As Bill states in his retirement letter: “With over thirty-two years of service to the University, seventeen with the Library, and fifteen with Stanford Linear Accelerator Center (SLAC), it is time to move forward to the next phase of my life.” A devotee of history, Bill had one break during his tenure at Stanford when he returned to school for an MA in History. Although he began at SLAC as a surveyor, he went back there to work in their archives. Later, after moving to Special Collections, he followed his history degree with an MLIS.
Blog topic: Manuscripts
Agency in the Historical Record: Reflections on the Irene and Bill Irby scrapbook of the Philippines
Earlier this month I visited a friend in Washington, D.C. for a brief vacation. We spent much of one afternoon at the National Museum of African American History & Culture. One placard in particular from the “Slavery and Freedom 1400-1877” exhibit struck me in a way that sparked a connection with a scrapbook that I cataloged for Stanford this past summer.
This is a guest post from Bob Fitch Project Archivist, Gurudarshan Khalsa.
We recently completed digitizing the many contact sheets in the Bob Fitch Photography Archive. Thanks Griselda Mercado! And thanks to Michelle Paquette and the team at the Digital Library Systems and Services, the contact sheets are now available online. The Bob Fitch Photography Archive consists of the work of photojournalist and activist Bob Fitch documenting the civil rights movement, farmworkers movement, peace movement and other social justice causes from the 1960s to the mid-2000s.
This post comes to you from SPEC’s current intern, Brian Adams.
For the past several weeks, I’ve been interning at Special Collections’ Redwood City facility, where the fabulous Manuscript Processing team does their work in regal silence. I’m currently enrolled in Simmons College’s Masters in Library and Information Science graduate program, and for my internship experience I have been processing my very first collection, the papers of art critic/collector/CSU Sacramento professor John Fitz Gibbon.
When Mexican graphic artist José Guadalupe Posada died in 1913 he could not have imagined that his satirical calaveras or skulls would become such a ubiquitous presence around Halloween, which happens to coincide with Mexico’s Day of the Dead or Día de muertos, mistranslated as Día de los Muertos and horrifies language purists.
The Stanford University Libraries received a collection of documents and manuscripts from the conductor, pianist, composer, and music editor, Jacques-Louis Monod. He was born at Asnières-sur-Seine, France on 25 February 1927 and, as a child prodigy, began his education at the Paris Conservatory in 1935. He studied composition principally with René Leibowitz, who was a major influence on his work, and also with composers Olivier Messiaen, Bernard Wagenaar, Boris Blacher, and Josef Rufer.