after time, one box of recordings show, through the dec- had been donated to the ades – recorded in a Caffè Lena History Project tiny room in Saratoga for preservation with the Springs, New York. Caffè Lena Collection.

In 2008, musician Chris- Suspecting the existence of tine Lavin introduced additional recordings, Jocelyn Arem (Director Steve encouraged a five- of the Caffè Lena His- year national search for tory Project) to Steve Caffè Lena shows, resulting Rosenthal (4-time in the discovery of 700 live GRAMMY-winning res- recordings made by both toration engineer and amateur and professional owner of The Magic engineers at the venue be- Photo: Jocelyn Arem Shop Studio). At that tween 1967-2013.

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Musical Poetry in Idaho Gwyn Hervochon, Archivist/Librarian Special Collections and Archives, Albertsons Library Boise State University

Boise State University A folk musician and Special Collections and Western personality, Archives is happy to Thielke was born in announce a recent California in 1903 and $11,750 grant from the lived in Texas and Ore- GRAMMY Foundation to gon before settling in fund the project, Musi- Idaho in the 1940s. cal Poetry in Idaho: Digi- Known as the “musical tizing the Ione Thielke poem recorder of Cas- Recordings. With the cade, Idaho” her signa- completion of the pro- ture work consisted of ject, one of the earliest setting regional poetry known collections of to music. Thielke sang recorded music native and accompanied her- to Idaho will be made self on the tiple—an in- widely accessible for strument resembling the first time. the mandolin—and made home recordings As is the case for much of her compositions on of its history, musical a portable acetate disc recordings came late to recorder. Idaho—public collections predating the Thielke also hosted radio programs in which 1960s are rare. Boise Project results will be dis- Thanks to the GRAMMY she sang and inter- State’s project includes coverable at: http:// Foundation’s support, viewed fellow poets. the digitization of 212 library.boisestate.edu/ Thielke’s contribution to These homemade re- acetate discs and 23 Special or via the finding the history of folk music cordings and radio reel-to-reel recordings aid in the Northwest Digi- in the American West broadcasts comprise created by Ione Love tal Archives: http:// will be preserved for the materials that will Thielke between 1947 nwda.orbiscascade.org/ future generations. We be digitized and made and 1951. ark:/80444/xv47659. look forward to sharing available. Links will allow research- the progress of the pro- ers to access individual ject as it unfolds. songs.

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Interfaith Partnership Preserves Notable Dallas Radio Sermons Timothy S. G. Binkley, Archivist Bridwell Library, Perkins School of Theology, Southern Methodist University

On May 5, 2013, ing, planning, network- Bridwell Library ing, fund-raising, digi- (www.smu.edu/ tizing, and database bridwell), Southern creation preceded the Methodist University’s May 5 celebration. In primary bibliographic late 2009 the Bridwell resource in the areas of Library archivist found theology and religion, five reel-to-reel tapes hosted a public event on the shelves of a celebrating the open- basement storage ing of a significant room. The tape box online database of digi- labels indicated radio tized documents, im- station call letters, ages, sound re- broadcast dates, ser- cordings, and videos. mon titles, and the speaker’s name: Levi The speakers of the day Olan. included Bridwell Li- brary Director Roberta Olan was a prominent Schaafsma, Perkins Reform Rabbi, commu- School of Theology Courtesy of Bridwell Library Special Collections, Perkins School of Theology, nity leader, scholar, Southern Methodist University Dean William B. Law- and bibliophile. Rabbi rence, Rabbi David For the first time in nedy’s assassination. Olan taught Jewish Stern of Temple Emanu- three decades, the The audience’s reac- studies courses at Per- El, Dallas, and Archivist commanding voice of tions in 2013 included kins School of Theology Timothy Binkley. How- one of Dallas’s great awe-filled silence and from 1952 to 1978, ever, the man of the preachers was heard tears. Clearly, Rabbi working out of an office hour – the speaker who once again. The ser- Olan’s message was at Bridwell Library. had attracted 143 mon of the day was as relevant and chal- When he retired as guests from across Dal- “The First Anniversary lenging in 2013 as it Senior Rabbi of Temple las, the state of Texas, of a Tragedy,” origi- had been 49 years Emanu-El in 1970, Olan and the United States – nally preached over earlier. chose to donate his pa- was Rabbi Levi A. Olan the radio on Novem- pers to his alma mater, (1903-1984). ber 22, 1964, one year More than three years Hebrew Union College. of discovery, dream- after John F. Ken- (Continued on page 5)

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Bridwell Library for- warded twenty boxes of papers to Cincinnati. However, some materials remained at Bridwell, perhaps in Rabbi Olan’s work space. These items became the kernel of Bridwell Library’s archival collection on Levi A. Olan.

While processing the collection in 2010, the Bridwell Library archivist met Temple Emanu- El archivist Gerry Christol, who introduced him to Rabbi Timothy Binkley and Elizabeth Olan Hirsch Olan’s daughter, Eliza- tories, the Bridwell Li- by SMU’s Norwick Cen- that users could ex- beth Hirsch. Soon after- brary tapes were the ter for Digital Services perience the sermon wards the three began only broadcast re- in 2012. While the in either format. Upon to envision preserving cordings known to ex- sound recordings were realizing that users and making the sound ist. Third, in the sum- being scanned, could not listen to the recordings available for mer of 2011 the Bridwell Library Digital sermons and read public use. Bridwell Library archi- Projects Librarian Re- along in real time, the The importance of this vist discovered another becca Howdeshell de- Bridwell Library archi- dream was elevated by 121 Olan tapes in stor- signed a digital collec- vist suggested a bold three factors. First, the age. Such a legacy de- tion, compiled meta- solution: creating ser- tapes were approxi- manded attention! data, and supervised mon videos by com- student assistants who bining the text files mately fifty years old. If With the permission of the recordings were to scanned the sermon with the audio files. the Olan family, and texts. The library then pur- be saved, they needed utilizing funds raised to be digitized chased appropriate for the project by mem- The project’s original software and hired an promptly. Second, bers of Temple Emanu- goal was to publish a while text copies of extra student assistant El, all 126 tapes were text file and an audio to make the videos. these sermons could be professionally digitized file for each sermon so found in several reposi-

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The resulting Levi A. Olan Ser- It is clear that the database is ter reading and/or listening mons and Images Digital Collec- stimulating interest in Rabbi to his sermons online. For the tion (http:// Olan’s teachings and in Bridwell participating institutions, this digitalcollections.smu.edu/all/ Library’s archival holdings, as joint project to preserve the bridwell/olan/index.asp) com- intended. As of April 28, 2014, teachings of the man known prises 211 sermon texts, 211 ser- the website had been visited as the “Conscience of Dallas” mon audio files, 211 video files, 4,887 times, generating 7,125 has both renewed and en- 6 images, and an index. page views. Numerous journal- hanced longstanding, inter- ists, educators, and public offi- faith, inter-institutional ties. cials have quoted Rabbi Olan af-

New Digital Preservation Resources from AVPreserve Joshua Ranger

Over the past year AVPreserve tory, creating a manifest of the (FADGI) to develop recom- has released a number of free files including their file paths mendations on embedding resources to help support the and checksums, against which a metadata in audio files. This management and preservation regular comparative analysis project resulted in the devel- of digital audio files. can be run. Fixity monitors file opment of BWF MetaEdit, a integrity through validation of tool which allows users to MDQC reads the embedded checksums, and file attendance view, edit, and create em- metadata of a directory and through reporting on new, miss- bedded metadata in WAVE compares it against a set of rules ing, moved and renamed files. A files. An update of BWF for the data in those fields de- Mac version of Fixity is ex- MetaEdit was released in fined by the user, verifying that pected for release in 2014. April 2014. the technical and administrative specs of the files are correct. The white paper “Embedded These and other tools can be This automates and minimizes Metadata In WAVE Files: A Look downloaded for free at http:// the time needed to QC large Inside Issues And Tools” dis- www.avpreserve.com/ batches of digitized assets, in- cusses the concept and general avpsresources/tools. creasing the efficiency of man- uses of embedded metadata, aging digitization projects. and its use specifically in WAVE files, focusing on the efforts of Fixity is a utility for the docu- the Federal Agencies Digitiza- mentation and regular review of tion Guidelines Initiative stored files. Fixity scans a direc-

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The American Women Project at Pacifica Radio Archives Jolene Beiser, Archivist Pacifica Radio Archives

In 2013 the Pacifica Radio The project is underway, At the completion of the Archives in North Holly- with 250 ¼- inch tapes digi- project (expected date: fall wood, CA was awarded a tized thus far, 175 tapes cur- 2015), more than 2000 re- generous National Histori- rently in process, and an am- cordings will be made cal Publications and Re- bitious 1,200 more to go! available for research and cords Commission: Docu- education purposes The recordings are of broad- menting Democracy grant through the U.C. Berkeley casts related to the rise and for our project “American Library catalog and the evolution of the Women’s Women Making History and Internet Archive. A finding movement across the United Culture: 1963-1982.” aid will be made available States from our five Pacifica through the Online Archive Radio stations: KPFA of California. (Berkeley, CA); KPFK (Los Angeles); KPFT (Houston); Please visit our blog for WBAI (New York); and updates on the project and

WPFW (Washington). to learn about highlights from the collection at The collection includes http:// speeches, rallies, discus- womenmakinghistory- sions, performances and in- blog.wordpress.com or

terviews from well-known visit our webpage: http:// activists in the movement as womenmakinghistory.org/ The project entails catalog- well as unknown women who american-women-making- ing, digitizing and preserv- found a place to voice their history-and-culture-1963- ing over 1,600 ¼-inch reel- opinions, experiences and 1982 to-reel tapes in total, as well hopes on the Pacifica Radio as re-cataloging and pre- airwaves. serving more than 400 additional recordings that were previously digitized.

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Crowdsourcing History: the Radio Legacy of Clara Luper JA Pryse, Digital Projects Archivist Oklahoma Historical Society

In May 2013, the Okla- homa Historical Society embarked on a pilot crowdsourcing program seeking the support of the African American community of Oklahoma City in documenting the radio legacy of civil rights pioneer Clara Lu- per (1923-2011).

Clara Luper was an Okla- homa City schoolteacher who played a leading role in the Oklahoma civil rights movement. For many years she hosted the weekly radio show, “A Visit with Clara Luper”.

Working in conjunction with the Clara Luper Leg- acy Committee and the Black Heritage Commit- tee, the Oklahoma His- torical Society distrib- uted DVDs of Luper’s radio shows to members of the African American community of Oklahoma City.

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The packets of DVDs included 8-10 radio shows each, a work- sheet and guidelines for participants to listen to the show and write their interpreta- tion, views, names and sources that were heard.

The hard work from the community not only allowed for more precise descriptions but allowed for more specific metadata en- tries due to the identi- fication of personal experiences with the subject matter and significant dates.

The original recordings — reel-to- reel, cassette, or 8- track — have been preserved, re-housed, digitized and edited. Ordinarily, describing the provide immediate inter- Each file is digitally con- individual shows would national access. verted for access in the take thousands of hours of Oklahoma Historical So- staff time. With the pilot OHS project team mem- ciety archives (http:// program and assistance bers included JA Pryse, okhistory.cuadra.com/ from the Black Heritage Digital Projects Archivist, star/public.html — Committee and the Clara Bruce Fisher, retired Ad- search for “Clara Luper Luper Legacy Committee, ministrative Programs Of- radio”) or on the OHS the OHS has been able to ficer and Administrator of YouTube channel (search prevent further deteriora- Special Projects, and “Clara Luper Collec- tion of these materials and James Holley, volunteer. tion”).

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Preserving Reel-to-Reel Tapes at the Bentley Historical Library Melissa Hernández-Durán, Assistant Archivist Bentley Historical Library, University of Michigan

Archival collections at the University of Michi- gan’s Bentley Historical Library contain thousands of sound recordings. These are a rich resource for the study of the history of Michigan and of the university.

The sound recordings are in multiple formats, including transcrip- tions, discs, tape reels, cassette tapes, and phonograph records.

A considerable number of materials are in legacy formats for which playback equipment is scarcely available; as a result, the unique con- sette tapes, which Materials are sent in produce tools and sys- tent of these recordings make up over 50% of several batches each tems to streamline and is inaccessible. its sound recording year to the digitizing improve project work- collections. vendor. The resulting flow and outcomes. In its effort to digitally files undergo quality preserve these sound Reel-to-reel tapes control at the Bentley, Project tracking was recordings and to make from over 100 collec- where they are briefly essential, particularly them available for re- tions were chosen to described and then when working with searchers, the Bentley be part of a format- prepared for deposit thousands of sound re- has initiated a number based digitization pro- into the University’s cordings and a project of digital preservation ject. The project digital repository. spanning a series of projects for tape for- started in 2012 and is years. For this purpose, mats, particularly reel- currently halfway Throughout this pro- archivists created the to-reel tapes and cas- through its digitization ject the Bentley has Audio Digital Preserva- phase. found it necessary to (Continued on page 11)

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worked with the Uni- versity Library to develop specifications for the project.

Providing access to this digitized content remains one of the project’s greatest challenges. Copyright and intellectual prop- erty concerns require the application of re- strictions on the digitized recordings.

To address these concerns, the Bentley has been collaborating with the University of Michigan Library in using the University’s institutional repository, an instance of DSpace, to provide restricted local access by IP address to work- tion Database. It is used that the thousands of file extensions, directory stations in the Bent- to record descriptive, files meet project structure, the correct ley’s reading room. technical and adminis- specifications. number of files, and valid trative metadata about and well-formed meta- The Bentley expects the sound recordings With the aim of auto- data and audio files. these access solutions and to track project mating this quality to be functional later progress at the item control process and Digitally preserving this year. Digitization, level. getting a more accu- these sound recordings quality control, and rate evaluation of digi- at the Bentley has been a Although the actual dig- description will also tal files produced, collaborative effort with itization is being done be completed in 2014. Bentley staff devel- multiple partners at the by an outside vendor oped the Bentley Au- archive, the University of that specializes in me- dio File Validator. This Michigan and outside the dia preservation, the tool checks for valid university. The Bentley Bentley must ensure Page 11

Community Radio and the “Possible Tape Exchange” Rory Grennan, Archives Assistant Sousa Archives and Center for American Music, University of Illinois

the newsletter had been using In January 2014, the Sousa Ar- the phrase "possible tape ex- chives and Center for Ameri- change" for long enough that it can Music at the University of seemed natural (and amusing) Illinois at Urbana-Champaign to use it as the official title of acquired 91 open-reel tapes the tape exchange service. collected and created by the Possible Tape Exchange (PTE) Bill Thomas was also instrumen- of Urbana, Illinois, containing tal in founding several commu- community radio programs re- nity radio stations throughout corded between 1969 and the country during the late 1975. 1970s and early 1980s, including WEFT-FM in Champaign. The Possible Tape Exchange grew from an informal network Thomas’s network of Possible of non-commercial American Tape Exchange participants community radio stations later evolved into the National formed in the late 1960s. At Alternative Radio Konvention Courtesy of Bill Thomas that time, Bill Thomas of Urbana (NARK) and the National Fed- began exploring the notion of eration of Community Broad- The Possible Tape Exchange sharing programs among these casters (NFCB). The PTE was Sound Recordings at the Sousa stations through the dubbing later absorbed by the NFCB, Archives consist of programs and exchange of programs re- becoming the NFCB Program from many early community corded to tape, and founded Service. radio stations, including KRAB- the "Possible Tape Exchange FM in Seattle, WOUB in St. Newsletter". The PTE and NFCB Program Louis, and even Radio Mos- Service served as a model for cow. The collection also con- Thomas eventually established later program exchanges, such tains complete audio re- a substantial library of pro- as the Pacifica Program Service cordings of the first two Na- grams collected from public and today’s Public Radio Ex- tional Women's Music Festi- radio stations, first in his homes change. The Program Service vals, held in Urbana in 1974 in Urbana and nearby Cham- served the NFCB member sta- and 1975. These audio re- paign, and later in commercial tions until approximately 1985, cordings were acquired by space in downtown Cham- when the exchange and Bill the University of Illinois Music paign. According to Thomas, Thomas became part of the and Performing Arts Library Pacifica Program Service. Continued on next page Page 12 Summer 2014

Continued from previous page sometime in the 1970s, and related to the early commu- Descriptions of the re- were recently rediscovered nity radio movement, includ- cordings are available during an evaluation of non- ing the business records of online at http:// circulating media hidden in the National Federation of archives.library.illinois.edu/ off-site storage. Community Broadcasters archon/index.php? held by the National Public p=collections/ These recordings comple- Broadcasting Archives at the findingaid&id=11201 ment other archival holdings University of Maryland.

AMPAS Margaret Herrick Library Receives Brad Bennett Collection Lauren Sin, Digital and Audio Archivist Margaret Herrick Library

teaching career as an art The Academy of Motion Pic- this important and unique col- teacher at Manual Arts ture Arts and Sciences’ Marga- lection. High School near down- ret Herrick Library recently Brad Bennett is an American town Los Angeles, fol- acquired the Brad Bennett col- art teacher and soundtrack lowed by a stint at Hale lection, consisting of sound- collector. After leaving the Junior High School in tracks spanning the years circa Army in New York in 1949, he Woodland Hills, followed 1950-2012 and encompassing began collecting original cast by seven years at Mar- more than 200 linear feet. In recordings for stage musi- shall High School, where addition to comprehensively cals, and soon branched out he was grade counselor, representing music for feature to film and television sound- registrar, then dean of films, the collection is particu- tracks. He spent most of his students. larly strong in coverage for documentaries, industrial films, and television.

As part of the Academy 2014 Summer Internship Program, the Library’s Special Collec- tions Department is excited to host a student intern from Rice University’s Shepherd School of Music. Under the supervision of Warren Sherk, manager of Spe- cial Collections, and archivists Catherine Butler and Lauren Sin, the intern will help re- house, arrange, and describe

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Upon retiring in 1981, Mr. Ben- nett went to work at Aron's Re- cords in Los Angeles, where he spent more than a dozen years as the buyer of original cast and soundtrack albums.

Over the course of two days, three archivists boxed the some 26,000 sound recordings — LPs, CDs, EPs, and 7-inch discs — that filled two rooms and spilled over into the ga- rage in Mr. Bennett’s house. Movers then transported the boxes to our library vaults in Hollywood, California, where artists, catalog number, and To learn more about the col- the contents will be arranged format of each sound re- lection, please contact the au- and processed. cording. After migrating Mr. thor at [email protected]. Bennett’s documentation to an The collection, which includes The Margaret Herrick Library is a Excel spreadsheet, our summer works of film composer Ennio world-renowned, non-circulating intern will help cross-reference Morricone, was recently fea- reference and research collection the documentation against the devoted to the history and develop- tured on the Academy Collec- collection for quality assur- ment of the motion picture as an art tion on oscars.org, highlighting ance. form and as an industry. Established the collection’s depth and ex- in 1928, a year after the Academy tent—more than 270 CDs and Our end goals will be the com- was founded, the library moved to its current Beverly Hills location in 1990. 240 LPs are Morricone works. pletion of the arrangement and (See “Ennio Morricone in L.A.” physical processing of the ma- The Library’s Music and Recorded for additional details and im- terials, the migration of the sound holdings consist of more than 45,000 items including sheet music, ages.) This collection repre- data into our Inmagic database, sents the evolution and cultural scores and manuscript material, disc and the creation of EAD finding recordings, audio tapes, and com- significance of feature film mu- aids to upload into the Online pact discs. Materials document the sic. Archive of California. We are work of Sammy Cahn, Ernest Gold, very enthusiastic at the thought Jerry Goldsmith, Lux Radio Theatre, Brad Bennett kept meticulous Alex North, Charles Previn, Screen of making the finding aid and recordkeeping and documen- Composers Association, and Harry collection accessible to the tation of his collection in his Sukman. public, so that these musical personal database, where he treasures can be rediscovered recorded the title, record label, by future generations.

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Oral and Public History at CSU Fullerton Stephanie George, Archivist, Center for Oral and Public History [polygamous] colonies in California State University, Fullerton Mexico. During this time— and for the succeeding sev- The Center for Oral and history collections. The history eral decades—students Public History’s archives at department would recruit and hauled their 18-pound Wol- California State University, train local historians and stu- lensak recorders all over the Fullerton, holds a treasure dents in conducting oral histo- western United States and trove of oral histories that ries, after which the recordings Mexico to capture these per- preserve the collective (and other collateral materials) sonal narratives on ¼- inch memory of, primarily, Or- were deposited with the Uni- magnetic tape, while the ange County, Southern Cali- versity Library. numbers of these reels fornia, and the southwestern Multiple [local] community his- reached nearly 2000. United States. tory projects—including ethnic To the delight of history stu- Founded in 1968, the Center communities—were conducted dents and faculty alike, the for Oral and Public History under this model. Because of program moved away from (COPH), then known as the budget constraints, many were open reel tape and succes- Oral History Program (OHP), recorded on used open reel sively transitioned to the use was born out of the Univer- tape donated from the cam- of compact cassette in the sity’s history department pus’s music department. While early 1980s. Additional oral with cooperation with the there had been some push to history projects, such as the Library and the audio-visual interview prominent citizens, Japanese American Oral His- department. Despite the this program quickly devel- tory Project which had been documented origins of the oped as a grassroots collection, under way for nearly a dec- program, Gary Shumway, capturing history from “the ade, were founded and fo- one of the program’s early bottom up.” cused on African Americans, directors, declared, “Since By the mid-1970s, several other Mexican Americans, Orange 1961, interested students, important projects were in the County, personal and family under the direction of mem- works, including a biographi- history, and the development bers of the history depart- cal oral history project about of several local cities and ment, have been interview- Richard Nixon. Additional oral towns. ing prominent residents of history projects launched dur- Orange County and the sur- For various reasons, an ing this time recalled the ura- rounding areas.” agreement was made be- nium mining industry in the tween the University Library The Oral History Program Southwest, life in southeastern and the Oral History Program followed what was then, and Utah, Colorado coal mining, the in 1992. All oral history mate- in many cases, now, stan- lives of Native Americans rials (recordings, manu- dard protocol for the crea- (including their views on ur- scripts, and related ephem- tion and disposition of oral banization), and Mormon era) would be transferred

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As of this writing, COPH For more information Continued from previous page maintains more than 5400 about the Center for Oral from University Archives oral history recordings, rep- and Public History, please and Special Collections to resenting nearly 7500 hours visit our website: http:// the OHP and an archives of recorded sound, in ap- coph.fullerton.edu or like was established. proximately 288 discreet oral us on Facebook: https:// history projects that have be- www.facebook.com/ After 25 years, the Oral come more international in COPHfullerton History Program was com- scope. Over the past decade, pletely responsible for all students and faculty have had —————— technical processing, as the opportunity to travel to well as preservation and Listen: China, Peru, Argentina, Ger- access of nearly 2000 indi- many, Japan, and the Czech  Amy Uno Ishii recalls learn- vidual recordings, repre- Republic to conduct oral his- ing of the bombing of Pearl senting nearly 2400 re- tories on behalf of COPH. Harbor (OH1342) corded hours. To our oral historians, like  Manuel Esqueda recalls the In 2003, OHP was renamed those who were recording on 1936 citrus strike in Orange (and reimaged) as the County (OH3821) Wollensaks more than 45 Center for Oral and Public years ago, collecting the re- History. With the launch of corded personal recollec- the El Toro MCAS Oral His- tions of those who were ob- tory Project in 2007, COPH servers to or participants in abandoned analog tape for local, regional, or interna- born-digital recordings. tional events is most impor- Currently, the El Toro pro- tant. It hasn’t been easy with ject is the largest active few resources, but the com- oral history project, having mitment to continue building conducted approximately this collection for future gen- 500 oral histories (about THE ROUNDTABLE SERVES AS A erations is paramount. After 3TB of space). FORUM FOR DISCUSSING all, the preservation of these ARCHIVAL ISSUES RELATED TO Managing a digital collec- voices allows all of us to hear THE CREATION, MANAGEMENT, tion of audio recordings the fear in describing World PRESERVATION, AND USE OF forced us to re-examine War II, the humiliation of be- AUDIO AND AUDIOVISUAL preservation issues and, ing segregated because of RESOURCES IN ARCHIVES AND OTHER CULTURAL HERITAGE certainly, access for our one’s ethnicity, the victory in REPOSITORIES. users, who have become saving local wetlands, or sim- more international thanks ply, the satisfaction in the to the Internet and power- journey. THANKS TO NANCY MAYSMITH FOR PROVIDING THE LOGO FOR ful search engines. OUR ROUNDTABLE. WWW.MAYSMITHDESIGN.COM Page 16