The Oakland Public Library Puts Online a Collection of Items Forgotten in Library Books: Love Notes, Doodles & More

in Archives, Books, Libraries, Photography, Writing | August 15th, 2022

Librarians are champions of organization, and among its best practitioners.

Books are shelved according to the Dewey Decimal system.

Categories are assigned using Library of Congress Rule Interpretations, Library of Congress Subject Headings, and Library of Congress Classification.

And Sharon McKellar, the Teen Services Department Head at the Oakland Public Library, collects ephemera she and other staffers find in books returned to the OPL’s 18 locations.

It’s an impulse many share. 

Eventually, she began scanning them to share on her employer’s website, inspired by Found Magazine, a crowdsourced collection of found letters, birthday cards, kids’ homework, to-do lists, handwritten poems, doodles, dirty pictures, etc.




As Found’s creators, Davy Rothbart and Jason Bitner, write on the magazine’s website:

We certainly didn’t invent the idea of found stuff being cool. Every time we visit our friends in other towns, someone’s always got some kind of unbelievable discovered note or photo on their fridge. We decided to make a bunch of projects so that everyone can check out all the strange, hilarious and heartbreaking things people have picked up and passed our way.

McKellar told NPR that her project “lets us be a little bit nosy. In a very anonymous way, it’s like reading people’s secret diaries a little bit but without knowing who they are.”

The finds, which she stores in a box under her desk prior to scanning and posting, are pushing 600, with more arriving all the time.

Searchable categories include notes, creative writing, art, and photos.

One artifact, the scatological one-of-a-kind zine Mr Men #48, excerpted above, spans four categories, including kids, a highly fertile source of both humor and heartbreak.

There’s a distinctly different vibe to the items that children forge for themselves or each other, as opposed to work created for school, or as presents for the adults in their lives.

McKellar admits to having a sweet spot for their inadvertent contributions, which comprise the bulk of the collection.

She also catalogues the throwaway flyers, ticket stubs and lists that adult readers use to mark their place in a book, but when it comes to placeholders with more obvious potential for sentimental value, she finds herself wondering if a library patron has accidentally lost track of a precious object:

Does the person miss that item? Do they regret having lost it or were they careless with it because they actually didn’t share those deep and profound feelings with the person who wrote [it]?

Actual bookmarks are not exempt…

Future plans include a possible writing contest for short stories inspired by items in the collection.

Browse the Found in a Library Book collection here.

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– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto.  Follow her @AyunHalliday.

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The Photo That Triggered China’s Disastrous Cultural Revolution (1966)

in History, Photography | August 10th, 2022

In 1958, Mao Zedong launched the Great Leap Forward. Eight years later, he announced the beginning of the Great Proletarian Cultural Revolution. Between those two events, of course, came the Great Chinese Famine, and historians now view all three as being “great” in the same pejorative sense. Though Chairman Mao may not have understood the probable consequences of policies like agricultural collectivization and ideological purification, he did understand the importance of his own image in selling those policies to the Chinese people: hence the famous 1966 photo of him swimming across the Yangtze River.

By that point, “the Chinese leader who had led a peasant army to victory in the Chinese Civil War and established the communist People’s Republic of China in 1949 was getting old.” So says Coleman Lowndes in the Vox Darkroom video above. Worse, Mao’s Great Leap Forward had clearly proven calamitous. The Chairman “needed to find a way to seal his legacy as the face of Chinese communism and a new revolution to lead.” And so he repeated one of his earlier feats, the swim across the Yangtze he’d taken in 1956. Spread far and wide by state media, the shot of Mao in the river taken by his personal photographer illustrated reports that he’d swum fifteen kilometers in a bit over an hour.




This meant “the 72-year-old would have shattered world speed records,” a claim all in a day’s work for propagandists in a dictatorship. But those who saw photograph wouldn’t have forgotten what happened the last time he took such a well-publicized dip in the Yangtze. “Experts feared that Mao was on the verge of kicking off another disastrous period of turmoil in China. They were right.” The already-declared Great Proletarian Cultural Revolution, now widely known as the Cultural Revolution, saw millions of Chinese youth — ostensibly radicalized by the image of their beloved leader in the flesh — organize into “the fanatical Red Guards,” a paramilitary force bent on extirpating, by any means necessary, the “four olds”: old culture, old ideology, old customs, and old traditions.

As with most attempts to usher in a Year Zero, Mao’s final revolution wasted little time becoming an engine of chaos. Only his death ended “a decade of destruction that had elevated the leader to god-like levels and resulted in over one million people dead.” The Chinese Communist’s Party has subsequently condemned the Cultural Revolution but not the Chairman himself, and indeed his swim remains an object of yearly commemoration. “Had Mao died in 1956, his achievements would have been immortal,” once said CCP official Chen Yun. “Had he died in 1966, he would still have been a great man but flawed. But he died in 1976. Alas, what can one say?” Perhaps that, had the aging Mao drowned in the Yangtze, Chinese history might have taken a happier turn.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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When Erik Satie Took a Picture of Debussy & Stravinsky (June 1910)

in History, Music, Photography | July 25th, 2022

Erik Satie knew his way around not just the piano but the camera as well. This is evidenced by the image above, a 1911 portrait of Claude Debussy and Igor Stravinsky. Described by Christie’s as “an outstanding photograph of the two composers in the library at Debussy’s home,” it was taken by Satie at the time when Serge Diaghilev’s Ballets Russes were performing Debussy’s Jeux and Stravinsky’s The Rite of Spring. In the background appears what looks like Katsushika Hokusai’s The Great Wave Off Kanagawa, a work of art “used by Debussy on the front cover of the first edition of his symphonic sketches La mer.”

Just above appears another picture captured in Debussy’s home, this one of Debussy and Satie. “The photo was taken by Stravinsky, if my memory didn’t go wrong,” says one commenter on the r/classicalmusic subreddit. Another expresses confusion about the subjects themselves: “I thought they didn’t like each other?”




One responder explains that “they were friends at first, for quite some time, but later their relationship got worse.” Debussy’s orchestration of Satie’s Gymnopedies brought those pieces to prominence, but, Satie ultimately came to feel that Debussy had been stingy with the fruits of his great success.

Or so, at any rate, goes one interpretation of the dissolution of Debussy and Satie’s friendship. Different Redditors contribute different details: one that “every time they met, Satie would praise Ravel’s music to annoy Debussy,” another that “Debussy kept a bottle of the cheapest table wine for Satie for when he came over.” It can hardly have been easy, even in the best of times, for two of the strongest innovators in early-twentieth-century music to occupy the same social space for long stretches of time, let alone in company that included the likes of Ravel and Stravinsky. More than a century later, their artistic legacies could hardly be more assured — as, one faintly senses when looking at these photos, they knew would be the case.

Related content:

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The Night When Charlie Parker Played for Igor Stravinsky (1951)

The Great Wave Off Kanagawa by Hokusai: An Introduction to the Iconic Japanese Woodblock Print in 17 Minutes

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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The First Surviving Photograph of the Moon (1840)

in Astronomy, Photography | July 21st, 2022

Everyone has been agog over the first photos from the James Webb telescope, and for good reason. “These images,” Rivka Galchin writes at The New Yorker, “carry news about the early universe, the birth and death of stars, the collision of galaxies, and the atmosphere of exoplanets.” They’re also “very, very pretty,” she writes, comparing them to Vermeer.

The clarity and levels of detailed information about the earliest galaxies have even astonished astronomers, whose work has advanced rapidly alongside the growth of the photographic medium. It was an astronomer, in fact – Johann Heinrich von Madler – who first coined the word “photography” in 1839. “Astronomers quickly embraced the use of photographic plates because of their good resolution and the ability to make much larger images,” APS Physics News notes.




Astrophotography properly began in 1840, when John William Draper, a British-born chemist and doctor, took the image above from the roof of the New York University observatory, credited as the first daguerreotype of the Moon. Daguerre himself might have taken an 1839 image, but it was likely destroyed in a fire, as were Draper’s attempts of the previous year, which burned up in a NYU blaze in 1865.

By all accounts, however, these earlier attempts at Moon photography were blurry and unfocused, showing little detail of the Earth’s satellite. Draper’s lunar “portrait,” from 1840, at the top, is largely considered “the world’s first true astrophoto,” writes Jason Major at Lights in the Dark, for its levels of detail and high contrast, comparatively speaking. As Scott Walker writes:

Draper set out to try and improve on Daguerre’s breakthrough by increasing plate sensitivity and reducing exposure times…. His advancement in the technique allowed visualization of craters, mountains and valleys on the moon’s surface which previously couldn’t be captured.

Splotched, spotted, and heavily degraded, the image may not look like much now, but a contemporary of Draper described it then as “the first time that anything like a distinct representation of the moon’s surface has been obtained.”

The achievement was inspirational, and many better attempts soon followed in rapid succession as the medium evolved. In 1851, photographer John Whipple and father-and-son astronomers William and George Bond improved on Draper’s process and made the Moon daguerreotype further up through the Great Refractor Equatorial Mount Telescope at the Harvard College Observatory. (The year previous, Draper himself collaborated with Bond père to make an image of the star Vega). The image caused a “veritable furor,” Smart History notes, at the Great Exhibition of 1851.

Between 1857 and 1862, astrophotographer and amateur astronomer Warren De La Rue made a series of stereoscopic Moon images (lovingly preserved online by astrophysicist and Queen guitarist Brian May), one of which you can see further up. De La Rue had seen Whipple’s daguerreotype at the Great Exhibition and began innovating his own process for creating stereoscopic astrophotographs. At the same time, Draper’s son, Henry, “an accomplished astrophotographer and one of the most famous American astronomers of his day,” Kiona Smith writes at Forbes, had taken over his father’s Moon photography project. See an 1863 image taken by the younger Draper just above.

“Before the invention of photography,” notes APS News, “astronomers had to sketch what they saw in their telescopes by hand, often missing crucial details.” Daguerre and Draper’s innovations, and those that came soon afterward, “showed them a far superior method was possible.” It is astonishing that these results could be achieved only a few decades after the first photograph, taken in 1826 by Nicéphore Niépce. It is maybe even more astonishing that only a century and a half  or so later — a meaningless drop in the cosmic timescale — astrophotography would look beyond the moon to the very origins of the universe itself.

via Smart History

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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30,000 Photographs of Black History & Culture Are Available Online in a New Getty Images Archive

in Archives, History, Photography | July 15th, 2022


Image of Charles S.L. Baker with his Superheating Demonstration

Black History Month is February in the United States and Canada, and October in the United Kingdom and Europe. It may be July right now, but if you’re interested in a subject, there’s no reason not to get more deeply into it all year round. This is underscored by the opening, this month, of Getty Images’ Black History and Culture Collection. As Petapixel’s Matt Growcoot writes, it contains “30,000 rarely seen images of the Black diaspora in the United Kingdom and the United States that date back to the 19th century,” drawing from the domains of “politics, sport, music, culture, military, and celebrity.”

In the Black History and Culture Collection you’ll find pictures of cultural figures like Duke Ellington and Jay-Z, Jack Johnson, Venus and Serena Williams, Sojourner Truth, and Bernardine Evaristo. These names only hint at the range of the archive, which you can also browse by category tags: “civil rights,” “governance,” and “sports,” to name a few examples, but also “families,” “fashion,” and “hair.”




There are, of course, an enormous number of photos filed under “American Culture,” which would itself be unimaginable without the contributions of the people documented. But the same could be said of the other side of the pond; hence the inclusion of a “Black British Culture” label as well.

Creating the Black History and Culture Collection involved more than just tagging photos. You can learn more about what went into it in the short video above, which includes the voices of collaborators like NYU Tisch School of the Arts’ Deborah Willis and the University of Pennsylvania’s Tukufu Zuberi. The artist Renata Cherlise speaks of the value of the images of famous people, but also those of everyday life as it was lived in places and times like Harlem’s Savoy Ballroom in the nineteen-forties. Whether or not your own heritage is tied into this history, you stand to learn a great deal from it. As Zuberi put sit, “Black culture is the original human culture, so there is no culture that is alien to black culture. The future of black culture is the future of human culture. Let’s go.”

via Petapixel/Colossal

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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How Aladdin Sane Became the Most Expensive Album Cover Ever — and David Bowie’s Defining Image

in Art, History, Music, Photography | March 1st, 2022

If you search for David Bowie on Spotify, a familiar icon pops up: the man himself, eyes closed, made up with a deathly-looking pallor and a red-and-blue lighting bolt across his face. This is the photo on the front of Bowie’s sixth album, 1973’s Aladdin Sane. “Perhaps more iconic than the music inside,” says the narrator of the Trash Theory video essay above, “it stands as the Mona Lisa of album covers.” It was also, at the time of production, the most costly album cover of all time: this was at the behest of Bowie’s manager Tony Defries, who suspected that sparing no expense on the image would motivate RCA, his label, to spare no expense promoting the album itself.

One might call this a bold move for an artist like Bowie, who had only just made it big. In the early years of his career he’d racked up failure after failure: with 1971’s Hunky Dory, a kind of declaration of commitment to musical and artistic “changes,” he had a succès d’estime, but not until the following year did he become a bona fide star.




The vehicle for that transformation was the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which introduced the listening public to its title character, an androgynous rocker from outer space. Throughout his subsequent year and a half of touring Bowie took the stage in full Ziggy glam regalia, inhabiting the character so fully that he eventually began to question his own sanity.




Though young British audiences couldn’t get enough of Ziggy and the Spiders, reactions across the United States were rather less enthusiastic. There, says the Trash Theory narrator, “they were not the type of British rock that rock radio played: hard-hitting, riff-heavy behemoths like Led Zeppelin or the Rolling Stones. But this indifference was shaping what Bowie wanted to do next.” His experience of America inspired a new, harder-edged persona, Aladdin Sane. Ziggy Stardust “was a vision of the best a rock star could be, an inspirational figure, while Aladdin was more about fame’s darker underbelly, filtered through imagined Americana and futuristic nostalgia” — and the character needed a look to match.

Shot by Brian Duffy, described in the San Francisco Art Exchange vide0 above as “a very eccentric and incredible photographer,” the Aladdin Sane cover was printed with a seven-color system unprecedented in the medium. (Up to that point, four-color had been the standard.) According to Trash Theory, Bowie described makeup artist Pierre Laroche’s lightning bolt “as representative of schizophrenia, and more specifically, his split feelings about his 1972 American tour.” (The shape came from the logo on a National Panasonic rice cooker in Duffy’s studio.) Though the result has become, in the words of curator Victoria Broackes, “probably the most recognizable symbol in rock and roll,” Bowie never actually assumed this look onstage; ahead of him, there still lay four more decades of changes to go through.

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Lego Video Shows How David Bowie Almost Became “Cobbler Bob,” Not “Aladdin Sane”

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Organized Chaos!: Watch 33 Videos Showing How Saturday Night Live Gets Made Each Week

in Comedy, Design, Photography, Television, Video - Arts & Culture | February 16th, 2022

Who do you think of when you think of Saturday Night Live?

The original cast? 

Creator Lorne Michaels?

Whoever hosted last week’s episode?

What about the guy who makes and holds the cue cards?

Wally Feresten is just one of the backstage heroes to be celebrated in Creating Saturday Night Live, a fascinating look at how the long-running television sketch show comes together every week.

Like many of those interviewed Feresten is more or less of a lifer, having come aboard in 1990 at the age of 25.

He estimates that he and his team of 8 run through some 1000 14” x 22” cards cards per show. Teleprompters would save trees, but the possibility of technical issues during the live broadcast presents too big of a risk.




This means that any last minute changes, including those made mid-broadcast, must be handled in a very hands on way, with corrections written in all caps over carefully applied white painter’s tape or, worst case scenario, on brand new cards.

(After a show wraps, its cards enjoy a second act as dropcloths for the next week’s painted sets.)

Nearly every sketch requires three sets of cue cards, so that the cast, who are rarely off book due to the frequent changes, can steal glances to the left, right and center.

As the department head, Feresten is partnered with each week’s guest host, whose lines are the only ones to be written in black. Betty White, who hosted in 2010 at the age of 88, thanked him in her 2011 autobiography.

Surely that’s worth his work-related arthritic shoulder, and the recurrent nightmares in which he arrives at Studio 8H just five minutes before showtime to find that all 1000 cue cards are blank.

Costumes have always been one of Saturday Night Live’s flashiest pleasures, running the gamut from Coneheads and a rapping Cup o’Soup to an immaculate recreation of the white pantsuit in which Vice President Kamala Harris delivered her victory speech a scant 3 hours before the show aired.

“A costume has a job,” wardrobe supervisor Dale Richards explains:

It has to tell a story before (the actors) open their mouth…as soon as it comes on camera, it should give you so much backstory.

And it has to cleave to some sort of reality and truthfulness, even in a sketch as outlandish as 2017’s Henrietta & the Fugitive, starring host Ryan Gosling as a detective in a film noir style romance. The gag is that the dame is a chicken (cast member Aidy Bryant.)

Richards cites actress Bette Davis as the inspiration for the chicken’s look:


Because you’re not going to believe it if the detective couldn’t actually fall in love with her. She has to be very feminine, so we gave her Bette Davis bangs and long eyelashes and a beautiful bonnet, so the underpinnings were very much like an actress in a movie, although she did have a chicken costume on.

The number of quick costume changes each performer must make during the live broadcast helps determine the sketches’ running order.

Some of the breakneck transformations are handled by Richards’ sister, Donna, who once beat the clock by piggybacking host Jennifer Lopez across the studio floor to the changing area where a well-coordinated crew swished her out of her opening monologue’s skintight dress and skyscraper heels and into her first costume.

That’s one example of the sort of traffic the 4-person crane camera crew must battle as they hurtle across the studio to each new set. Camera operator John Pinto commands from atop the crane’s counterbalanced arm.

Those swooping crane shots of the musical guests, opening monologue and goodnights (see below) are a Saturday Night Live tradition, a part of its iconic look since the beginning.

Get to know other backstage workers and how they contribute to this weekly high wire act in a 33 episode Creating Saturday Night playlist, all on display below:

– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto.  Follow her @AyunHalliday.

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Google App Uses Machine Learning to Discover Your Pet’s Look Alike in 10,000 Classic Works of Art

in Art, Data, K-12, Museums, Photography | February 15th, 2022


Does your cat fancy herself a 21st-century incarnation of Bastet, the Egyptian Goddess of the Rising Sun, protector of the household, aka The Lady of Slaughter?

If so, you should definitely permit her to download the Google Arts & Culture app on your phone to take a selfie using the Pet Portraits feature.

Remember all the fun you had back in 2018 when the Art Selfie feature mistook you for William II, Prince of Orange or the woman in “Jacob Cornelisz. van Oostsanen Painting a Portrait of His Wife”?




Surely your pet will be just as excited to let a machine-learning algorithm trawl tens of thousands of artworks from Google Arts & Culture’s partnering museums’ collections, looking for doppelgängers.

Or maybe it’ll just view it as one more example of human folly, if a far lesser evil than our predilection for pet costumes.

Should your pet wish to know more about the artworks it resembles, you can tap the results to explore them in depth.

Dogs, fish, birds, reptiles, horses, and rabbits can play along too, though anyone hailing from the rodent family will find themselves shut out.

Mashable reports that “uploading a stock image of a mouse returned drawings of wolves.”

We can’t blame your pet snake for fuming.

Ditto your Vietnamese Pot-bellied pig.

Though your pet ferret probably doesn’t need an app (or a crystal ball) to know what its result would be. Better than an ermine collar, anyway…


If your pet is game and falls within Pet Portraits approved species parameters, here are the steps to follow:

  1. Launch the Google Arts & Culture app and select the Camera button. Scroll to the Pet Portraits option.
  2. Have your pet take a selfie. (Or alternatively, upload a saved image.)
  3. Give the app a few seconds (or minutes) to return multiple results with similarity percentages.

Download the Google Arts & Culture app here.

– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto.  Follow her @AyunHalliday.

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