Ditches, Gulches, Rip Rap and Slickens

Hello!
This week I finally have some end results that I can share - the Padua Hills Theatre Collection is now uploaded to the CCDL's City of Claremont History Collection page! You can search for 'Mexican Players' or 'Padua Hills' and the playbills and fliers will come up along with a few postcards and photographs. Please visit and explore. It was difficult choosing which pieces to digitize, but I think I have a good selection that represents the large span of time, and you can see the lettering and design element changes corresponding to larger cultural design shifts over the decades.

After uploading the Padua Hills material, I returned to the 24 folders of Finkle papers, and began sorting material according to state (with moving help from the Special Collections staff - thanks, Ayat, Tanya, and Lisa!). Now I have the CCEPS room tables covered with piles of maps and blueprints, with California's pile being the highest by far. I'll look forward to continuing with this next week, when I will have to come up with a more comprehensive and detailed plan to refine the collection sorting even further. It will be very satisfying and wonderful to get these into a workable order!

I have been taking more photos as I sort through the piles this time - many of the blueprints are striking as works of industrial engineering art, although (to me) incomprehensible as work plans. And some of the maps are just stunning. I'm including my favorites below, as well as my favorite placename - Get There Ditch, in Boulder County, Colorado.

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The "Zone of Hydraulicked Slickens" is a close second. You've got to keep the Rip Rap under control, after all. This paper has some water damage but still somewhat readable.

Zone of Hydraulicked Slickens.jpgBeautiful colors for Gore Canyon, Colorado:

GoreCanon.jpgSnoqualmie River and Falls area in Washington:

Snoqualmie.jpgThe Main Cables for the Power House at Bull Run River, Oregon:

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Quick Stepping

Hello! This week feels like it went by very fast, probably because I fit a lot of different steps of the archival process into just a few days. The Padua Hills Theatre Collection is now well on its way to digitized completion!

The first accomplishment of the week was creating a finding aid in Archivists' Toolkit, which was even more gratifying when I got to see a copy printed out for proofreading. I also got started with scanning, beginning with some of the photos and postcards featuring images of the theater and the Mexican Players and then moving on to the advertisement fliers. Then we went over metadata entry for items as they will be cataloged in the City of Claremont History Collection at the Claremont Colleges Digital Library. I took a lot of notes on what information to put where, and with the help of a few templates I was able to get a majority of the fliers and their metadata uploaded on Thursday. Next week I will get finish with the fliers and also get the playbills and newsletters scanned and uploaded.

Many of the steps will have to be revisited when I finally have a completed folder count and numbering system in place, and then I will add the final numbers into each record on both Archivists' Toolkit and the metadata fields in the digitized records. I have been hesitant to move forward with the numbering part until we know exactly how many additional newsletters from Carpe Diem we will end up with. There are 23 total that could be coming in, which could be divided into several folders depending on the years represented. It will just be easier to wait for the items to be in hand than to build around them, but it is very unsatisfying to leave information out of all the cataloging entries knowing that I will have to go back through every one later! Especially since I only have about three weeks left to work, and a lot of Finkle maps to move around!

Moving and Removing

Hello! I had a very productive week on the Finkle Papers and the Padua Hills collection, with a few good surprises to make it even sweeter. While the Finkle Papers project only moved ahead on the planning side of things, I was able to begin physically re-housing the Padua Hills material into new folders and removing the many duplicate copies of some of the playbills. The former arrangement had placed items in folders organized by theatrical season, so that even if a folder contained only two fliers from July 1949, the folder - and the fliers - were labeled "1948-49," which became confusing when the fliers did not have printed years on them. I rearranged the item by the year the production actually took place so each piece will be easier to find. It was very satisfying to make real changes with results I could see!

I also had my first in-depth encounter with Archivists' Toolkit, and hope I will be able to keep my children and siblings straight when I get into it for real with my big plans.

And now for some nice surprises!
A bookseller at Carpe Diem in Walnut has some copies of Padua Hills News Notes she said she would be willing to exchange for some of the extra Padua Hills materials we will be weeding out, and it sounds like they will be a nice addition to the collection with some missing years represented.

Additionally, there was another file here in Special Collections containing many more items relating to Padua Hills, including clippings, printed brochures, and several more advertisement fliers including one from 1938 - the earliest in the collection - and two larger lobby card-sized items. Lisa Crane helped me come up with an additional series to my completed arrangement that could accommodate the added material, and I was able to complete re-housing the entire contents of the box with the exception of the News Notes, which will wait until we see what comes in from the bookseller.

I was also glad to find in the file a copy of a  very good 1995 article by historian Matt Garcia about the Mexican Players, which has proved very enlightening and helpful in writing the biographical/historical context for the finding aid -"'Just Put on That Padua Hills Smile": The Mexican Players and the Padua Hills Theatre, 1931-1974". California History 74 (3): 244-261. I recommend it to anyone interested in the theatre and local history.

Unfortunately, I still have not come across any clues about the identity of the person who created the collection, but I suppose something could still turn up.

Next week I will continue working on the description for the collection to be added to the finding aids for both collections, and will also get back into Archivists' Toolkit to practice navigating and updating the pages for Finkle. Until then, a happy Fourth of July holiday to all.


Finkle Arms and Padua Hills

Hello again! This week, I delved into the details of Fred C. Finkle's professional life to create a new biography for the finding aid, researched place names to identify untitled maps and blueprints, and cracked open the box containing my next project - playbills and newsletters for the Padua Hills Theatre, featuring productions by the Mexican Players. Reading the CCEPS processing manual and description templates got me thinking and plotting my strategy for organizing these collections - I foresee some challenges, but

First, thanks to Special Collections Librarian emerita Jean Beckner for locating several folders with Finkle-related clippings and notes. One particularly delightful factoid I was pleased to learn is that Fred Finkle built a Finkle Building in downtown Los Angeles to house his offices, and which was also home to the Hotel Snow (see photo). He also built several apartment buildings, including the Finkle Arms at 9th and Figueroa and Finkle Manor. What wonderful names!

Finkle's reputation as an expert engineer and geologist is reflected in these stacks of disorganized blueprints; while working mainly for Edison Electric Co., Finkle designed and built seven hydroelectric projects while consulting for companies in Colorado, Oregon, and Washington, as well as other companies in Central and Southern California. The dates on the blueprints for these projects often overlap or run closely together, evidence his skills were widely respected and in high demand.

Finkle started his own consulting firm in 1911 in Los Angeles, which he continued until his death in 1949, and served as an expert witness in many trials litigating water rights and supply issues. He was also an outspoken opponent of several high profile water projects he determined to be defective or impracticable, including the poorly designed and constructed  St. Francis Dam (a Mulholland venture) which Finkle condemned four years before its catastrophic failure resulting in the loss of 631 lives and $20 million in property.

The folders also revealed several past inventories of Finkle's maps and blueprints; there is one typewritten copy, a handwritten copy on yellow legal paper, and a printed copy that looks like it was made on a computer from the 1980s or early 1990s. It seems plenty of people looked at the papers, but they still were put back into the same folders in no particular order each time. I am sure organizing the papers seemed so daunting a task that it was easier to just put them away again, even if disorganized. I cannot really blame them!

I mentioned my next project - a small collection of playbills, fliers, and newsletters for the Mexican Players at the Padua Hills Theatre. Next week I hope to get closer to devising a schema to arrange and describe the material with the CCEPS description template. I also checked out a 1961 book called Mexican Serenade: the Story of the Mexican Players and Padua Hills Theatre, written by Pauline B. Deuel and published by the Padua Institute.
 
Below is a playbill from 1943 and a newsletter from 1940 - the hand drawn images and lettering are very charming. I also include a photo of Fred C. Finkle's Finkle Building - one of several structures bearing his name that have sadly been demolished - it seems the apartment buildings are gone, too. (Photo LAPL)

MexicanPlayers1943.jpgPaduaHills-NewsNotes1940.jpg

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Fred C. Finkle Papers

Hello! I'm Jade, a History major at Pitzer College and the CCEPS Fellow this summer. I am very excited to explore the materials in Special Collections and learn as much as I can about archiving, processing, and digitizing during my time here.

My first project is reexamining the Fred C. Finkle Papers in the Water Resources Collection. Finkle (1865-1949) was a engineer and geologist who designed or consulted on many hydroelectric power projects throughout the western states beginning in 1887.

The Finkle Papers are comprised of 24 oversized flat folders stuffed with maps, blueprints, charts, and tables from Finkle's water projects in California, Colorado, Oregon, and Washington state, as well as several items from a project in Mexico City. The time frame for the materials ranges from 1895-1931, with the majority being from 1902-1912.

My first task has been to inventory the collection, over 800 pieces that for the most part are a disorganized mess, with all projects and material types jumbled together. The folders are labeled, but only with simple labels such as "Water - Finkle - Blueprints, Tables, Maps," which is not useful at all for organization or research. Next week I will begin researching some of the placenames and other clues to determine where some of the more mysterious items that do not have titles or obvious reference points. I will also begin research for a more thorough Fred C. Finkle biography entry to add to the online collection guide. I will also devise a schema to rearrange and re-house the collection.

I hope to post a lot of photos of items from the collection over the coming weeks, it will be helpful in showing what the collection contains while also highlighting the beauty and artistry of the drawings. Below are a few items that struck me as I worked through the last folder.

The first gives an idea of the type of content and organization of the folders, with a promotional blueprint for rail car gear lubrication oil at the bottom and a blueline map of the rivers and reservoirs of Oregon's Mt. Hood Railway & Power Co. above. The second photo is a portion of a blueprint diagram sheet for Kern River Power Plant No. 1, in California's Central Valley. The third image is a graph diagram I found particularly lovely, made for the Arrowhead Reservoir and Power Co. based in San Bernardino. Click the thumbnails to see full images.
More next week!


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So...Much...Choral...Music...

Hello Archive Junkies!

My goodness, what a week it's been! Now that all of the non-musical materials in the collection have been processed (things like Clokey's correspondence, lecture notes, writings, biographical materials, etc.), I've been hard at work arranging and preserving the robust amount of music the Clokey Papers have to offer. While Joseph W. Clokey composed art music in a staggering variety of genres (symphonies, operas, operettas, suites, sonatas, pageants, sacred dramas, etc.), one of his great loves was choral music.

Both sacred and secular choral music represent a substantial portion of his output (substantial enough, at least, to take a full week of processing to get through it all). Some pieces of sacred choral music that he composed are represented in the collection not only in the final published form, but in heavily-revised manuscripts as well as early sketches. To see that sort of material you'll have to come by Claremont Special Collections once the processed is finished, but for now I leave you with a lovely performance of a sacred choral work.

Performed by the San Joaquin Choral, this is "Mary Wore Three Links of Chain".

Til Next Time!

I don't always do archival research...

...but when I do, I look at the finding aids first. (Ah, topical humor.)

A finding aid, for the blissfully uninitiated, is the document that details what the scope and contents of an archival collection are and assists researchers in determining if the listed materials will be of any use to their work. It's a snapshot of the collection, so to speak, mixed with equal parts summary, backstory, and any "restrictions on use of or access to the materials" (thank you, Wikipedia). The finding aid is typically a paper or electronic document (on the Online Archive of California you have choice between PDF and HTML), but the information contained within it can be translated into a machine-readable format called Encoded Archival Description (EAD, for short). There'd be a lot of technical jargon about XML and DACS and such if we kept on about EAD, so let's just stick to the finding aid, eh?

You might be thinking "Hey Mikael, I sure would like to hear more about what exactly you might find in, well, a finding aid," to which I would respond, "Simmer down, we're getting to that." Even though the Joseph W. Clokey Papers aren't yet fully processed, working on the finding aid along with it gives me the opportunity to include vital information about the collection as I go, instead of trying to remember it all at the end. The kinds of headings included are things like the date range of the materials, the types of records you'll find in the collection, and source of acquisition (this collection was, on paper at least, a gift from Joseph Clokey's son, Art). The finding aid also contains an outline of how the collection is organized. Typically, a small collection need only list a handful of series, but if you're me and you're arranging the Clokey Papers, you end up with not just several series of folders, but subseries and subsubseries below them (yes, that's actually a word, apparently).

While I don't have anything to show you this week that is strictly out of the box (hyuck!), here's a sneak peak from my finding-aid-in-progress. This right here is the current, though perhaps not final, version of my scope and content note:

The Joseph Clokey papers contain newsclippings, personal notes, concert programs, correspondence, teaching materials, writings, a copy of his book In Every Corner Sing, and music in various stages of completion, from early sketches to publication. Clokey's musical compositions include instrumental chamber music, suites, symphonies, organ music, sacred choral and dramatic music, secular choral music, operas, operettas, and songs as well as arrangements of other works. The collection also includes sacred choral and organ music by other composers, bound together by Clokey for liturgical use, and world music he collected during his travels.

I assure you, the materials themselves are much more interesting than my writing about them...!

Happy May!

Mikael

Asking the Right Questions

As promised, here I am, ready to talk about the process of creating an exhibit. With the exciting and very daunting task of taking overwhelming amounts of exciting material and finding about 100 pieces total to fit in 8 glass cases, the most important thing to do is to take the process one step at a time. This meant, for me, making a general timeline of my 4 months ahead of me, and what stage I should be at by each point. For example, I knew that the exhibit would be installed in early April, which meant that I should have all of my captions written in the week previous, and working backwards from there, that meant I should have all of my items chosen and organized by the third week in March. This left me with about 8 weeks of research. But where to begin with that?

My first step in any research project, whether exhibit or thesis, is to start with the broader picture. Starting research can often feel like diving into a pool, being thrown into unfamiliar waters with no sense of perspective until you come up for air and look around. While diving in can certainly be exciting, it often gets me off-track very quickly. With this project, I had the massive pool of the Philbrick Collection of Letters and Theatre to swim in. The collection accounts for a quarter of the first floor of the Special Collections Library at Honnold/Mudd, not including the materials in the Philbrick Art Collection, which has boxes upon boxes of costume designs, posters and other mixed media. While I was going through the boxes that were given to me to catalog - namely boxes full of materials on Victorian actors Henry Irving and Ellen Terry - I began to get a sense of what kind of focus this collection had.

In general, I recognized that the Philbrick Collection centers around people, and networks of people particularly in the 19th and 20th century. Irving and Terry in particular were an epicenter of connections to many other famous British figures of the time, including Bram Stoker, who wrote Dracula. Theatre really served as the center of entertainment and creativity, and was a physical place in which people could gather and meet, and eventually form friendships and partnerships. It was these networks of people, I came to realize, that were responsible for continuing to produce Shakespeare.

Shakespeare's name would appear amongst the playbills and programs for other works, and in articles about Victorian actors including Charles Kean, Terry and Irving. I knew that I could continue to look for materials about Terry and Irving's roles in producing and performing Victorian Shakespeare, but the question remained for the rest of my research: who was responsible for producing and performing Shakespeare in the 18th and 20th centuries, and were these people present in the Philbrick Collection? Who were they, and what kind of influence did they have on British, and as it would turn out, American theatre?

Tune in soon to find out!

There'll be Singing in the Library (Eventually)

Hello again, dear readers,

What a week! Finals loom around the corner, which is typically fine, but as a grad student it means term paper deadlines draw near. Ah, how I miss simply studying for a final, but enough about me...

Scratch that: I'm going to keep talking about me.

The Powers That Be and I have been talking about how to celebrate and publicize the fruits of my labor with CCEPS (above and beyond my heartfelt blogging with you, that is). Amy's magnificent exhibition has been quite the success and I had a mind to undertake something similar until I realized how best to present my work with my collection. My music collection.

I don't talk about it much, but I actually have two degrees in music. My background in music is the very reason that the Powers That Be and I agreed the Joseph Clokey Papers would be a fitting collection for me to process. So, when the time comes next semester for me to discuss my work at CCEPS, I'll actually be performing some of the music in the collection as well. I had thought my classical singing days were behind me, but it seems I've been mistaken...!

I haven't worked out the entirety of the program, but I know for certain that I will be singing an aria from one of Joseph Clokey's operettas: a musical setting of Our American Cousin. Now, Clokey's work is not to be confused with the opera by Eric Sawyer of the same title, as that work is about the assassination of Abraham Lincoln at a performance of the original play of the same title at the Ford Theatre in 1865. Confused yet? Good, didn't think so.

I don't know much else yet about the recital, but I can tell you this: the aria in question requires a small display of yodeling. Exciting, no?

Alright, I have to sign off for now, but I'm sure I'll have more exciting finds in the archives next week.

Till then!

Mikael


 

Happy Birthday Shakespeare!

After all of those long hours of research and preparation, the day of the launch of the exhibit, "Shakespeare at 450: Keeping the Name Alive" arrived! And without a glitch! I'm very used to the day of performance being bubbling over with stress and anticipation - making sure everyone knows where to go, that the location and staff are on board, that I've done my part thoroughly, and of course, that the event itself is enjoyable. The event was to start at 7pm on April 14, so of course I arrived at 6pm, anticipating last-minute frenzy. Instead, I was met with the delightful sight of my exhibit, as I had installed it the week previous, seeming to beam and shine in its cases, Lisa, Carrie and Kate Crocker ready to introduce me, the student performers warming up for their sonnet recitations, and the Founder's Room all arranged. Everything was in order!

The event was everything I could have hoped for and more. The energy was lively and joyous, the food labeled with Shakespearean puns ("O Oreo, Oreo, wherefore art thou Oreo?"), and me, the curator, exuberant. My family drove out from Los Angeles to be part of the audience, as well as close friends, but there was also an entire class, and members of the Claremont Shakespeare community who had heard about the exhibit and performance and wanted to come out. It's always thrilling to see faces that I don't recognize, because it shows the scope and breadth of the outreach of my project, as well as just how many people do indeed love Shakespeare.

Olivia Buntaine's directed performance of Shakespearean sonnets was the icing on the birthday cake. Olivia, a junior at Scripps College, has aspirations of being a Shakespearean actor, and after having seen her in her directed production of "Twelfth Night" last semester, I knew that if I was going to have a performance element to the launch of my exhibit, that I wanted her to direct it. The performance, entitled, "Who Will Believe My Verse in Time To Come?", after the eponymous sonnet, wove seven romantic Shakespearean sonnets together into one narrative, following the arc of love through infatuation, deep passion, fading connections, and letting go. The performance was a perfect union of passion and sharp, witty Shakespearean language, and as the actors followed one after the other, occasionally falling over each other to get their passionate thoughts out, the audience was clearly enraptured. When the performance ended, it was as though a spell had broken, and as people filed out into the lobby to view the exhibit, I felt as though the performance had achieved something very important for the exhibit: it had drawn everyone together to experience Shakespeare as he is meant to be - performed in front of an audience, and then remembered and celebrated as a community.