Bill of Sale for an Enslaved Boy

Below is a transcription of the bill of sale that John A. Beauchamp (1817-1901) received on May 5, 1851, when he purchased a slave in Liberty, Missouri. The original is pictured above.

“Liberty Clay Co MO May 5, 1851. For and in consideration of the sum of six hundred dollars to me in hand paid I have this day bargained sold and delivered unto John A. Beauchamp my negro boy Isaiah a slave for life and sound & healthy in body & mind & free from the claims of any other persons and is about thirteen years old.”

This is the oldest item in the J.A. Beauchamp Collection. Most of the items in the collection relate to John Arthur Beauchamp (1895-1953) who served in the U.S. Army during World War 1. (His grandfather, to whom Isaiah was sold, was also named John Arthur Beauchamp – to avoid confusion I will use the first and middle name in reference to the older Beauchamp) We don’t know why John Beauchamp saved this particular document from his grandfather’s life. He was born in 1895, long after the Emancipation Proclamation freed Isaiah. Whatever his reasons for preserving it, this document was a direct connection between him and his family’s ties to slavery. From it, we can learn some things about the economic status of his grandfather’s family.

In Missouri, most slaveholdings were family farms that exploited the labor of only a few slaves, usually fewer than ten. Their small size and diversified agricultural practices distinguish Missouri slaveholdings from their plantation counterparts in states like Mississippi and Louisiana. Owning even one slave was a sign of relatively high wealth and status. The price Beauchamp paid for Isaiah reflects this. No census figures for John Arthur Beauchamp are available prior to 1870. However, according to the 1870 census, he was a wealthy man, with a combined personal and real estate valued at $12,000. The “Economic Status” measurement from MeasuringWorth “measures the relative “prestige value” of an amount of income or wealth measured using per capita GDP. When compared to other incomes or wealth, it shows the relative prestige the owners of this income or wealth because of their rank in the income distribution.” Using that measurement, John Arthur Beauchamp’s wealth in 1870 was the equivalent of just over $3.4 million in 2015. Using the same measurement, the $600 selling price of Isaiah was equivalent to $298,000 in 2015. The “Labor Value” measurement uses either skilled or unskilled wage rates to calculate value. If we think of his $600 sale price as an unskilled labor value (as recommended by MeasuringWorth), it was the 2015 equivalent of $137,000. MeasuringWorth does also feature a more in depth analysis of other ways to evaluate slave prices.

The economic history of slavery is only one facet of a tremendously complex and painful subject. It does demonstrate that slaveholders who betrayed the Union may have done so to protect what they saw as crucial and valuable financial assets. That said, there is no evidence that John Arthur Beauchamp served in the Civil War. Age may have been a factor, as he was between 44 and 46 years old in 1861. There are three letters from the older John A. Beauchamp in the collection, but none addresses slavery directly. In other words, we don’t know why family members preserved it, or how they viewed their ties to slavery. It is theoretically possible that John Beauchamp’s father, Lee Beauchamp (born in 1864) knew Isaiah. Lee undoubtedly knew the black servants listed in John Arthur Beauchamp’s household in the 1870 census. But for now we have no way of knowing what, if anything, Lee Beauchamp told his son about his grandfather’s slaves or what it was like growing up in a former slave owning family in Missouri in the 1860s. Ultimately what makes this document significant is that it raises all these questions. It forces us to confront what our own ties to slavery and the Civil War era might be. Remembering is not always easy, but forgetting or ignoring the past carries far greater consequences.

 

Sources

J.A. Beauchamp Collection, MS216, LaBudde Special Collections, University of Missour-Kansas City.

Ancestry.com

Beyond Respect: Aretha Franklin records in the Marr Sound Archives

Aretha Franklin at the Kauffman center in May, 2012. (courtesy of Media Mikes)

We all know Aretha Franklin. She is (for now) the most successful American female solo artist in history. She’s the Queen of Soul who recorded the song that became an anthem for women everywhere. In 2010 Rolling Stone ranked her as the #1 singer of all time, saying “when it comes to expressing yourself through song, there is no one who can touch her. She is the reason why women want to sing.” On February 9, 2017, Rolling Stone also announced that Franklin is retiring from public performing following the release of her next album. With that in mind, we at the Marr Sound Archive want to give you a taste of some of her work that is in our collection. Some of this you may know, some not. We’ll start with the song everyone knows (or should know), and work backwards to her earliest record.

This year marks the fiftieth anniversary of the recording and release of “Respect,” recorded at Atlantic Records Studio in New York City on February 14, 1967. The song was the lead track on the album I Never Loved a Man the Way I Love You (released March 10, 1967, Atlantic 8139) and was later released as a single (April 29, 1967, Atlantic 45-2403). We have both the albums and the historic single. “Respect” was produced by Jerry Wexler. Wexler worked with Franklin from 1966-1975. He also has connections to the Kansas-Missouri area. In the 1930s, Wexler attended Kansas State University. Outside of school he received his introduction to Jazz and Blues music by visiting bars and music clubs along Twelfth Street in Kansas City.

Prior to working with Wexler at Atlantic Records, Aretha was with Columbia Records. Her first secular album was Aretha: with the Ray Bryant Combo, (Columbia CL1612) released by Columbia in 1961. In addition to vocals, she played piano on four tracks: “Won’t be Long” “Who Needs You?,” “Are You Sure” and “Maybe I’m a Fool”. At 18 she was still a somewhat raw talent. Below are short clips transcribed from our copy of the album. Listen closely to “Maybe I’m a Fool” and you can hear her voice break just a little.

Ray Bryant and Aretha were both signed to Columbia Records by producer John Hammond in 1959. Like Wexler, Hammond had some connections to Kansas City, having signed Count Basie to Columbia in 1936. 1959 was a big year for Hammond. That year he signed Aretha Franklin, Pete Seeger and Bob Dylan, all of whom were under the age of twenty.

Aretha at about 14 years old when she was first recorded by Joe Von Battle. (courtesy www.bless-this-soul.com)

Aretha Franklin got her start singing at New Bethel Baptist Church in Detroit. Her father, Clarence LaVaughn Franklin, was minister there from 1946 until 1979. C.L Franklin became a central figure in the black community. According to Mark Bego, the Franklin home “played host to a virtual who’s who of popular black music.” Young Aretha was part of the church choir. Her father recognized her talent, and at 14 he began taking her to other churches to perform with gospel groups. As Reverend Franklin’s own legend grew, he organized a “traveling revival show.” As a teenager, Aretha spent several summers traveling with the road show’s choir. At the same time, Joe Von Battles was recording LPs of Reverend Franklin’s sermons. Battles was a Detroit record shop owner, and founder of JVB Records (later changed to Battle Records). In 1956, Battles recorded 14-year old Aretha Franklin at New Bethel Baptist Church. The Marr Sound Archives does not have any copies of Battle’s original album. In fact, original JVB/Battle pressings are quite probably the rarest of all Aretha records. Fortunately, the songs Battle recorded have been re-issued a number of times by Chess, Checker, Geffen, and other record labels. In our collection is a 1982 issue by Checker Records (Checker LP CH8500), for which music critic Peter Guralnick wrote the album notes. Of Franklin’s performance, Guralnick wrote “everything that Aretha would one day become, the same soulful struts that she would put into “I Never Loved a Man, “Respect,” even funky old “Dr. Feelgood,” are all here in the plain, unvarnished, but far-from-simple truth of hymns.” We are not professional music critics, but having listened to this album we think it is pretty extraordinary. The lead track on that album can be heard below.

The preceding barely scratches the surface of Aretha Franklin’s extraordinary life and career. She was a true prodigy, a gifted singer surrounded my other successful black musicians. She was seemingly destined for stardom from an early age. However her personal life was marked by a series of devastating emotional experiences. In his biography, Bego concludes that both of these factors shaped her music. Hopefully hearing her sing at various stages in her life gives readers a greater appreciation for the treasure she truly is.

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Sources:

Aretha Gospel. Recorded September 10, 1991. Geffen, 1991, Streaming Audio. Accessed February 20, 2017.

Bego, Mark. Aretha Franklin : The Queen of Soul. New York: Skyhorse Publishing, 2012.

Marr Sound Archives contains well over 100 entries for Aretha Franklin in our Library Catalog. Among these are many of her classic LPs and singles, including the ones mentioned in this post. We hope you’ll come listen to some of them soon!

Correction: Previously this post had a full version of the 1956 album. Since only UMKC network users could stream it, we’ve replaced it with a youtube link. The whole album can be heard at the Marr Sound Archives.

“You get it from both sides”

Protestors on Vine St, April 9, 1968. (courtesy UMKC Digital Special Collections)

To understand the causes of the April 1968 Race Riots, the Greater Kansas City Mental Health Foundation commissioned Robert Bechtel and Charles Wilkinson to write The Social History of a Riot: Kansas City, Missouri, April 9-13, 1969. The 1968 Riot Collection includes the complete manuscript of that book, as well as many of the interviews conducted by researchers. Interviewees included witnesses, protest participants, and members of law enforcement. There are four interviews with African-American members of the Kansas City Police Department who served during the riots. While Social History focused on these officers’ perception of racism within KCPD, the interviews paint a more complex picture. The relationship between black officers and the black community was often contradictory. The officers sympathized with civil rights protestors and felt the indignity of racism, but their sympathy for violent rioters ran out quickly. They also had a complex relationship with their fellow officers and superiors. In short, these men expressed conflict between their own identities as black men, their loyalty to their department, and their duty to uphold the law.

Major Garrison and Sergeant Walter Parker were interviewed together. At the time of the interview, Parker had been a member of KCPD for 19 years. Both men complained that even when off-duty, people knew they were officers. This could be nuisance, such as friends and relatives who wanted their tickets taken care of. It could also be serious, as when Black Panther militants threatened the safety of Parker’s family. Another interviewee, Leroy Swift, was called a “house n*****” by another black man. This insult carried a specific connotation of a black man placed in a position of power as tool of white supremacy. Interestingly, Swift said the man later admitted the insult was just for show. Parker described a similar dynamic: “I realize that it’s necessary for [Black Panther activists] to stay away from the police and call the police names and not have anything to do with them in order to keep [their movement] going.” According to Swift, many black officers in KCPD at this time were “black first and policeman second.” Being “black first” meant having some sympathy for activists. Parker and Garrison were united in calling for a constructive conversation between police and activist groups. However, they were skeptical that activist groups actually wanted to have those conversations. In other words, these officers were suspicious of militant activists, yet still empathized with them based on certain shared experiences. The activists might have shared a similar mixture of emotions.

Despite the lack of productive dialogue with activists, these officers felt they had strong ties to the African American community in Kansas City, and that these ties helped them succeed at their jobs, particularly during the riots. During the riot, “Tuckie” Saunders and two other black plainclothesmen helped one group of student protestors make an orderly march and demonstration. At one point the students asked Saunders to make a speech. The group Saunders was with seems to have been separate from the more volatile crowds. Saunders had his own method for dealing with disruptive protestors: “if [Saunders] had been in charge…he would have dispersed the kids with streams of water” because “it was cool that morning and when your clothes are wet you have to go home and change.” Saunders may have believed is method more efficient and humane than the use of mace or tear gas, which police employed during the riots.

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Captain LeRoy Swift had a leadership role among officers facing the more violent protestors. At the very start of the riot, Swift and two other black officers pursued a group of black students who looted a store in plain sight of the officers. Swift speculates that the students thought the officers would look the other way because they were also black. The students were wrong. According to his account, he was later sent in to help calm things down between white police and African-American protestors. To do so he overruled some arrests made by white officers. Swift also described how some whites believed the police-enforced curfew did not apply to them.

Every officer interviewed expressed support and admiration for KCPD Chief Clarence M. Kelley. Saunders said he “was good as gold” and Swift called him “a good man” and “honest.” In contrast, Kelley’s command staff drew universal criticism from the African American officers for being racist, “biased and sneaky.” What was missing from KCPD, according to Saunders, was “black faces in high places.” Swift described a lack of sensitivity from white officers who still used the n-word with regularity. His testimony also demonstrates how black officers had to walk a fine line, and how their loyalty was always in question. If they identified too closely with the black community, they drew the suspicion of whites in the department. On the other hand, just wearing a badge was enough to alienate them from the black community.

These officers had unique insights on race relations and the responsibilities of law enforcement during this turbulent period, and they all expressed optimism that solutions could be found. It is too simplistic to characterize police and activists as natural enemies. In the case of the man who insulted LeRoy Swift, and the Black Panther activists who Sgt. Parker spoke of, their animosity towards the officers was occasionally not actually genuine. Instead, these interviews demonstrate the complex nature of the relationship between police and the communities they are asked to protect and serve.

 

Sources

Detective “Tuckie” Saunders, Interview Transcript, Box 1, Folder 35, 1968 Riot Collection, LaBudde Special Collections, UMKC.

Maj. Garrison and Sgt. Walter Parker, Interview with Jeanie Meyer, June 2, 1969, Box 1, Folder 31, 1968 Riot Collection, Labudde Special Collections, UMKC.

LeRoy Swift, Interview Notes, Box 1, Folder 35, 1968 Riot Collection, LaBudde Special Collections, UMKC.

Tales from the Archives: Disc(h)ord on the Ranch

In October 2012, the Marr Sound Archives completed an 18-month National Endowment for the Humanities grant to catalog and preserve the nearly 3,000 broadcast recordings in the Arthur B. Church KMBC Radio Collection. Please enjoy this series of anecdotes recounting the unusual discoveries and amusing happenings in the course of working with this collection.

This is the fourth in a series of Tales from the Archives.

Disc(h)ord on the Ranch

The KMBC Texas Rangers

The KMBC Texas Rangers “Gentlemen in the White Hats.” Credit: Arthur B. Church KMBC Radio Collection, Marr Sound Archives, University of Missouri-Kansas City.

It seemed like everyone on the project team had discovered some new interest when working with the collection. One student became so engrossed in the developing drama on the show Vic and Sade, she hoarded all the discs to herself. For me, it was the Western swing group, The KMBC Texas Rangers. The unedited cuts of this musical octet perfectly demonstrate the unique chemistry the group had. It was hard not to be captivated by them, with names like: Clarence “Idaho” Hartman (bass fiddle), Gomer “Tenderfoot” Cool (fiddle), Joe “Monty” Strand (accordion), Herbie “Arizona” Kratoska (guitar and banjo), Fran “Irish” Mahaney (tenor), Rod “Dave” May (tenor), Robert “Captain Bob” Crawford (baritone), and Edward “Tucson” or “Tookie” Cronenbold (bass).

Garbed in Western wear, topped with classic white hats, their versatile musical repertoire included hymns, cowboy songs, novelty, and western swing. When I guest lectured for the Conservatory (UMKC), I ended with the Texas Rangers’ rendition of “Hand me down my walking cane” which inevitably got stuck in everyone’s head. It’s entertaining and hopefully served as a distraction from the terrible guest lecture they just sat through.

Tex Owens

Image above: Tex Owens, the original Texas Ranger? Image courtesy of Orlene “Kit” Johnson and Irene “Kay” Dierks.

As we soon discovered, the Texas Rangers weren’t without their own drama. In their early radio programs, they were often fronted by special guest, Tex Owens. Owens, who played guitar and sang with the group on occasion, was never officially a member, but somehow left his mark in history as “The Original Texas Ranger.” There seemed to be a great deal of tension between Tex and the boys which reached its climax when Texas Governor, James V. Allred, commissioned the musical group The Texas Rangers, along with Tex Owens, as honorary members of the state’s famed law enforcement group. The honor bestowed upon the Rangers prompted them to compose an interoffice memo expressing their disappointment that Tex would be honored alongside them considering he had not been a member. The memo also included some disagreements between the group and Tex. You can read more about this controversy, see the original memo, and learn of the outcome from a blog post written by one of the project students: Tex Owens: A Case of Mistaken Identity?

Find out more about the Church-KMBC collection.

Evie Quarles’ Blues Portraits

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Alan Mercer at Club Paradox – Kansas City, KS 7/8/02. All of Evie Quarles’ photos are available to researchers through LaBudde Special Collections.

Petite with a soft southern drawl and a shock of silver hair, Evie Quarles found her muse at the Grand Emporium, a smoky, boisterous blues joint located near 39th and Main Street in Kansas City. While taking a photography class at a local community college in 1997, Evie became enamored of taking and developing photos. As part of a project for her final exam, she began taking photographs of the musicians, dancers and assorted characters perched at the bar at the Grand Emporium.

Becoming hooked on photography and the Grand Emporium, Evie returned night after night to photograph the musicians and fans dancing and milling around the club. She found that the black background of the stage perfectly framed her sharp, intimate portraits of the blues men and women that played there night after night.

For the next twenty years, she documented blues concerts, clubs, and festivals in Kansas City. Navigating her way through crowds at festivals, clubs, and late night jam sessions with her camera hanging from a strap around her neck and a vest full of film, Evie captured musicians in mid note, dancers swirling across dance floors, and fans carrying on in the audience.

In 2013, Evie donated 856 prints to LaBudde Special Collections in the Miller Nichols Library at the University of Missouri—Kansas City. The breadth and depth of the self-curated collection is stunning. The collection ranges from Kansas City jazz legends at the Mutual Musicians Foundation; the downhome charm of the Kansas City, Kansas Street Blues Festival; Blues Masters at the Crossroads, Kansas City Blues and Jazz Festival along with the Grand Emporium and other clubs around Kansas City.

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Living Blues Weekend Photo Shoot, Cotton Candy 9/18/99.

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Kansas City, Kansas Street Blues Festival: Tommy Soul Williams 6/29/02.

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Lil’ Ed at Grand Emporium 5/15/04.

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5th Annual Blues Masters at the Crossroads, Blue Heaven Studio: Robert Lockwood, Jr. 10/19/02.

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Bobby Rush, Thanksgiving Blues Breakfast, KCKS 11/27/03.

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Ray Charles and Myra Taylor at The Music Hall 1/11/02.

 

Consult Evie Quarles’ LaBudde Special Collections page to see the collection finding aid.

See also: Evie Quarles and Her Muse.

Phenomenon: Traveling back in time to the 1930’s

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65 episodes of Ted Malone’s radio serial Phenomenon are available to researchers at the Marr Sound Archives via the Arthur B. Church KMBC Radio Collection. Malone’s personal collection of photos, manuscripts, and correspondences is held in LaBudde Special Collections.

“Wanted: a human life. Will pay $1,000.00.”

This is the ad that sends the hero of Phenomenon (story by Ted Malone and offered by Arthur B. Church’s company Midland Broadcasting Company) on the beginning of his many adventures through time.

Time travel is a concept that has been in the public since H. G. Wells first wrote The Time Machine in 1895 and it has been a staple of science-fiction ever since. While today we are constantly hit with the idea (Dr. Who, Back to the Future, Groundhog Day, Interstellar), it was still a fresh concept in the early half of the 20th century. Phenomenon ends up being something between a science-fiction series and a 1930’s time capsule. Buck Rodgers had just made his appearance a few years before, so science-fiction was on the minds of the young and inspired their imaginations

The modern setting for most of the story takes place in the office of Dr. Light, the inventor of the anachrophone. This is the device that allows the hero of the story, Jerry Powers, to travel back in time by harnessing radio waves. Throughout the show Jerry travels to several locations and historical time periods almost always finding himself in the middle of some major event of that time.

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Queen Cleopatra (pictured) appears in episodes 5-7 of Phenomenon, an original KMBC Radio production. Photo Courtesy the Arthur B. Church KMBC Radio Collection at LaBudde Special Collections.

Some examples include Cleopatra’s Egypt, the Salem Witch Trials, the Boston Tea Party, and the building of Solomon’s Temple. Jerry has all the makings of the typical hero. He’s bold, witty, overly confident, and always manages to find his way out of a tight spot. It’s where some of the other characters are involved that you begin to remember you’re listening to a 1930’s radio program.

Dr. Light’s daughter Katherine and their Chinese servant Charlie Wong very much get the stereotypical treatments of the time. Katherine is highly naïve and often treated as a second-class citizen. She is barely in the show for five minutes before you realize her duties are to do chores, flirt with Jerry, and be corrected. She is also very often told by Jerry when she is interrupting his and another male character’s conversation.

[audio: http://info.umkc.edu/specialcollections/wp-content/uploads/2015/02/katherine.mp3|titles=Katherine’s Entrance|artists=Phenomenon Program No. 2]

Charlie Wong’s character is nothing short of a racial slur with his fast, hard to understand, and often childish sounding speech. Both remind you of the time in which the show was produced and unfortunately this continues into the introductions when sometimes the announcer will refer to electricity as a maid (or even a slave) who washes, cleans, and cooks for you.

[audio: http://info.umkc.edu/specialcollections/wp-content/uploads/2015/02/Phen_Lincoln_03.mp3|titles=Phenomenon Introduction|artists=Phenomenon Program No. 49]

It is important to point out that the main drive behind Phenomenon was to sell electricity to the public, a fact that the Midland Broadcasting Company made no attempt to diminish stating, “It entertains, it educates, it sells every member of the American family” right on the second page of their booklet about the program. This sentiment continues within the program itself almost every time the announcer begins each show often stating how much electricity can and is doing for the home. A more focused look on this aspect is found in Christina Tomlinson’s entry, “Phenomenon: Electrifying history, but not advertisers” on the Labudde Special Collections Blog.

The unfortunate result is that it’s hard to look past these and see the show for what it is at its core. They need to be taken with a grain of salt, however, and seen for what they are: a product of their time. It’s important to step back and try to look past them and listen with the ears of a 1930’s listener. Most of those things were common place and, though unfortunate, wouldn’t have distracted from the show and the program does offer some magical moments; my personal favorites were the pair of episodes that had Jerry Powers walking and talking with Abraham Lincoln through camps during the civil war (episodes 49-50). Phenomenon is not the Doctor and his companions traveling through time and space and righting wrongs but to people of the first half of the 20th century it was most likely an exciting experience and possibly sparked the imaginations of many as science-fiction has continually done.

[audio: http://info.umkc.edu/specialcollections/wp-content/uploads/2015/02/Phen_Lincoln_01.mp3|titles=A story from Abraham Lincoln|artists=Phenomenon Program No. 50]

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Tales from the Archives: Happy Hollow is a Real Place

In October 2012, the Marr Sound Archives completed an 18-month National Endowment for the Humanities grant to catalog and preserve the nearly 3,000 broadcast recordings in the Arthur B. Church KMBC Radio Collection. Please enjoy this series of anecdotes recounting the unusual discoveries and amusing happenings in the course of working with this collection.

This is the third in a series of Tales from the Archives.

Happy Hollow is a Real Place

Happy Hollow cast

Happy Hollow cast and others, including Brookings Montgomery, outside entrance to Pickwick Hotel at the start of troupe’s European and African tour. Credit: Missouri Valley Special Collections, Kansas City Public Library, Kansas City, Missouri.

Rural programming was pretty common in the 1930s and ‘40s, and KMBC had its own in the town of Happy Hollow which gave listeners a peek into the daily lives of Aunt Lucindy, Uncle Ezra, Harry Checkervest, George Washington White (their own blackface character), and other town folk, along with musical interludes by the Humdinger Quartet.The program’s creator, Ted Malone, would have a long and successful career in radio broadcasting, mostly known for his storytelling and poetry reading, and as we later discovered by going through his fan mail,  he was very popular with the housewives…in an uncomfortable way.

Listeners engrossed in the goings-on of Happy Hollow could find out more by subscribing to the newsletter Happy Hollow Bugle. We came upon the newsletter when I sent my most enthusiastic student upstairs to Special Collections to see if he could find out more about the program, specifically, what radio actors were cast in the various roles. My instructions were simple: Look over the finding aid and pull whatever seems like it might contain some information about the show. I figured this wouldn’t take long since there didn’t appear to be much in the Church-KMBC Collection finding aid. About ten minutes in, I received a phone call from my very excited student telling me that one of the Special Collections staff pulled a newsletter called Happy Hollow Bugle from the Ted Malone Collection, and that there was all kinds of helpful information in it. Relieved that he had found something useful, I instructed him to gather up the relevant data for identifying the characters in the show.

Over an hour passed by, and just as I was beginning to wonder what was going on, he walked in. I saw him from a distance, all wide-eyed, headed straight toward me clutching a pencil and papers in his left hand, and I thought, “This is it. He’s going to tell me how he hit the jackpot of details on this show, and I might even be able to establish some names in the authority file.” He had spent an hour and a half in the archives, after all. But instead, he approached and exclaimed, “Happy Hollow is a real place!” As I was laughing (hard), he proceeded to tell me about the legal troubles that Uncle Ezra had found himself in, how some of the townsfolk had traveled to Africa, and other documented occurrences that had convinced him of its realness.

Tried and tried as I might to crush his new-found beliefs so suddenly (e.g., “So there’s just a guy in town who likes to walk around in blackface?”), he remained convinced and I remained amused. The good news: we were able to identify some of the actors. In fairness to my student, the cast of Happy Hollow and other KMBC stars did tour Europe and Africa. Kudos to KMBC for blending fiction and reality in their marketing so effortlessly. They had at least one person convinced 80 years later!

Find out more about the Church-KMBC collection.

Tales from the Archives: The Stampers Under the Stairs

In October 2012, the Marr Sound Archives completed an 18-month National Endowment for the Humanities grant to catalog and preserve the nearly 3,000 broadcast recordings in the Arthur B. Church KMBC Radio Collection. Please enjoy this series of anecdotes recounting the unusual discoveries and amusing happenings in the course of working with this collection.

This is the second in a series of Tales from the Archives.

The Stampers Under the Stairs (Not Surprisingly, Full of Spiders)

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Stampers in original crates. Spiders, too. Credit: Arthur B. Church KMBC Radio Collection, Marr Sound Archives, University of Missouri-Kansas City

Shortly after I had hired the project students, I received that news that we all dread hearing. It goes something like, “Oh, by the way, we found a bunch more stuff that belongs to that collection you’re cataloging for that grant.” Ours was more like: “Oh, by the way, we found a bunch of metal stampers at the bottom of a stairwell. I think there’s about 1,000 of them, and they all belong to the KMBC collection.” Actually, it was exactly like that (and there were 1,400 of them). But since I’m always up for a challenge, I came up with a workflow, drew up some guidelines, and unleashed one of my deadliest students. She was a quick-witted graduate Public History major armed with a vast knowledge of home health remedies, construction cleanup experience, and a nice Southern accent with a “no bull” attitude who drank her French press coffee black. She was perfect for the job.

I often walked into the dusty space she was working in to check on her. I felt bad for subjecting her to all the dust and forcing her to handle the heavy stampers, but she didn’t complain much about it. She had accepted the job and planned on doing it right. As it turns out though, some complaint was warranted. About two weeks in, I received a call from the head of the sound archive informing me that they had sent the student back upstairs and she was forbidden to re-enter the space until it had been bug bombed. I was confused. What had happened? Apparently, when asked how things were going, the student casually mentioned the brown recluses crawling out of the crates. That generated an appropriate response of alarm and concern for the safety and health of the student and the archives staff. Her response: “I was just killin’ ‘em with two by fours. I had planned to keep killin’ ‘em.” Like I said. Deadly.

Find out more about the Church-KMBC collection.

Warmest Wishes for 2015

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Unidentified band wearing novelty fur costumes with hoods, c. 1920s (Pla-Mor Ballroom Photograph Collection)

In the midst of frigid temperatures here in Kansas City, the staff of LaBudde Special Collections and Marr Sound Archives offer our warmest wishes for the new year…no matter what your style may be.

Sound Archives Expand Services to Video Preservation

alaadeenSeveral months ago, the Marr Sound Archives purchased a shiny new Mac Pro with intentions of preserving the numerous video tapes held in some of our most noteworthy collections. With the assistance of Adobe Production Suite, a Black Magic Studio Pro, and a Panasonic AG-DS850p Video Cassette Recorder, we plan to digitize our degrading VHS and S-VHS collections. Upcoming video preservation and digitization projects include video footage from the Ahmad Alaadeen, Jay McShann, and Ruth Rhoden collections, among others.

Before we proceed, however, there are a number of factors to consider in the realm of video digitization standards as we document our procedures. Some colorfully hypothetical questions arise as a result.

“Frame rates, aspect ratios, bit depth, metadata… Video capture is so much more complicated than audio. Where do I start?”
“What’s the difference between a multimedia container and a codec? I thought they were the same thing!”
“How much digital storage should I procure for my digital video collection? Will it fit on this flash drive?”
“What makes my files lossless? Of course they are! I can see them right here on my desktop!”
“What makes something born-digital? If I was born in the 1960s, does that make me pre-digital?

Of course, the majority of these ridiculous questions may be answered with some simple independent research or even a shallow Google search. Doing so would reveal that best practice for video preservation depends on the quality of the source and the digital needs of the archive.

Marr Sound Archives has begin preserving VHS and SVHS cassettes from the Ahmad Alaadeen Collection.

Marr Sound Archives has begun preserving VHS and SVHS cassettes from the Ahmad Alaadeen Collection.

For example, the uncompressed, non-proprietary audio file format, Broadcast Wave Format (BWF) has become the standard for audio preservation. Video formats, on the other hand, provide evidence of standardizations that are constantly in flux. For instance, while many digital repositories may stick with a Quicktime file format (MOV) for its consumer accessibility in video, others may utilize the Material eXchange Format (MXF) for high definition film preservation. Depending on cost, storage availability, and the quality of analog source tapes, repositories must decide what best fits their needs.
 

Our video collection, for example, consists mostly of NTSC source tapes recorded from television or personal camcorder. Standard definition, interlaced Quicktime files with 24 bit, 48 kHz WAV audio will suffice as perfectly acceptable digital preservation copies.

Last week, The Federal Agencies Digitization Guidelines Initiative (FADGI) released a study comparing target formats for reformatting videotapes to digital files. In the study, FADGI’s Audio Visual Working Group considered what formats would produce an authentic and complete copy of the source, which formats maximized picture and sound reproduction, and which formats best supported research and access. They consider it a living document as new preservation technologies will continue to emerge.