One of
the perks of my time at The HistoryMakers is structured touring of points of
interest and archival repositories. My fellow IMLS Fellows and I already wrote
extensively on our visits to the University of Chicago special collections
division, Vivian Harsh Collection at the Carter G. Woodson regional library,
and most recently the Center for Black Music Research at Columbia University
and the Chicago regional branch of the National Archives and Records
Administration. The latter two repositories were visited in as many weeks and I
was startled to learn how similar they were.
Both the
CBMR and NARA inhabit a vast bureaucracy. The CBMR is presently experiencing
pains as Columbia University reorganizes. As detailed by Executive Director
Monica O’Connell, the CBMR was nearly defunded and its collections passed to
librarians who had neither desire nor expertise to manage archival collections.
As archivists Janet, Laurie, and especially Suzanne demonstrated, rigorous
subject knowledge and interest in black music of the United States is an
essential access point for researchers.
But…nevermind.
I’m having a difficult time writing about my adventures these past couple
weeks. I spent this last weekend in Madison, WI taking apart furniture,
disconnecting my electronics, and lifting heavy things into the basement of my
apartment as I leave the lighter, time intensive responsibilities of packing
kitchen supplies, clothes, and the bed to my girlfriend. In the interest of
time, below are some pictures from my adventures at NARA.
Above is a display of items that Archives director Douglas Bicknese and Education Specialist Kris Maldre put out for their spiel to tour groups. This quarter of the display table contains items used by the prosecution to prove that the Chicago 7, which Jerry Rubin, Abbie Hoffman, and (originally) Bobby Seale intended to start a riot by virtue of the implements found by police. The two knives and the muddling club seem perfectly harmless but the improvised mace is somewhat disconcerting.
Below is a letter signed by Bobby Seale indicating that he desires a separate trial from the Yippies. Blame it on my strong memory for all things historical or my girlfriend's extensive knowledge of 1960s counterculture--I frequently answered director Doug's standard list of probing questions designed to intrigue his audience. At one point I corrected him by claiming the Chicago 7 were "Yippies," not "Hippies." I'm sure he knew the difference between them but it would certainly complicate the tour by explaining the distinction.  |
| Doug and Ardra |
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| The Archives, as distinct from the Federal Records Center where agencies deposit pre-disposition records when they run out of room on site. |
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