Spring 2022 Internship: Special Collections Part III

 As the Spring 2022 semester draws to a close, my work in UMBC's Special Collections department with the Lewis Hine collection of photographs continues. I have previously described the scope of my digitization work and its importance, especially at a time when travel and access to material is limited. 

The digitization is nearing the halfway point - since beginning my internship in March, I and another student have photographed the back of almost two thousand of the approximately five thousand prints in UMBC's Hine collection. I will keep photographing them over the summer; others on the team in Special Collections have already begun some of the rehousing work associated with the project and the NEH grant. Just as my work is preserving the prints' contents digitally, the rehousing work will help to protect the physical media. I may have an opportunity to help with that part of the project later in the summer. 

I have gained some interesting new skills through this internship. In addition to clarifying my understanding of the mechanics of copy stand photography, I have gained some wonderful insight about the work that goes into digitizing records for research use. As a student and researcher who often relies on digital versions of the sources I use for my own projects, it is helpful to be on the other side of the desk, to understand all of the moving pieces involved in a request to scan or otherwise document some record in an archive. 

A portion of my work feels very mechanical: add the print's metadata to the project spreadsheet, place the print on the copy stand, take a photograph of its verso [its back], crop the resulting image, and save the new digital photograph in the database drive. Other aspects of my work, though, are fascinating and unusual just like the best research problems and projects that I enjoy outside of this internship. What's the best workflow for this task I need to complete? What states and cities will we visit with today's section of Hine prints? They are organized based on their object number, rather than their subject matter, so it's possible for one session of digitization to involve a whirlwind tour of as many as five or six destinations.

Hine spent a lot of time documenting mill workers in New England, fishermen, crabbers and oyster shuckers along the coast, and agricultural workers in the deep south. Given the diversity of industry in many of the places Hine visited, it seems surprising (and sad) that despite his travel to cities and areas which have majority Black populations, there are vanishingly few Black subjects in the prints I've encountered so far. As Hine's work looks at child labor, the oversight seems especially egregious. Where are the Black children toiling long hours in factories, or in the fields? Is this gap in his subject an intentional one on Hine's part, or just an accident? 

I do not have those answers. 

The Hine collection is fascinating, even for someone like me who has very little free time. On their surfaces, the prints are often blurry, chaotic images of a single child or group of children looking small and proud and defiant. The contextual information from Hine on the back of each print is also important, in a different way. I am eager to continue digitizing the backs of these images through the summer! 

Maryland Center for History and Culture Internship Part 3: Final Reflections

     Towards the end of my internship, I had been almost entirely focused on transcribing an interview of Esther McCready. This had been a very time consuming and at times difficult task, but ultimately very rewarding. This was the most notable project I had worked on due to Esther McCready's significance in the civil rights movement in Baltimore. 

    Esther McCready had been the first black woman to attend the University of Maryland School of Nursing. It had been her legal case in 1950 which was responsible for the desegregation of the school. In her interview, she describes her experiences dealing with the legal issues of her attending the school as well as her experiences of discrimination during her time there. 

    Transcribing her interview served as an excellent way to round off my internship. It had served as a way for me to learn both an extremely interesting and important part of Baltimore's history and how to properly transcribe oral histories, and the difficulties that occur in the process. Transcribing the hour long interview had taken several days of patient listening. Many of the issues I had experienced was due to the low quality nature of the interview, as it had been recorded from a phone call. I spent hours listening and re-listening to the same paragraphs in order to make sure I had been correct. Despite the challenging and sometimes frustrating process, the satisfaction of completing the work and contributing to project had made it worth the time. 

It would be fairly shortly after my completion that my internship at the Maryland Center for History and Culture would end. Due to the COVID-19 epidemic my time working in person had been limited, yet the staff had made sure to be accommodating during such a difficult time. My brief internship at the MCHC had been overall a great experience that exposed me to some of the work done by those at the center, as well as great pieces of Maryland history.

Corey Fitzpatrick Blog #2: What could this be?

What is this object? A pharmaceutical? Maybe it's a food? Wait...is it actually quackery?

For the nearly 1500 uncatalogued artifacts that I had been assigned to process, I needed to ask that question first: What category does this object fit in?

The categories include: Pharmaceuticals (100); Biologics (200); Foods (300); Medical Devices (400); Cosmetics (500); Veterinary Products (600); Inspection Equipment (700); Laboratory Equipment (800); Quackery (900); Ephemera (1000); Pesticides (1100); Colors (1200); Consumer Products Safety Items, Child Health Items, etc. (1300); Tobacco (1400). Many of the categories also include sub-categories. For example, the 310s are Food Supplements like vitamins and dietary supplements. The 940s are specifically Quack Devices (like the Manhood Belt or the Relaxacizor) while the 910s are Quack Pharmaceuticals (the snake oil that enterprising gentlemen of all centuries continue to peddle without mercy). Some objects could fit into multiple categories. This came in question with a bottle of 1916 medicinal whiskey. Alcohol is a drug, so could it fit in the 100s (Pharmaceuticals). Maybe it should be in quackery (the 900s) because it did not exactly treat the illnesses as it had promised. In the end, I decided that it was a food (300s).

 

2016.300.78.426

The bulk of my internship begins with determining what category an object fits in. But that’s only the first step in getting each artifact accessioned into the FDA History Office’s collection. Eventually each object will earn its own individual classification number. The way a classification number is generated is:

Year Object Acquired.Object Category.Donor Code.Index Number.

So, for example, Bayer Cough Syrup for Children has a classification number of:

2017.100.62.1573

This means that the FDA History Office acquired the specific artifact in the year 2017. The object category is a 100 (Pharmaceutical). The Donor Code is 62 to show that it is one of the objects donated by a specific donor (in this case Linda Amendt, CBER). And the artifact is the 1573rd object in the Pharmaceutical category (the 100s).

The next steps include inputting all available information–physical description, researched background details, overall condition–about the artifact into the EMu Collections Management System. The artifact will then be photographed and tagged with its classification number, before getting stored in its proper locker. Once that’s done, it’s time to move to the next object.

 

My dungeon office!

Before transitioning to the EMu Collections Management System, the FDA History Office relied on spreadsheets to hold all the artifact information. By the time of my arrival, the spreadsheet printout was as thick as a 1950s law textbook (In the event of a robbery, I could do some serious damage defending the FDA’s collection!). Searching for a specific artifact was a cumbersome exercise–involving turning page after page and squinting one’s eyes until finding that exact classification number. But the transition to the online EMu program allows that search to be completed in a matter of moments–all with only the strike of a few keyboard letters and the click of a computer mouse. 

You want to see the artifacts acquired in 2012? Here you go. How about the quackery donated by the Museum of Questionable Medical Devices (donor code: 48)? No problem at all. What about all the pharmaceutical (100s and 910s) that include the ingredient of cocaine? Well, I could show you what we have but I might need to ask a follow up question or two!

As with any automated transition, there have been a few bumps in the road. Some of the artifact photographs were mislabeled. A few classification numbers got duplicated. An artifact’s information may have never made it into EMu. Whenever I run into any inconsistencies, I report the issue to my supervisor and we think of a remedy. Overall, the problems have been few and far between. By the time of this blog post, I have accessioned nearly all of the 1500 artifacts that my contract stipulated.

For my last post, I will give my final impressions about my internship–what I’ve learned and what I hope to take with me in my career going forward!

A Public History and The Civil Right History of Maryland: Part 3

Upon nearing the end of my internship, I found most of the work from start to finish to be quite influential towards my journey of sparking more within the work of public historians. One of my biggest takeaways from this internship was that it has allowed me to learn about difficult times in Baltimore and why the Civil Rights movement scene is so unique compared to the other states. It shows me that there are many out there with a voice and a story waiting to be heard or who just need the inspiration to do so. Perhaps with the fact that I was able to create summaries of past interviews, there was still a creation of theme within the summary that would let someone know that this can be their story too. Another important thing to note is that the internship helped me understand the connection between history, museums, and communities.

Even so, I was already introduced to public history and have worked with history professors to craft new perspectives about the past. This internship solidified my understanding of public history and sort of brought me into a whole new field that I did not know before as a history major. Though I have done oral history in the past, this internship helped me go deeper by translating and transcribing copies of oral histories that were created by others. When I started studying history, it wasn’t always doing public history work or getting into fieldwork and such, but the MCHC allowed me to see different aspects of history and how we do history. Whether it is critical analysis, or the use of different media to look into the bigger picture.

Though I wasn’t able to attend certain events and exhibitions, I still had a memorable experience at the MCHC. I think that with the COVID-19 pandemic and getting through another year without a spike of cases, I truly understand the reasoning behind working virtual. I think that it would have been better to be there in person to learn more about the different ways that we do history but still appreciate the small moments we had to be able to do certain works. It was an experience that I didn’t imagine to happen but I truly enjoy every little moment at the museums and having to witness the doing of history. It was a momentum to remember. Who could have thought that the MCHC was a place for a public historian or the broader spectrum of history? I am glad to be a part of that movement to reconnect with the past. It was an amazing experience to engage and work with people that share the same passion as me. We are the future when we collectively work together as historians.

Overall, my work with MCHC truly taught me the importance of inclusion and why we must acknowledge certain dark histories of the past. For example, the topic of slavery and racism towards African Americans is not fully taught or explained at its greatest truth and so I think that it is also the job of the public historian to do so. I can’t wait to be that someone who will be teaching others about the marginalization of black, brown, and Native American history. I truly enjoyed this internship and the fact that it has given me the opportunity to work on the McKeldin Project, which opened doorways to learning about Maryland's Civil Rights history.

Tuning Into Baltimore III: Internship at the Maryland Center for History and Culture

On the final day of my internship, I was shown around the multitude of exhibits that are hosted at the MCHC. Of particular interest to me were the exhibits Losing Winter and Flickering Treasures.

Losing Winter is an excellent exhibit, following the progression of winters in Maryland throughout the 20th and 21st centuries through photographs and videos. The exhibit exists to show the impact of climate change on Maryland winters, as well as the memories formed by Marylanders facing heavy snow/ice storms. The contrast between scenes as recently as the 1970s-1980s and today is stark; only as of 2022 has the state seen somewhat consistent snow storms. What struck me most was the sense of community that came through the pictures, as people gathered to help clear snow, or to marvel at the scale of what they were experiencing.

Flicking Treasures intrigued me, as an exploration of Baltimore's movie theaters across the past century. The central theme of the exhibit is demographic change; the scale, opulence and quantity of movie theaters (or halls, in some instances) was dependent upon where people lived. As the middle-class who had spent money to indulge in theater or movies moved out of the city center, larger theater halls were replaced by smaller, more modern theaters that were purpose-built to feature movies, rather than plays. This is all under the assumption that, as was pointed out to me, people weren’t simply using the larger theater halls for their air conditioning (many houses/buildings still lacked it around the 1920s).

Though these exhibits were amazing, my interest was most taken by a map of Baltimore in the early 1800s, along with dioramas of the development of Baltimore. The map is a lithograph that was made in 1869, featuring Baltimore as it was in incredible detail. You can see the existing road networks that have been preserved to today, as well as seeing how small Baltimore was at the time, and how developed it is today.

The Civil Rights History of Baltimore at the MCHC: Part 2

The thing about oral history is that you have the opportunity of learning from different people and hear different perspectives on particular topics and issues of society. Baltimore has a rich history that many don’t know or heard about. The McKeldin-Jackson Project showed and explained the history of segregation during the civil rights movement.

Upon reading and listening to the interviews, I was able to get a better understanding of Theodore McKeldin, the people on his team, and civil rights leaders such as Lily May Jackson and her family. The transcription and translation process of these interviews gave us new perspectives on how African Americans were treated in society and the way Governor McKeldin worked with race leaders to bring change into Baltimore. Not just that but most of the summaries that I was able to create from the interviews were concerns about African American disenfranchisement; education and employment of African Americans; black relations with the police and with Jews; public accommodation of African Americans, black political action, and black women. This opened a doorway for me to learn more about Ford and Lyric theatres in Baltimore; desegregation; restaurant discrimination; the Urban League; Gov. Theodore R. McKeldin's appointments. I think it was truly interesting to see different groups of people come together to fight for a common and rebuild a community that wasn’t getting any respect from society.

I think it was quite inspiring to see a black woman like Lillie May Jackson, working closely with the governor of Maryland to create opportunities and change for the black community. It was amazing to see her support Louise Kerr Hines, who was discriminated against at the Enoch Pratt Free Library, as she wasn't offered a position for a free library training course due to the color of her skin. It was quite significant to see Carl Murphy of the Baltimore Afro-American newspaper and Lillie Mae Carroll Jackson of the National Association for the Advancement of Colored People suing the library for their discriminatory actions towards the black community.

The most important part of the internship was the opportunity to listen to and transcribe old audio from the 90s. It was a long and difficult process but it was worthwhile for any future historian who was trying to get into the field of transcribing works of others from any time period. Overall, though the internship wasn’t too long of an experience, I still found all the projects and work that we did to be quite interesting and such a contribution to my field of study as a future historian.

The Civil Rights History of Baltimore: MCHC Part 1

 

Public History uses historical skills and getting around communities to learn and study history. I learned public history by making history with people who know and understand the field. From my experience doing a public history summer internship with the UMBC history department, I could fill some gaps in history that I didn’t know about history by doing fieldwork and conducting oral history interviews of those who were a part of the Freddie Gray uprising in Baltimore. The boot camp internship is a history internship, designed as a way for students to practice the work of public historians and the aspect of oral history and why it is essential for us to make history.

The Maryland Center for History and Culture (MCHC) is the internship's location; It was founded in March of 1844.it is an excellent place of history and has a lot of documents that historians can use to conduct a research projects, etc. As the museum was in the process of creating a civil rights exhibition, the translation of interviews done about the history of the Civil rights movement in Baltimore was needed as a way for the public and citizens to learn more about the history of Baltimore.

The internship was designed as a way for students to work on interviews that were done in the past, to create short summaries for the public to see if they have an interest in a specific person. It further taught us how to do the transcription and translation of old interviews as a way for the public to have easy access to information. It was the McKeldin-Jackson Project Oral History Collection that we were working on to create short summaries for the community to have an interest in it. The use of audio recordings to craft a story or a summary can be challenging, and sometimes you might perhaps record information that might not be the truth or not to the extent of what the interviewee said. This internship is an excellent opportunity for history students to practice history and the different ways that historians make history. We tend to associate just being behind a desk with the study of history, but there are many ways that we make history. Fieldwork and the inducting of an oral interview are methods that the internship was teaching us in a sense for us to be great historians in the future.