Bulletin Is Front Cover: Johnny Cash Outside Folsom State Prison, Represa, CA, 1968

Home , At Folsom Prison, At San Quentin, Folsom State Prison, Johnny Cash, June Carter Cash, Laura Weber White

CALIFORNIA S T A T E LIBRARY FOUNDATION Number 123 2019

Johnny Cash outside Folsom State Prison, Represa, CA, 1968. © Jim Marshall Photography LLC CALIFORNIA S T A T E LIBRARY FOUNDATION Number 123 2019

EDITOR 2 ��Johnny Cash: Fifty Years after Folsom and San Quentin Gary F. Kurutz Sidebar: Greystone Chapel’s Last Supper EDITORIAL ASSISTANTS By Mary Beth Barber Kathleen Correia & Brittney Cook

COPY EDITOR 10 ��After Cash — Immersive Arts Programs for Inmates M. Patricia Morris By Mary Beth Barber

BOARD OF DIRECTORS 12 ��The Gold Discovery Revisited: A Scrap of Paper Challenges Kenneth B. Noack, Jr. What We’ve Long Believed President By Mike Dolgushkin Marilyn Snider Vice-President 14 ��If the Shoe Fits: Preserving Ancient Vellum Bindings Thomas E. Vinson at the Sutro Library Treasurer By Mattie Taormina Jeff Volberg Secretary 16 ��The Clifton F. Smith Collection of Santa Barbara, Ventura, Greg Lucas State Librarian of California and San Luis Obispo Acquired by the Foundation for the California State Library By Gary F. Kurutz JoAnn Levy Phillip L. Isenberg Thomas W. Stallard Phyllis Smith Gary Noy Angelo A. Williams 20 ��Foundation Notes, By Gary F. Kurutz Susan Glass Katherine Weedman-Cox Mike Ueltzen New Foundation Acquisitions Brittney Dawn Cook Appointed Foundation Executive Director

Brittney Dawn Cook Gene Kennedy 24 ��Contibutors List Executive Director Foundation Administrator Shelley Ford Bookkeeper

The California State Library Foundation Bulletin is Front Cover: Johnny Cash outside Folsom State Prison, Represa, CA, 1968. © Jim published when we are able. © 2004-2019. Marshall Photography LLC. Opinions of the authors are their own and do Back Cover: The massive 16-story mural of Johnny Cash was erected on a building not necessarily reflect the opinions of their institutions, in Sacramento at L and 15th Streets. See p. 3 of the Bulletin. Photograph by Brittney the California State Library or the Foundation. Dawn Cook. The Bulletin is included as a membership Illustrations and Photo Credits: Pages 2-4: Special Collections Department, UC Davis benefit to Foundation members and those and Sacramento Union archives , November 1966; p. 5: Jim Marshall LLC, 1968, courtesy individuals contributing $40.00 or more annually of Amelia Davis; p. 6: various presidential archives, National Archives and Records to Foundation Programs. Membership rates are: Administration; p. 7: Folsom Observer, Government Publications Section, State Library; p. 8: Michael Latt, Think Common Touring, 2018; p. 9: Eric Owens, staff photographer, Associate:$40-$99 2014, courtesy of California Department of Corrections and Rehabilitation; p. 10: William Contributor:$100-249 Sponsor:$250-$499 James Association’s Prison Arts Project, courtesy of Jim Carlson; pp. 14-15 Mattie Patron:$500-$999 Taormina, Sutro Library; all others from the collections of the California State Library. Institutional:$500 Design: Angela Tannehill | www.angelatannehill.com Corporate:$750 Lifetime Member:$1,000 California State Library Foundation Pioneer:$5,000 1225 8th Street, Suite 345, Sacramento, CA 95814 Subscription to Libraries: $30/year tel: 916.447.6331 | web: www.cslfdn.org | email: [email protected]

bulletin 123 1 Johnny Cash Fifty Years After Folsom and San Quentin

By Mary Beth Barber

While his 1968 concert is the best known, Johnny Cash performed dozens of times in prisons. A Sacramento Union photographer captured the scene at this November 1966 outdoor concert. The actual Greystone Chapel — namesake of the last song on the album — looms in the background. (Courtesy of the Special Collections at the UC Davis Library.)

2 California State Library Foundation n the summer of 2018, a huge mural of Johnny Cash was erected in Sacramento, easily seen on the horizon when heading towards the State Capitol from the eastern part of midtown. The image was crafted by Shepard Fairey, of the Obama “Hope” poster fame, from a photo taken by rock-and-roll photographer Jim Marshall at the famed 1968 concert in Folsom State Prison that made Cash — and Folsom Prison — a legend. Tourists and locals alike were able to view more than the mural last August, courtesy of the California State Library, Jim Mar- shall’s estate, and the Governor’s office. To celebrate the fiftieth anniversary of the leg- endary album, fine art prints of rarely seen photos from Cash’s recorded concerts in Folsom and San Quentin lined the public hallway of the capitol building just outside the door to Governor Brown’s office. They were publically displayed for six weeks in August and September 2018, and then donated to the State Library by Marshall’s estate for future viewings and loans. But right away Sacramento natives began to question the image of Cash for California’s capitol city, better known for The massive 16-story mural “Mass Incarceration” by Shepard Fairey was erected in the summer of 2018 on civics than country music. It turns out that the Residence Inn hotel in midtown Sacramento at L and 15th Streets. The art keys off the photo “Johnny Cash at Folsom Prison, California” by famed photographer Jim Marshall, and was taken in January of 1968 Fairey had done his homework, because on the day of the now-famous recorded concert. Both the photo and artwork are part of the “American Cash had a history of advocating help for Civics” series, a joint project between Fairey and the estate of Jim Marshall to highlight civic awareness and subjects, and a full “American Civics” series of fine-art prints was donated to the California State the downtrodden, including prison reform Library by Amelia Davis / Jim Marshall LLC. For more information and images view americancivics.com. for inmates. “Many things have changed over the EDITOR’S NOTE past fifty years in the way the United States Barber is the special projects coordinator for the California State Library, and previously head- and California think about incarceration,” ed up the Arts in Corrections pilot program for the California Arts Council. Additional infor- noted State Librarian Greg Lucas in the mation and links to many of the references in this article may be found at the State Library display’s introductory text. “One of the online exhibition at www.library.ca.gov/collections/online-exhibits/johnny-cash/. reasons for at least some of that change is Johnny Cash spotlighting individuals and Barber and the editors of the Bulletin wish to thank the following entities for allowing the publica- their treatment behind bars.” tion of photographs and other materials: Jim Marshall LLC and Amelia Davis; “Mass Incarcera- tion” artist Shepard Fairey and OBEY GIANT ART; Special Collections at UC Davis and the Johnny Cash’s Concerts Inside Sacramento Union archives (D0350); the National Archives and its presidential collections; the The recorded concerts were not the first California Department of Corrections and Rehabilitation; Government Publications section at prison venues for “The Man in Black,” as the California State Library; the Ronald Reagan Presidential Foundation and Institute; and the he was later nicknamed. Cash headlined William James Association’s Prison Arts Project / Jim Carlson.

bulletin 123 3 dozens of prison concerts in at least ten states, with a large number of them in his adopted home state (at the time) of Califor- nia. The first prison Cash performed in was in Texas, but his second was San Quentin State Prison on New Year’s Day in 1958. “Gigantic Revue Heralds New Year” reads the front-page headline of The San Quentin News for January 9, 1958. “Three Thousand San Quentin Men Cheer Stars — And Johnny Cash,” reads the subhead. The prison had a history of welcoming the new year with a seven-hour entertainment extravaganza on January 1. That year, Cash stole the show. Fellow country-music star Merle Haggard, serving time at San Quentin for petty crimes, said in his autobiography that the enthusiasm for Cash over- whelmed the other acts, including women dancing and a seventeen- piece jazz band. Haggard and Cash later raised the ire of entertainment executives on the network-

Cash often performed with others, including the Carter Family and June Carter Cash, broadcast “Johnny Cash Show.” According whom he married in March of 1968. The Carters joined him in November 1966 at Folsom to Haggard in My House of Memories: An Prison when the weather allowed the musicians to perform outdoors on the central yard. Autobiography, Cash had Haggard guest (Sacramento Union archives in the special collections at UC Davis). star on the family-friendly live program, where Haggard complimented Cash on the 1958 concert. When Cash said that he didn’t remember Haggard in the band, Haggard bantered back, “I was in the audience!” This interchange lives in Haggard’s autobiography but not necessarily in the video record, as online versions of the show have an awkward cut just where this exchange would likely have taken place. Cash spent the years following that San Quentin New Year’s performance moving between touted venues like Carnegie Hall, where he bombed after losing his voice due to excessive drug use, and incarceration facilities where he appeared to thrive. Even after the success of the Folsom and San Quentin albums, he continued to play for inmates. These events included a show at Soledad State Prison in 1980, where his performance was likely an enhance- ment to the successful immersive arts and music programs for inmates that was in full force at the time.

4 California State Library Foundation Multiple Folsom Concerts Cash’s first appearance inside the granite walls of Folsom State Prison took place about eighteen months before the recorded concert. “Folsom Inmates Brave Chill for ‘Friend’ Cash,” blares reporter Art McGinn’s headline in the Sacramento Bee on November 9, 1966. Additional photos of the 1966 concert taken by the Sacramento Union, now in the special collections at the University of Cal- ifornia, Davis, some show the prison’s his- toric religious facility in the background. The edifice was immortalized two years later as the last song on the Folsom album. “Greystone Chapel” was written by inmate Glen Sherley and quickly learned by Cash the day before, as he and his bandmates rehearsed at the Hotel El Rancho Resort in West Sacramento. The excitement of the Folsom concert wasn’t just for the inmates and the prison officials. During a rehearsal break at the El Rancho, Cash and the band were visited by then Governor Ronald Reagan. Reagan coincidently won his election two years previous on the exact same day Cash was on the Folsom Prison yard in November of 1966.

Recording Challenges Performing in a prison was one thing, but recording for an album was another, especially in the days before digital technology. Cash’s idea of a live album at a prison was well out of the comfort zone for both the prison staff and the record Our cover photo for this issue is from the collection of rare companies in the late 1960s. This was especially difficult, as the two prisons of photographs taken by rock-and-roll photographer Jim Marshall choice were at the highest security level, and the technical needs for recording when Johnny Cash, his fiancé June Carter, and the band performed were intricate and complex. Cash had advocates who may have for the concert album in January 1968 in Folsom Prison. The helped bring his idea to life. His personal pastor, the Reverend Floyd Gressett of Ven- estate of Jim Marshall donated fine prints of this image and tura, counselled death-row inmates in the early 1960s in San Quentin. Gressett was over a dozen more to the California State Library in 2018. also close to Coach Lloyd Kelly, the Folsom prison recreation director. It was Gressett (© 1968 Jim Marshall LLC)

bulletin 123 5 who brought Sherley’s1 early rendition of the song “The Greystone Chapel” to Cash, Cash with President according to the inmate newspaper The Richard Nixon in the Folsom Observer in the February 1968 write Oval Office, July 27, 1972. Courtesy of the National up of the concert. Archives, White House Cash also had to convince the music Office Photo Collection (Nixon Administration). industry of the brilliance of his prison- album plan. He says in his autobiography that the record industry officials were more difficult to convince than California’s Department of Corrections. But in the end, a change in leadership at the record company led to an opening, and Cash got his date at Folsom: January 13, 1968.

The Cash family meets Prison-Reform Advocacy with President Jimmy Carter and other staff An online exhibit at the California State in the White House on Library website highlights some of the June 14, 1977. Courtesy of the National Archives / prison reform advocacy from Cash, fea- Jimmy Carter Library. turing links to images of his visits with no less than six U.S. presidents. The site also links to congressional testimony from a session where Cash introduced lawmak- ers to former inmates to hear their stories. The musician sat in front of Congressio- nal members just at the peak of his fame after the Folsom and San Quentin live con- Johnny Cash and cert albums. June Carter Cash visit President Gerald R. Archival video shows him trying to redi- Ford in the Oval Office rect President Reagan towards a discussion on November 21, 1975. about reform. Reagan seems to be preoc- Courtesy of the National Archives / Gerald R. Ford cupied with a certain Central American White House Photographs. conflict instead. Cash wrote in his autobiography that he prayed with President Carter. The concert for President Nixon became prime-time fodder when Nixon publically requested that Cash play two highly con- troversial songs — Haggard’s “Okie from Muskogee” and Guy Drake’s “Welfare Cash received the 2001 Cadillac.” Both songs may have originally National Medal of the Arts and met with President been conceived as satire, but out of context George W. Bush and they were interpreted by many people as First Lady Laura Bush. highly insulting to particular communi- Courtesy of the National Archives / Records of ties, especially protesters of the Vietnam the White House Photo War and the disadvantaged recipients of Office (George W. Bush Administration). Great Society social service programs. In later years, Cash was adamant that he chose different music for the concert for Nixon because he didn’t know the

6 California State Library Foundation Inmates and staff at Folsom Prison knew about the potential for a recorded concert by Cash the year before the concert actually took place, according to the inmate paper The Folsom Observer. The front-page story was highlighted by a fake mug shot of Cash, likely taken during a previous concert such as the one in November 1966. Cash himself never served time in a state prison. (Courtesy of California State Library / Government Publications) other songs well enough for a presiden- have been a subtle support for the leftist lyrics made people think he was incarcer- tial concert. Instead he played “What is notions at the time, is something he took ated, especially in Folsom. But the gen- Truth” with a very anti-war second verse, to his grave. But he capitalized on the esis of the song came from watching the “The Man in Black,” again anti-war, with a attention at the time for discussions of the crime noir thriller Inside the Walls of Fol- nudge toward Vietnam with the line “Each prison-reform advocacy issue. His concert som Prison while he was in the Army in week we lose a hundred fine young men.” for Nixon took place just about the same Germany. The mistaken impression was His finale was “The Ballad of Ira Hayes,” time he testified in front of Congress. propelled by various mug shots of Cash a saga of the real-life Ira Hayes, a young “I have seen and heard of things at some that would make the rounds, including Native American who raised the flag at of the concerts that would chill the blood one that was likely a prank published in Iwo Jima but who found the poverty and of the average citizen,” Cash told the Sub- the Folsom Observer in April of 1967. post-war trauma to be too much and died committee on National Penitentiaries. That he was never convicted of a crimi- young from alcoholism. “But I think possibly the blood of the aver- nal offense was likely a twist of luck and A recent documentary, ReMastered: age citizen needs to be chilled in order for fame. He struggled with addiction most Tricky Dick and the Man in Black on Net- public apathy and conviction to come about of his life, and wrote in his book that he fix, uses news footage to show just how because right now we have 1972 problems wavered between acting out inappropri- explosive these interchanges would have and 1872 jails….People have got to care in ately and apologizing to those he loved for been in the American mindset at the order for prison reform to come about.” his behavior. time. The question, “What will Cash One of the lower moments was in 1965, play?” became a political hot-button and Kinship with the Convicts when he was held responsible for start- six-o’clock news story. Cash was often mistaken for an ex-con- ing a forest fire in California’s Los Padres Whether Cash was honest in that he vict, but he never served time in prison. National Forest — a fire that likely killed didn’t have the time or talent to adjust to His experience with incarceration was dozens of the already endangered Califor- the other songs for himself, or whether basically an evening or two in local jails, nia condors. Cash wrote that his back-talk- he purposely played music that would typically to recover from intoxication. His ing to the judge was not his finest moment.

bulletin 123 7 Hip-hop artist Common at the Substance Abuse Treatment Center in Corcoran on October 10, 2018. This performance was part of Common’s “Hope and Redemption Tour,” where he performed both inside and outside of prisons and highlighted the need for reforms in the criminal-justice system and enhancements of rehabilitation efforts. Performing artists visiting California prisons today will mix performance with arts workshops or discussion groups as part of the rehabilitative process. Photo credit: Michael Latt, Think Common Touring, 2018.

In the end he paid the State of California to fruition so far, as the correctional agency teens — died at the hands of local law over $80,000, the parallel to about three- has a policy to not let prisons turn into loca- enforcement days later. Even after being in quarters of a million dollars in 2019. tion backdrops to promote a commercial a scenario where he and his family’s lives product or production. Artistic events and could have been lost, Cash’s heart went out On the Inside Today activities must have a rehabilitate purpose. to the culprits. The individuals who find themselves in As the decades passed, Cash stopped “My only certainties are that I grieve California’s prisons today are more likely doing prison concerts. His autobiography for desperate young men and the societ- to be fans of hip-hop or Latin musicians hints at personal triumphs such as film- ies that produce and suffer so many of rather than a country star like Cash. Artists ing his Christian-themed “Gospel Road: them, and I felt that I knew those boys,” like Common (hip-hop) and Los Tigres del A Story of Jesus” in Israel, and difficulties he wrote. “We had a kindship, they and I. Norte (norteño-style music from Mexico) including his continual struggles with I knew how they thought, I knew how they have recently entertained inmates, and addiction. needed. They were like me.” enhance their visits with workshops for Cash’s writing hints at emotional exhaus- inmate musicians. tion in his efforts to help and understand The state’s correctional agency has the individuals who end up incarcerated. received plenty of requests for Cash-related “I’m out of answers,” he said in Cash the FOOTNOTE celebratory concerts at Folsom. But most Autobiography from 1997, after explain- 1. Glen Sherley joined up with Cash after inquiries focused on the prison as a loca- ing the plight of three robbers who terror- being released from prison, but struggled tion setting rather than as a rehabilitative ized his family one evening at his home and had to leave the band because of vio- process for the inmates. A re-boot of the in Jamaica. The young men — who Cash lent statements and outbursts, and died concert from fifty years ago has not come thought might have been neighborhood in 1978 from suicide.

8 California State Library Foundation Greystone Chapel’s Last Supper

REFERENCES Bunker, Edward, “Stuck in Folsom Prison and Time Keeps Dragging On,” Los Angeles Times, April 30, 1972, page B7. Cash, Johnny with Patrick Carr, Cash the Autobiography, HarperCollins Publishers, Inc., New York, NY, 1997. D’Ambrosio, Antonino, A Heartbeat and a Guitar: Johnny Cash and the Making of Bitter Tears, Perseus Books Group, New York, NY, 2009. Haggard, Merle and Tom Carter, Merle Hag- gard’s My House of Memories, HarperCollins Publishers, Inc., New York NY, 1999. Pages he final song on the Live at Fol- prison’s public information officer, 140—142 recount the Johnny Cash concert. Tsom Prison album is “Greystone told the Inside CDCR editor Don Chapel,” written by then-inmate Don Chaddock in November of 2014.1 Hilburn, Robert, “Johnny Cash Records Behind Walls of Folsom,” Los Angeles Times, Sherley. The song is based on the Pecor was in Folsom Prison for February 11, 1968, page D7. actual chapel situated in the center manslaughter, but previously worked of the Folsom State Prison, as seen as a set designer during Hollywood’s Horstman, Dorothy, Sing Your Heart Out, Country Boy, Country Music Foundation in the background of Cash’s earlier heyday. Rumor was that the people Press (distributed by Vanderbilt University Folsom concert in November of 1966. depicted in the painting are based Press), Nashville, TN, third printing 1996. The chapel still stands, and is a on fellow inmates — with the excep- Johnny Cash’s comment about “Folsom granite monument to Gothic style tion of Judas, who may have borne a Prison Blues” is on page 291. embraced in the late 1800s when Fol- strong resemblance to the warden. McGinn, Aft, “Folsom Inmates Brave Chill som Prison was founded to ease over- Just outside the prison grounds for ‘Friend’ Cash,” Sacramento Bee, Novem- crowding at San Quentin. The chapel lies the Folsom Prison Museum, sup- ber 9, 1966, page A23. continues to be used daily as a meet- ported by retired CDCR employees Silverman, Jonathan, “An Inadvertent Mir- ing place. It features a unique work who have also pitched for saving the ror: Johnny Cash and the American West,” of visual art: a 1938 mural of the Last Greystone Chapel mural. Safe removal The Journal of the American West, Fall 2011, Supper painted by former inmate and restoration estimates from 2014 Vol 50, No. 4, pages 39—43. Ralph Pecor that could be irrevocably ranged from as low as $100,000 to Streissguth, Michael, Johnny Cash: The Biog- damaged in the near future without $250,000 or higher. While the volun- raphy, Perseus Books Group, New York, NY, conservation efforts. The California teer staff focuses on museum opera- 2006. Ray Charles’ performance on the Department of Corrections and Reha- tions, there’s still an interest in the Johnny Cash Show is on pages 168—169. bilitation (CDCR) noted that retired restoration of the mural. Streissguth, Michael, Johnny Cash at Folsom correctional officers and others are “There’s been some donations Prison: The Making of a Masterpiece, Da Capo trying to save the piece. The mural for repair, but nowhere near what’s Press (Perseus Books), Cambridge, MA, is painted on the granite, which over needed,” said Lt. Jack Huey, spokes- 2004. A recounting of Governor Reagan’s time has caused deterioration. “It’s man for Folsom State Prison. “It con- visit to the rehearsals in West Sacramento for the 1968 recorded concert at Folsom is absorbing water,” Lt. Joe Tuggle, the tinues to slowly deteriorate.” found on pages 67—69. FOOTNOTE Wren, Christopher, “The Restless Ballad of 1. Chaddock’s article can be found on the Inside CDCR website at www.insidecdcr. Johnny Cash,” LOOK Magazine, April 29, ca.gov (search for Greystone Chapel), and the Folsom Prison Museum website is 1969, pages 68—75. www.folsomprisonmuseum.org.

bulletin 123 9 Inmates performed theater, music and other performing arts inside with Arts in Corrections programs, as noted with this program cover for Waiting for Godot in San Quentin in 1988. (Courtesy of the William James Association / Jim Carlson collection)

10 California State Library Foundation After Cash Immersive Arts Programs for Inmates By Mary Beth Barber

hen Johnny Cash took the stage grams,” said parolee Rocky Moreno to the five decades ago in Folsom and San California legislature in 1984. “A lot of W RESOURCES Quentin prisons, artistic performances things that existed out in the yard did not Chaddock, Don, “Unlocking History: From for inmates were fairly common. Sammy exist in the art classes, because once a per- Sammy Davis Jr. to Eartha Kitt, artists help Davis Jr., Frank Sinatra, Eartha Kitt, John son is being creative, there just . . . there rehabilitate Imates,” Inside CDCR, October Lee Hooker, and many others performed isn’t any room for petty differences.” 4, 2018, retrieved at https://www.insidecdcr. in California prisons. San Francisco-based The Arts-in-Corrections programs ca.gov/2018/10/unlocking-history-from- Actor’s Workshop launched an encore thrived throughout the 1980s and 1990s, sammy-davis-jr-to-eartha-kitt-artists-help- performance of Waiting for Godot in San and major artistic ventures were under- rehabilitate-inmates/ Quentin in 1957. taken. San Quentin repeated a perfor- De Francesco, Joseph, director and writer The professional-level arts provided were mance of Godot in 1988, this time with of John Brown’s Body at San Quentin Prison principally in one direction — profession- inmates as actors. (both the play and the accompanying docu- als performing for the entertainment of The arts program petered out in the mentary), found at www.johnbrownsbody- the inmates. Like Merle Haggard after see- 2000s. By 2015, arts programming was film.com and available through the Kanopy video streaming service at select local librar- ing Cash perform in San Quentin, many typically provided as part of other programs ies. inmates in the audience wanted to learn and such as recreational therapy or leisure activ- participate in the arts on their own. Some ities. The sporadic activities during the dry Dembin, Russell, “Nothing But Time: When ‘Godot’ Came to San Quentin,” Ameri- professionals provided training in addition years continued to be impressive, such as can Theatre Magazine, January 22, 2019; to their performances. Actor Lee Marvin the performance of John Brown’s Body at retrieved at https://www.americantheatre. voluntarily coached actors inside San Quen- San Quentin Prison, highlighted in a docu- org/2019/01/22/nothing-but-time-when- tin in the 1960s, for example. But most arts mentary of the same name. godot-came-to-san-quentin/ training for inmates was informal and part But a joint pilot project between the Kramer, Wayne; Jail Guitar Doors web- of leisure activities until the late 1970s. California Arts Council and Division of site “About Us,” retrieved at https://www. Eloise Pickard Smith, the Jerry Brown- Rehabilitative Programs at the correc- jailguitardoors.org/news/a-word-from- appointed director of the state’s arts tional agency relaunched arts program- wayne... agency in 1976, championed arts pro- ming inside in 2015. Arts in Corrections Robinson, John, “Artist Eloise Pickard gramming for inmates with professional returned in California. Today there are arts Smith Dies,” Santa Cruz Sentinel, August artists serving as instructors. The effort and music programs in all state prisons. 28, 1995, page A2, provided courtesy of the blossomed into an official program by the There continue to be performances, but Santa Cruz Public Libraries’ local history mid-1980s and was imbedded in the cli- the documented recordings inside empha- digital collection. mate of the prisons. Full-time civil service size the rehabilitative work, not the com- Transcript for the “California Arts Coun- arts facilitators were hired with the dual mercial viability for the public. cil’s Artists-in-Social-Institutions Program” duties of providing high-quality training “Remember, ninety-five percent of pris- hearing presented to the State of Califor- themselves in their own artistic expertise oners will one day rejoin our communi- nia Joint Committee on the Arts, Senator (music, theater, visual arts, etc.), and coor- ties,” states guitarist Wayne Kramer, a Henry J. Mello, Chairman, May 9, 1984, dinating arts programs from other experts. decades-long provider of arts and music courtesy of the Government Publications The participatory programs were highly programing for rehabilitation. “Given real section of the California State Library. successful with inmates. “I’ve seen racial incentive and the necessary tools, people prejudices just fall because of art pro- can and do change for the better,” he said.

bulletin 123 11 The Gold Discovery Revisited A Scrap of Paper Challenges What We’ve Long Believed By Mike Dolgushkin

12 California State Library Foundation ne of the last donations the late Pioneers this pertains to. Mr. Segel seems Is this obscure scrap of paper Mead Kibbey gave to the Cali- to have changed to a different pen halfway fornia State Library was a “block through the inscription, or used the same a historical revelation, or an book” of Sacramento property maps from pen but started writing smaller. about 1885. Several items were inserted It is indeed unfortunate that we do not attempted hoax à la Sir Francis within, among them the lower fragment have the rest of what was written. Neither of a blue sheet of paper upon which was do we have any direct confirmation of Drake’s plate of brass? written the following: what Marshall supposedly said. Examina- tions of the gold discovery tend to focus Addendum on the discrepancy between the January Pioneer Hall 19, 23, and 24, 1848 dates, and do not talk Saturday March 1st 1873 about Marshall possibly having discovered SOURCES gold earlier. Neither do any contemporary Bekeart, Philip Baldwin, “James Wilson In addition to his most generous gift accounts mention it. There are indications, Marshall: Discoverer of Gold,” Quarterly of previously mentioned, Bro. James however, that what Marshall is claimed to the Society of California Pioneers, vol. 1 no. III, Marshall disclosed two facts relative have said might be true. The Sutter’s Fort 1924 September 30. to the gold discovery. No. 1 being that log entry for December 10, 1847, reports Gay, Theressa, James W. Marshall, The Discov- although he did not realize or report that Marshall left the fort for Coloma on erer of California Gold: A Biography (George- it at the time, he really discovered that day, making it likely that he would town, CA: The Talisman Press, 1967). the first nugget at Mormon Island have stopped at Mormon Island then. In Gudde, Edwin G., Sutter’s Own Story (New about December 10, 1847, mixed with addition, evidence exists that John Sutter York: G. P. Putman’s Sons, 1936). Quartz. No. 2 being that Capt. Sutter was aware of the presence of gold in the New Helvetia Diary: A Record of Events Kept by had learned of gold in the Northern hills well before January of 1848. While John Sutter and his clerks at New Helvetia, Cal- Sierra mountains on the banks of none of it confirms that he mentioned it ifornia from September 9, 1845 to May 25, 1848 the Yuba River from Peter Lassen’s to Marshall, it would seem to have been a (San Francisco: The Grabhorn Press, 1939). Indian sometime in the spring or reasonable thing for Sutter to do. Nunis, Doyce B. Jr., ed., From Mexican Days early spring of ’47. In great secr’cy Is this obscure scrap of paper a histori- to the Gold Rush: Memoirs of James Wilson Marshall had been told to watch for cal revelation, or an attempted hoax à la Marshall and Edward Gould Buffum, Who gold in all Sir Francis Drake’s plate of brass? We Grew Up with California (Chicago: The Lake- may never know. Mr. Kibbey passed away side Press, 1993). The text cuts off there. What is written on September 21, 2018 about a day after Paul, Rodman W., The California Gold Discov- on the other side of the sheet is in the it came to light, so I was not able to ask ery: Sources, Documents, Accounts and Mem- same handwriting but completely unre- him about it. But if this item is genuine, oirs Relating to the Discovery of Gold at Sutter’s lated to the message on the front, and is it may not be as big a bombshell as one Mill (Georgetown, CA: The Talisman Press, signed “Alfred Segel (acting) Secretary.” might think. Even if James Marshall actu- 1966). What can we make of this scrap of paper? ally discovered gold at Mormon Island on It appears to be an addendum to meeting December 10, 1847, it was his finding it ENDNOTES minutes of the Society of California Pio- in the millrace at Coloma that began the 1 This item can be viewed in the California neers. Nothing is known about Alfred Segel, great migration which changed the his- History Section, and resides in Manu- so we can’t say for sure which chapter of the tory of California. script Box 4194.

EDITOR’S NOTE

Michael Dolgushkin is a librarian in the State Library’s California History Section and is in charge of processing manuscript and archival collections. He is a frequent contributor to the Bulletin and an expert on San Francisco history. In 2016 he co-authored with Emiliano Echeverria San Francisco’s Transportation Octopus: The Market Street Railway of 1893.

bulletin 123 13 inderella reportedly said, “One If the Shoe Fits... shoe can change your life.” While Cinderella’s one shoe brought Preserving Ancient Vellum her to Prince Charming, our books’ shoes will bring them a lifetime of structure, Bindings at the Sutro Library security, and protection. Why would books By Mattie Taormina need shoes you ask? Good question. The Sutro Library has a stunning collection of libros de conventos (convent books, aka convento books), mostly bound in limp vellum, which means that the books do not have stiff covers, or boards as they are technically called, and instead are very flexible (very similar in behavior to modern day paperbacks). These convento books were added to the collection when Adolph Sutro traveled to Mexico in 1889 and purchased at auction the contents of the Abadiano Bookstore. Since the books are so flexible and in various sizes, shelv- ing them can be tricky. At one point in the not-so-distant past, the State Library was committed to putting all these valu-

Limp vellum books in their able books in phase boxes (a fancy word custom new book shoes. for a custom box), but the project stalled at some point, and now we have some books boxed, and some that are not. Fast forward to today and the unboxed books are start- ing to swell and distort. Before the project Ideally, we would resurrect this past began, Sutro Library’s effort and make phase boxes for the rest limp vellum books were housed either in of the convento books since boxes protect phase boxes or in no books from light, dust, and small leaks. housing at all. Yet boxes do not let you see the limp vellum spine with the book’s handwritten title, and they also cost more money and labor to make. Since the past phase boxes were made in Sacramento, we wanted a more local solution. EDITOR’S NOTE Enter professional conservator Gillian Mattie Taormina is the director of the Sutro Library, the San Francisco branch of the California Boal. Gillian learned of our desire to have State Library. The Sutro Library is located on the campus of San Francisco State University. a structured housing solution for our con- She has served with distinction at the Sutro Library since 2016. Previously, she worked in the vento books but with the ability to see the Special Collections Department of Stanford University and at the State Library as a special book’s spines. She casually mentioned assistant to the State Librarian. Taormina has lectured extensively on leveraging technology to book shoes, and we quickly agreed it was further advance access and use of special collections and archival materials. Her scholarship has the desired solution. The book shoe is a focused on teaching with primary sources, including the recent book she co-edited in 2014, Using kind of box that is made out of conserva- Primary Sources: Hands-On Instructional Exercises. tion grade cardboard that the book slips

14 California State Library Foundation Alan Scardera demonstrates Completed book shoes Books happily resting in their how he makes a book shoe. awaiting their books. bespoke shoes.

into. Each custom box would fit snugly ate student, Allison Bermann, on how to around all parts of the book except on make the shoes, and the physical condi- FOR MORE INFORMATION the top and the spine. And, just like your tions of our convento books are rapidly The book shoe was developed by Nicholas shoes, you don’t want to make the shoe too improving. With the help of the California Pickwoad while a consultant at the National tight or too lose. The shoe provides much State Library Foundation, we were able to Trust in England. The commercial design needed structure for the books as well as purchase enough glue and tying tape to was developed by Christopher Clarkson, offering the following benefits: keep Alan and Allison in steady produc- then at West Dean College, Chichester, Eng- • Protects the sides of decorated or fragile tion these last three months, and for many land, and Anthony Cains, Trinity College, bindings, such as those covered in tex- months to come. Dublin, Ireland. The instructions to make tiles, from their neighbors; The eventual goal is to have all the your own book shoes can be found here: • Reduces wear to the book due to being limp vellum bound books from Mexico https://www.nedcc.org/free-resources/ pulled in and out of shelves; in a shoe. While stage one of the project preservation-leaflets/4.-storage-and- • Allows books to be moved without the is focused on quarto-sized books, we will handling/4.7-the-book-shoe-description- and-uses binding being touched. eventually move into folio and tiny-sized Gillian printed out information on how books as well. One challenge we noticed, If you are interested in damage to rare books to make the shoes from the Northeast however, is that some of the books are and different supportive housing for dam- Document Conservation Center. The State too fragile or have decorations that do aged books, more information can be found Library purchased the conservation card- not allow for easy slipping in and out of here: board and Gillian made a prototype for the shoe without causing further dam- https://www.bl.uk/aboutus/stratpolprog/ our San Francisco State University (SFSU) age to the book’s bindings. For those collectioncare/publications/booklets/dam- museum studies students to replicate. shoeless books, another solution will aged_books.pdf Alan Scardera was the first SFSU have to be found. A formal definition of limp bindings can be Museum Studies graduate student to The book shoe is a huge step forward for found here: take up the project. Alan studied the this part of our collection and would not http://cool.conservation-us.org/don/dt/ documentation and prototype Gillian left be possible without the generosity of the dt2082.html behind and soon was making his own California State Library Foundation and book shoes. I expressed a desire to have most especially, the dedication and talent For more information on conservator Gillian some sort of string or tie to keep the shoe of the SFSU graduate students working Boal follow this link: http://www.conserva- as snug as possible and Alan figured out on the project. Their devotion to making tion-us.org/membership/find-a-conservator/detail?id=2073#.XCbLjCBG02w how to weave unbleached linen tying tape these books secure is deeply appreciated through the structure. because everybody loves a good pair of This post and all of the images are by Mattie Alan soon trained SFSU History gradu- shoes—even books! Taormina, Director, Sutro Library.

bulletin 123 15 Clifton F. Smith was photographed crossing a The Clifton F. Smith Santa Barbara stream during the heyday of his botanizing. Collection of Santa Barbara, Ventura, and San Luis Obispo Acquired by the Foundation for the California State Library By Gary F. Kurutz

The botanist pounds away on his manual typewriter in 1997 using only two fingers. With this rugged machine, he catalogued thousands of botanical specimens and wrote three books.

16 California State Library Foundation anta Barbara County with its romantic Hispanic past, lush vegetation, and sublime natural scenery remains one of the most attractive regions not only in California but also in the entire country. One person in particular, Clifton F. Smith (1920–1999), a native of Santa Barbara became passionately attracted to its botany and for many years roamed the hills and valleys in search of specimens. His passion led to the publication in 1952 of A Flora of Santa Barbara County by the Santa Barbara Botanic Gar- den and in 1954 becoming the botanist- librarian of the Santa Barbara Natural History Museum. In 1976 the museum published an expanded edition of his A Flora of the Santa Barbara Region, Califor- nia. His scholarly dedication to botanizing led to an updated edition published by the Santa Barbara Botanic Garden and Capra Press in 1998.1 This monumental work represented fifty-five years of collecting, identifying, and cataloging botanical specimens. In further recognition of his contribution, the Botanic Garden named its herbarium in honor of Smith.2 His fascination with local flora brought him into contact with the region’s colorful history and an insatiable desire to collect books, pamphlets, and photographs on the subject. In so doing, he created a massive personal library. Along the way, he came into contact with Los Angeles area historian, bibliophile, mountaineer,r and ama- teur naturalist Denny Kruska. Because of their mutual interest and Kruska’s love Old Spanish Days in Santa Barbara. of the coastal region, they developed a Over the generations, producers of this famous annual event issued posters warm and lasting friendship. However and brochures to call attention to the city’s Spanish and Mexican heritage. This Smith died in 1999. In memory of this image of an enchanting señorita encapsulated the romance of pre-American California. remarkable botanist and self-taught local historian, Kruska wrote and published close friends like Kruska to preserve his that same year a touching book, A Celebra- decades-worth of botanical and local his- tion of Clifton F. Smith’s Life 1920–1999: A tory notes, publications and artifacts that he Santa Barbara Native Son. This beautiful had stuffed into his home. Appropriately EDITOR’S NOTE tribute also featured heart-warming reminis- this twentieth century Carolus Linnaeus Gary Kurutz is the editor of California State cences of Smith by his many friends. Smith donated his specimens, field notes, letters, Library Foundation Bulletin and recently left his estate to local institutions and to reference books, and other relevant mate- retired as the Foundation’s executive director.

bulletin 123 17 Mission Santa Barbara with its twin steeples has remained an architectural icon. This color view embellished a promotional pamphlet.

rial to the Santa Barbara Botanic Garden. viewing on the Library’s web site. items related to Santa Barbara County and Kruska knew that to ensure the pres- In addition to the photographs, Kruska its neighboring counties. Bibliomania had ervation and accessibility of the Clifton received Smith’s extensive pamphlet and struck! Just as he roamed the countryside F. Smith regional history material in his ephemera collection. Inspired by Smith’s in search of botanical specimens, Smith charge, he would eventually need to place passion for local history, Kruska and bib- now haunted the bookstores like the Book it with a public institution. By a remark- liographer Stuart F. Robinson wrote and Den in Santa Barbara and that epicenter able coincidence, this started a long compiled a massive bibliography A Collec- of local history, Dawson’s Book Shop. Of and positive relationship with the State tion of Santa Barbara, San Luis Obispo, and course, he avidly read bookseller’s catalogs Library. In 2001, I was in Los Angeles Ventura Pamphlets and Ephemera Formed by and telephoned in orders. In addition, he and always made it a point to visit Daw- Clifton F. Smith. The 193-page, quarto-size frequently explored antique stores, junk son’s Book Shop when it was on North volume was printed by the Castle Press of shops, garage sales, and swap meets hunt- Larchmont Boulevard. Over the years, the Pasadena and published in 2003 in an edi- ing for new treasures building a stunning Library had acquired several important tion of 300 copies. The collection, as listed collection that also included three-dimen- photograph collections from this famous in the bibliography, consists of approxi- sional objects like branding irons. Like the antiquarian bookshop. As I was talking to mately 1,700 individual items including photographs, this collection included the Michael Dawson, the telephone rang and pamphlets, brochures, broadsides, trade neighboring counties of Ventura and San Kruska was on the line. He was seeking cards, rare periodicals, menus, and maps Luis Obispo. Despite a limited income, he advice from Dawson as to a good home dating from the 1860s until 1970.3 Supple- built a massive collection and told a reporter for Smith’s photographs. Dawson turned menting the titles in the bibliography are in 1985, “I’ve just got piles and piles of to me and said over the phone, “Gary two other important collections preserved stuff. I don’t have any place to walk at home Kurutz is right here, and you might want by Smith: the disastrous Santa Barbara oil hardly.” As told by Kruska, “A lifelong bach- to consider the State Library.” The phone spill of 1969 and student riots at the Uni- elor, he lived alone with his books and his was handed over to me and thus began versity of California, Santa Barbara. ubiquitous Santa Barbara memorabilia.” a rewarding relationship between collec- The story behind the building of his He also recorded the following by Smith tor and library. Later that year, Kruska non-botanical collection is compelling. that so beautifully summarizes his love of generously donated to the California His- Kruska in his published profile wrote that his personal library, “Whenever I feel blue, tory Section of the State Library Smith’s Smith’s peregrinations in the back coun- I just start looking though my books and I regional photographs that not only encom- try led him to start collecting documentary feel good all over.” Every book collector can passed Santa Barbara but also the neigh- material. A pivotal moment occurred in identify with this feeling. boring counties of Ventura and San Luis 1955 when he encountered the monumen- Eventually, Kruska decided to approach Obispo. These rare images have all been tal Catalogue of California and the Far West the State Library for the placement of cataloged, placed in protective archival Items Formerly the Collection of Thomas Smith’s pamphlet and ephemera collec- sleeves, digitized, and are available for Wayne Norris Catalog and he saw all the tion. Circumstances, however, necessitated

18 California State Library Foundation that its acquisition be a combination of mushrooming housing costs. Because of gift and purchase. Happily the Foundation people like Clifford F. Smith, ephemeral Board voted to make the commitment at material that would easily be trashed has its June 2018 meeting. Obligingly, Kruska now survived and will be available in a loaded up boxes of material housed at his publicly accessible institution. Sherman Oaks home and drove them to the State Library. The new addition is now ENDNOTES being cataloged and placed in appropriate 1. The full title of Smith’s 1952 book is A folders and sleeves for its protection. This Flora of the Santa Barbara Region, Califor- recent acquisition combined with Smith’s nia: an Annotated Catalogue of the Native photograph collection gives the section an Naturalized Plants of Santa Barbara, Cali- unsurpassed treasure trove of documents fornia, and Vicinity. The 1976 edition car- on the three coastal counties. The name of ries the title A Flora of the Santa Barbara Clifton F. Smith is included with the cata- Region, California: an Annotated Catalogue log record. of the Native and Naturalized Vascular The scope of his collection features Plants of the Santa Barbara County Main- land and Nearby Channel Islands. publications issued by chambers of com- merce, real estate companies, retail busi- 2. In addition to the Santa Barbara Botanic nesses, hotels, restaurants, local schools, Garden naming its herbarium after Many women living in the comely Smith, two local plants were named also Carpinteria Valley contributed recipes to this religious organizations, and local gov- named in his honor: a Santa Barbara bed- culinary guide. Published around 1909, the ernments. Altogether, it will provide publication generated enough interest to straw (Galium cliftonsmithii; and a type warrant another edition shortly thereafter. researchers rare documentation covering of yerba santa (Eriodictyon traskiae subsp. these beautiful, picturesque counties dur- Smithii). The Smith Collection came with the English ing Smith’s lifetime. Like many Califor- 3. Books on California history from Smith’s and Spanish language editions of this rare 1873 collegiate catalog. In 1876, the college nia localities, the tri-counties had to deal collection are not included in this gift and with such issues as forest fires, economic moved to Berkeley and changed its name to purchase as the State Library already pos- the Franciscan School of Theology. downturns, two world wars, increased sesses an extensive collection of the same automobile traffic, overcrowding, and books on the three coastal counties.

The Santa Ynez company issued this promotional around 1888 to attract settlers and visitors. It came embellished with eight plates of natural scenery, an olive orchard, and the beautiful mission.

bulletin 123 19 Foundation Notes

By Gary F. Kurutz, Bulletin Editor

New Foundation Acquisitions

Deluxe Edition of Mallette Dean: A Printmaker and His Art

ary E. Strong, former State Librarian spanned several decades.” Hawk, head Gof California and founder of the Cali- librarian of special collections & uni- fornia State Library Foundation continues versity archives at the University of San to make generous monetary donations Francisco, wrote a superb biography of to the Foundation. With his latest gift, Dean and provided a bibliography of 625 the Foundation purchased for the State entries and 200 illustrations to record his Library the deluxe edition of Mallette Dean: distinguished career as an artist and book A Printmaker and His Art by John T. Hawk, illustrator. Dean provided decorative ini- published in 2018 by the Book Club of tials, ornamentation, and illustrations for California in San Francisco. Strong has many books and keepsakes with Califor- long been a scholar and collector of fine nia history as a subject, and several titles printing and this new title seemed most were printed by the prestigious Grabhorn appropriate. The online catalog record will Press of San Francisco. include his name as the donor. The Book Club published a limited edi- As stated in the prospectus of the book: tion of 350 numbered copies, each signed “A major figure in the history of the fine by Hawk. This important bibliophilic orga- press book in California, H. Mallette Dean nization also issued an edition of twenty- Cohen, bookbinder, and housed in a slip (1907–1975) was a prolific artist whose five deluxe copies numbered 1–25. The case. Each copy of the special edition is fur- career as a printmaker, painter, mural- deluxe edition given by Strong is issued in ther enhanced by a wood engraving printed ist, illustrator, and letterpress printer a special quarter leather binding by Claudia from the artist’s original wood block.

The Laub Studio and Tea Garden Press of Los Angeles

oundation member Victoria Dai- for impeccable crafts- Fley continues to support the State manship, innovative Library’s collection with generous dona- and complex designs, tions. Dailey is one of the premier cultural and traditional sensi- historians in the Los Angeles area with bilities enlivened by a keen interest in the book arts. Late last witty concepts. After year she donated a selection of books, pam- they divorced in the phlets, and ephemera of the Randolph and mid-1980s, Claudia Claudia Laub Studio of Los Angeles. The Laub went on to found her own Laubs took up letterpress printing in the design and printing studio under late 1970s at the instigation of their friends her own name. Because of the William and Victoria Dailey. The two art- Daileys’ interest in fine printing, ists founded the Tea Garden Press in they also started their own fine 1979, printing several books by their artist press in the early 1970s with the friends. They also printed announcements memorable name of The Press of and invitations and gained a reputation the Pegacycle Lady.

20 California State Library Foundation Rare Perfume Trade Catalog Designed for “Milady” he California History Section makes Tavailable an impressive collection of trade catalogs. These illustrated publications issued by retail stores and companies give contemporary historians and observ- ers of the California scene an idea of the products available at a given time. Through the Foundation, a sumptuous catalog published by the California Perfume Company (CPC) of San Francisco was purchased by the Foundation for the Library. The title of the catalog is the CPC Book: A Comprehen- sive and Authoritative Guide to the Intelligent Selection and Use of Milady’s Perfume, Toilet and Home Necessities. The use of the term “Milady’s” indicates that the company marketed itself to the well-to-do. It is illustrated with thirty-eight inviting color chro- molithograph plates showing art nouveau inspired bottles, packages, and advertising for perfumes, soaps, cold cream, talcum powders, tooth paste, and gift sets. Printed by M. J. Schless & Co. of New York, the perfume company produced the catalog at the time of the 1915 Panama Pacific Inter- national Exposition held in San Francisco. Typical of that era, the company released the catalog in a screw-back post binding which allowed sales people to remove or add plates as needed. The last page of the catalog consists of a price list and index. In addition to this lavish catalog, the Library has other trade catalogs published by CPC including a 1907 Instruc- tion Manual for sales staff and the depot or storehouse manager of the company. Interestingly, the company was the pre- decessor of Avon and perhaps its sales people knocked on the doors of prospec- tive customers.

Bulletin 123 21 Acquiring “Screen Star Loveliness” omplementary to this is an eye-catching, full-color Art Deco era poster promoting C“Hollywood Glo” skin tonic. Probably used for store displays, the middle of this three-part triptych features a gorgeous blond-haired model or actress flanked on each side by a movie industry cameraman and lighting man. According to the producer of this product, use of Hollywood Glo would allow ladies to acquire “screen star loveliness” and that it was used by “actresses and screen stars all over the world” and would produce “a clear and velvety complexion.”

22 California State Library Foundation Hydroelectricity for Mono County

he Foundation continues to acquire album as many of the black and white Dam and the Poole Hydroelectric Plants. Tphotograph albums for the Califor- images are signed by him. Rush Creek is In addition, mounted into the album are nia History Room. A recent example is an located on the eastern slope of the Sierra four photographs of a power “snow-sled” album of sixty-two original photographs Nevada running east and then northeast built by Young at Rush Creek in 1918. documenting the building of the Rush of Mono Lake making it the largest stream Young powered his innovative snowmo- Creek Hydroelectric Project in Mono in the Mono Basin. The album shows the bile with a large propeller affixed to the County covering the years 1913–1923. pipelines, plants, trunklines, and machin- rear of the vehicle. It must be considered More than likely William “Billy” Young, ery used in the construction of the Agnew one of the earliest such vehicles to plow a worker on the project, assembled the Lake Dam, June Lake Dam, and Lundy through the Sierra snow.

Brittney Dawn Cook Appointed Foundation Executive Director resident Kenneth Noack, Jr. and the Cost Plus World Market in Stockton; and as “She brings a broad base PFoundation Board of Directors enthu- the personal assistant to William T. Voll- siastically agreed to appoint Brittney Dawn mann, the well-known Sacramento author, of Twenty-first Century thinking, Cook as its new executive director effec- artist, photographer, and journalist. Dem- tive December 1, 2018. She replaces yours onstrating her passion for photography, talent, relationships, youth truly. After serving in the position since she also taught at the Sacramento Camera 1998, I decided to retire. Cook has worked Camp, a program designed for children and energy to the Foundation. for the Foundation for over a year as the ages five to thirteen. Last year she finished organization’s administrator handling her master’s degree in library science from We all look forward to working day-to-day operations. She brings to the Syracuse University where she finished organization a fresh approach, a passion first in her class. In addition, she holds a with her as we continue to for libraries, and she is brimming with bachelor’s degree in photography and jour- innovative ideas. Serving as a State Library nalism from Sacramento State University. grow the Foundation and digitization consultant and with her expe- It was with a heavy heart that I decided rience as the Foundation administrator, to retire as I dearly love the Foundation administer its mission.” she has developed a firsthand understand- and the State Library’s staff and collec- ing of the State Library and its mission. tions. I have had the privilege of serving President Noack praised Brittney stating as the Foundation’s executive director that “she brings a broad base of Twenty- since 1998. At the same time, I held the first Century thinking, talent, relation- position of curator of special collections at ships, youth and energy to the Foundation. the Library. In addition, I have been active We all look forward to working with her as with the Foundation since its founding we continue to grow the Foundation and in 1983 writing scores of articles for the administer its mission.” Bulletin, creating traveling exhibits, and Her management skills, knowledge of assisting with special events. I have served photography and digital technology will be as the Bulletin editor since 1994 and will invaluable. Prior to working for the Foun- continue in that capacity. Furthermore, I dation, this multi-talented librarian worked will use my contacts in the history and bib- as a production assistant for Cox Black and liophilic community to further develop the White Lab, Inc. in Rancho Cordova; as a special collections of the State Library and production assistant and photo assistant for solicit bequests.

bulletin 123 23 Recent Contributors

ASSOCIATE Leland E. Leisz, Piedmont CALIFORNIA HISTORY Dr. Durlynn Anema, Galt Gary Noy, Loomis California Assessors’ Association, Louise & David Beesley, Nevada City Lisa Lombardi O’Reilly, Carpinteria Sacramento Brittneydawn Cook, Citrus Heights Richard K. Moore, Huntington Beach Mr. and Mrs. Michael Bernick, Cox Subscriptions, North Carolina Russell H. Pearce III, Orinda Sacramento Richard Davis, Wilsonville E.R. & Joyce Penrose, Sacramento George W. Davis Fund, Novato EBSCO, Alabama Larry J. Schmidt, Minden Michael Dolgushkin, Carmichael Radell Fraser, Carmichael Charlene Simmons, Davis Kenneth Knott, Sacramento Moria P. Gardner, Santa Rosa Mary Swisher, Sacramento Robert & Sharon Kolbrener, Carmel Susan Glass, Saratoga Edgar L. Weber, San Francisco Pacific Coast Companies, Rancho Cordova Green Library Stanford University, Robert & Lois Shumaker, Fair Oaks Stanford SPONSOR Helen Green, Berkeley United Way California Capitol Region, David Burkhart, San Bruno Sacramento Eileen Heaser, Sacramento Mike Ueltzen, Sacramento In Memory of Linda Bonnett Historical Society of Wisconsin, Madison In Honor of Gary F. Kurutz Gary & KD Kurutz, Sacramento Nevah Locker, Indianapolis Robert Tat, San Francisco In Memory of Robert K. Greenwood Los Angeles Public Library, Los Angeles Gary & KD Kurutz, Sacramento J.G. Mckinney, Grass Valley PATRON In Honor of Gary F. Kurutz Retirement San Francisco Public Library, San Kristin M. Thomas, Solana Beach Steven De Bry, Sacramento Francisco In Honor of Jocelyn Napier Whitney & Clasina Shane, Prunedale Kathleen Low, Fairfield Jeanne M. Sibert, Sacramento LIFETIME Cy Silver & Rosemarie Falaga, Berkeley In Honor of William Yue Fong SUTRO LIBRARY Burt Lee Thompson, Granite Bay & Sue Ping Lee-Fong Willett C. Deady, San Rafael John Winner, Placerville Nancy K. Lim Stephen Harris, Berkeley Brian Witherell, Sacramento Livermore – Amador Genealogical Earl Withycombe, Sacramento BRAILLE & TALKING Society, Livermore Linda Wood, Portland BOOK LIBRARY Mattie Taormina, Stanford Herman Zittel, Susanville Mr. & Mrs. Frank Bodegraven, Paradise Donna M. Boothe, Merced Dr. Donald Brown, Sacramento OREGON CALIFORNIA CONTRIBUTOR TRAILS ASSOCIATION Helen Holmlund, Oakland Friends of the Bellflower Library, Oregon California Trails Association, Los Bellflower Dorothy Hurkett, Lakeport Altos Hills James R. Blaine, Vacaville Anna B. Lange, Campbell Nancy J. Broderick, Santa Rosa Karen Lowenstein, San Jose May Mayeda, Sacramento MEAD B. KIBBEY Forrest E. Boomer, Carmichael FELLOWSHIP Mr. and Mrs. Alfred Munoz, Richmond Michael & Waltraud Buckland, Berkeley In Memory of Mr. Mead B. Kibbey Bing Provance, Chico Collin Clark, Sacramento George & Mary Alice Bayse, Sacramento Marilyn Sherrard, Clio Anne Curran, Oakland Pauline Grenbeaux, Sacramento Don Stevens, Auburn David Dawson, Carmichael The Jason Family Foundation, Irvine Sandra Swafford, Sacramento Jerrold & Wendy Franklin, Sacramento Mimi & Burnett Miller, Sacramento Judith Tannenbaum, El Cerrito Marcia Goodman, Los Angeles Sacramento Pioneer Society, Sacramento Dr. Claire E. Yskamp, Berkeley Mr. and Mrs. Neal Gordon, Folsom John R. Wheaton, Sacramento Thomas Hudson, San Leandro In Memory of Bill Dozier Zulka Dozier, Stockton Theresa Jacobsen, Davis In Memory of Arthur Markus Ruth Kallenberg, Fresno KEVIN STARR Dorothy Flanders-Bull, Concord CALIFORNIA William A. Karges Fine Art, Carmel LITERACY FUND Mr. and Mrs. Kastanis, Sacramento In Memory of Amber Clark Catherine Hanson & Kenneth Knott, Suzanne Grimshaw Sacramento

24 California State Library Foundation The massive 16-story mural “Mass Incarceration” by Shepard Fairey was erected in the summer of 2018 on the Residence Inn hotel in midtown Sacramento at L and 15th Streets. The art keys off the photo “Johnny Cash at Folsom Prison, California” by famed photographer Jim Marshall, and was taken in January of 1968 on the day of the now-famous recorded concert. Both the photo and artwork are part of the “American Civics” series, a joint project between Fairey and the estate of Jim Marshall to highlight civic awareness and subjects, and a full “American Civics” series of fine-art prints was donated to the California State Library by Amelia Davis / Jim Marshall LLC. More information and images view americancivics.com. Photograph by Brittney Cook.