608 10 9781 https://caspercollege.cvlcollections.org/files/original/b22ac0c4ccfeae03bde91d5da2e869a7.m4a 4fe8348adda89a2a91e57d6485e5d16d https://caspercollege.cvlcollections.org/files/original/9d1aff97434ba26058ca6f51532f2068.pdf 81af94f7af308070f6f504530b9c8a6b PDF Text Text Wyoming Symphony Oral History Project Rebecca Hein interviewing Delores Thornton, June 14, 2022 Date transcribed: July 20, 2022 Rebecca: Okay, let’s start with your name, your instrument and how you came to play that instrument. Delores: Ha, okay. Delores Thornton I play the flute, and, I guess I came to play the flute because my brother and sister both played clarinet so I didn’t want to do that and my parents thought, maybe a doctor told them, it would help my asthma. I guess because it takes so much air. Rebecca: And did it? Delores: Well you know we moved from Texas to Arizona and that probably did as much to help my asthma as anything. But, I was playing the flute by then. Rebecca: Right. Delores: So I don’t know if it helped or not. I still sometimes when ... it is cold and damp I still have asthma but you know I don’t have to use an inhaler or anything like that. It was never that bad I guess. Rebecca: I see. Okay let’s see.. Your education in general and your musical education? Delores: Okay, I have a bachelor in flute performance from the University of Arizona but I didn’t want all my friends to think music degree fluff, fluff, fluff. So, I also have a major in math and I went on one more year to get a teaching certification in math. And I did just a little bit of master’s in music but after I got my teaching certificate in math that is what I planned on doing. Because you can’t make a living in music unless you teach a band or something and I didn’t want to do that. �Rebecca: No, it is very hard especially for wind and brass I think, because at least in an orchestra you have many string players but not the same at all for woodwinds. Delores: Yeah, yeah andRebecca: Okay so you have a degree inDelores: I have a degree in flute performance with a second major in math and then I have secondary teaching certification in math. Rebecca: Okay so, my impression when we were both in the symphony was that you had a day job. And then you did your flute teaching at Casper College in the evenings is that about right? Delores: Yes, I used my math degree probably to get a civil service job, I worked for the Bureau of Reclamation as a computer technician Specialist for 32 years. Then, I taught at Casper College in the evenings and I did all my private teaching there too. Well, about three or four years ago they decided we could not do private teaching at Casper College anymore. So now I only have three or four private students and one or two college students and they don’t have ensembles anymore. So I don’t do much teaching anymore and what I do is at Hill Music, they let me use a little room there. Rebecca: Okay that would be Hill Music in Casper right? Delores: Correct, yes. Rebecca: Okay and for the non-musicians in our audience or whoever will be listening to this recording. Let’s just define the word ensemble. Delores: Oh, when I first started teaching at Casper College which was oh I don’t know probably between 35 and 40 years ago. They had lots of ensembles [groups]; they had a clarinet ensemble, guitar ensemble, flute ensemble, brass ensemble. Well about three years ago, I think about three, they got rid of all the ensembles because my ensemble always had six to eight people, one year I �had ten, but all but three or four of them were community members. They decided they wanted to, well I don’t know if they decided if they wanted to get rid of community players, for whatever reason they decided to have one ensemble that all the music majors would participate in because they all have to have two ensembles. Band being one and this would be the other. They only have 10 or 12 people in it but they wanted it all to be students. They didn’t want any community members in this particular ensemble and that is what they have gone with. So, no more ensembles. Rebecca: YeahDelores: Which is a group of players. [laughter] Yeah I don’t know. I think it is kind of too bad but, it is what it is. Rebecca: Okay so, when did you join the Wyoming Symphony Orchestra? Delores: I moved to town, to Casper, in 1976? And they just happened to have an opening. So I took my little flute to the college and played for Curtis Peacock and he said ‘Okay, you are second flute.’ And then when Priscilla left about three or four or five years later whatever it was, I don’t know if I should even say this because of the recording. I won’t go into the Casper College part. Um, I just moved up to first. There wasn’t an audition or anything. Rebecca: Yeah, well that would make sense if you were the second flute and the first flute chair was vacated. That would be Priscilla Nicolaysen? Delores: Yes, but they don’t do that anymore. When the first is vacated you have to audition you don’t just automatically move up. Rebecca: I am aware of how the symphony is being handled now so that jives with what I know. Delores: Right- [laughter] �Rebecca: Okay, great so you joined the symphony and became second flute. What are your recollections about those early years? Delores: Um, they were really really good. We had the same people and we rehearsed on a Monday night and then we had the string rehearsal on a Wednesday night and then the following week we went Monday, Wednesday, Friday, and Saturday night. Well you know because you were in there at that point too. Rebecca: RightDelores: But we had a few imports. I am sure less than 10. That would come in to play the rehearsals Friday and Saturday and then the concert Saturday night. But, it was very nice because you played with the same people all the time; you knew them. We did tours, run out concerts and tours. You know it was fun, a little different now. Rebecca: Yeah, you recently retired from the symphony, right? Delores: Yes, a year ago in May. Rebecca: Okay, so you have seen this transition between how things were done before they went to non resident conductorsDelores: Yes. Rebecca: Through the 2000’s and the 20-teens. Okay, so I would like very much to hear your opinion if you care to state it about this transition that took place. When Curtis Peacock left and they started having non resident conductors. Delores: Well, the first non resident conductor they had did not really like Casper very much. And, he would come in as I recollect, and I don’t know this for a fact, he would come in. This is when they changed the rehearsal schedule so everything was crammed into three days. Strings on Wednesday, everybody on Thursday, two rehearsals on Friday and then Saturday. So, I didn’t �care for it because you find out what you really need to work on Friday or Thursday and you don’t really have time to rehearse or prepare. Whereas, if we did the runthrough the week earlier you knew what you needed to work on. So my understanding is that he flew into town Wednesday afternoon right before that first rehearsal and I am pretty sure that I was told, it could or could not be true, that he drove back to Denver that Saturday after the concert or after the reception if they had to do a reception that day. He also had in his mind that the Casper players were lacking, you might say. And by the time he left, he told us when he was hired that he was only going to stay three years and that is what he stayed. By the time he left Richard Turner and I were the only ones in the woodwinds section from Casper. Rebecca: And that would be Richard Tuner, principal bassoon? Delores: Correct. Rebecca: Yeah. Delores: And everybody else was an import and it just kind of trickled down so that those people were in those positions. So then when we got the next conductor, who did like Casper and did like local musicians. Those other players were already situated and it just has not changed. Rebecca: Okay, let me just back up a minute the first non resident conductor was I believe Jonathan Shames is that right? Delores: Yes, that is right. Rebeca: I don’t recall who the next one was. Delores: Matthew Savery. Rebecca: Oh, Savery already in the mid 2000’s. Delores: Yes, because I think he was here for about 10 years. Rebecca: That seems about right to me. �Delores: And I don’t think there was one in between. I can't remember another one. Rebecca: YeahDelores: I am getting old and senile but I- I think those are the only two. And of course now they have Christopher. Rebecca: Christopher Dragon. Delores: Yeah, and he is a very good conductor. He knows his stuff but he too is a stepping stone, he is using the symphony as a stepping stone. I don’t know because he is the resident conductor for the Denver symphony now. Every time there is an opening I am sure it used to be, well I shouldn’t say I am sure because I don’t know, but I think they advertised in the Casper paper. Now when there is an opening they advertise throughout the Rocky Mountains you might say. So, of course, a local player doesn’t have much opportunity against a doctoral candidate or a Doctor [Doctor of Musical Arts] from Colorado. I think the last time I counted there were 14 Casper people in the symphony. You add the Wyoming people and you will probably come up with another five or six and of course many of those people teach in Laramie but don’t live in Wyoming. That is a guess, I might be talking out of school. I might be incorrect. Rebecca: Well, I wrote an article on the symphony a few years ago and my research indicated that this was the trend. That is, people were from Wyoming they had a Wyoming connection or Wyoming roots but were very possibly living somewhere else like Colorado or Nebraska or Idaho. Delores: Yeah Rebecca: Yeah, okay let’s see. Let’s go to your musical experience with the symphony. Do you recall high points or favorite pieces? Or just in general, how it was to play in the symphony from a standpoint of music making? �Delores: I- I thought it was really good. Even back in the day when we had Curtis and it was a local group I thought we put on good performances and I think we sounded good. Then when Johnathan Shames came, and again this is just my opinion, he really liked modern music. Especially modern music that was written by his friends. Many times we couldn’t even find a YouTube recording of these pieces. And one time I even had a friend of mine from the Bureau say ‘We left at intermission because it was just ugly.’ Rebecca: (Laughs) and I was going to say how are they going to keep an audience. Delores: Well, and we didn't. I think our audience went way down. And then when Matthew came in I think he played to the audience. He was picking music that they would want to hear and our audience built up. Of course, now we still have a good audience because we have extremely fine players. But I really thought when we lost the local players that we would lose some of the audience because a lot of people come to hear their teachers, neighbors, and friends. But that doesn’t seem to be the case. I have gone to the symphony all last season and they have good audiences. So I guess I was wrong about that. And I know their quality has risen. How could it not rise when you have mostly doctoral musicians in there? Rebecca: A former long time member of the symphony ... told me. With Christopher Dragon in that it is really hard for locals, well you just told me this, to beat somebody who is practicing six hours a day. These people are auditioning up here because they want Dragon to notice them because of what he is doing in Colorado. Delores: (laughter) That could be very true. Last time they had a string bass rehearsal, I mean audition. We have a local string bass who is very good and did play in the symphony for a lot of years. But he was up against two doctoral candidates or full doctorals and he was not chosen. It would have been so much cheaper, but whatever. �Rebecca: Yeah I know when a local person is excluded and they are perfectly competent that is hard to watch. Delores: It is, it is. Rebecca: But there is not questionDelores: And that is why I retired because it wasn’t fun anymore. In fact, that last season I played was the pandemic season and I didn’t play with the regular oboes one time. And I didn’t play with the same oboes, I don’t think, more than once. You know because they were excluding everybody so maybe the regular oboes chose not to play because they didn’t want to be exposed or whatever. But it’s not fun to play when you are playing with different people every time. You don’t learn how to mesh and play together. It just wasn’t fun anymore. Rebecca: So you are saying you would probably be playing in the symphony still if things were different? Delores: Um, probably, probably. What I would have liked to have done which of course is never going to happen. I would have liked to move down to second chair and let someone else have the stress of [playing] principal. Then I would still be playing, but of course they aren’t ever going to do that. And the second chair is quite capable of playing principal but she isn’t going to audition against the doctoral people; it's humiliating anyway. And certainly if she would have gotten it I wouldn’t have auditioned for the second chair against the doctorates because that would have been humiliating. (laughter) Anyway, that’s my sad story. Rebecca: Casper has a really really really good orchestra to listen to but to me it sounds like the direction that Teton Music Festival has gone. Well I guess they didn’t really go that direction because they started that way which isn’t really part of Wyoming it just happens to be geographically located in this state. �Delores: I think that is a true statement. And I don’t even think the Cheyenne Symphony is a whole lot of Cheyenne players either. I think they mainly come up from Colorado as well, but I don’t know that for a fact. Rebecca: Well I have had that impression for a while and I think it is true. In fact, let me think when I was researching for the article I did on the symphony I ran across a very irate letter to the editor. I sure hope this is right. The conditions in the Cheyenne Symphony that it was really the Northern Colorado Symphony with only a few people from Wyoming in it. Delores: Well you know we joke a little bit that it would probably be cheaper for the symphony to move our rehearsals to northern Colorado. Instead of bringing all the imports up here. Rebecca: Yeah, I guess its a measure of the monetary support that the symphony has that they can afford to import so many people, and at such a high standard. I must say when I was a kid, the imports were housed in private homes and it was a very informal, low-cost arrangement. No one complained about [it]. I mean the imports didn’t complain being housed in private homesDelores: Yeah I remember that. Rebecca: My parents often hosted people so I remember that from high school when I was playing in the symphony. And college, coming back from UW. Okay, great soDelores: And now they probably import 30 or 40 people every time. It’s a lot, but now they have people that- I can’t even think of the right word. They choose a player and donate toward that player, sponsor and maybe that’s where they are getting some of that money but yeah. Rebecca: Well yeah that fills in the picture. So let’s go back to your musical experience, do you have any pieces that were your favorite to play or that were really wonderful. And do you remember what those pieces were? �Delores: Um…. Well, I played the L’eseini Suite that is a lot of flute stuff so that was challenging. Rebecca: What suite? Delores: It’s like L-’-e-s-e-i-n-i or something like that L’eseini Suite. I can't even remember who it’s by now. Because that’s where my names are, my names are what I am losing. But, Carmen was always a lot of fun to play. Rebecca: Alright, the Carmen suite [a selection of pieces from Carmen, an opera by Georges Bizet, 19th century French composer] Delores: Yeah- they actually did that last season and Christopher did, there are two suites, and he did both of them. So it was like ten movements and I thought it was way too much. [a movement is a self-contained part of a musical composition] But I enjoy playing the symphonies, you know Mozart and the Haydn. I enjoy all of it. Certainly much more than the modern stuff. [Franz Joseph Haydn, 18th century Austrian composer] Rebecca: Which has pretty much stopped? Delores: I’m sorry what? Rebecca: Does Dragon include classic pieces or does he stick with audience pleasers, if I am being quite frank? Delores: No I think, I am trying to think if I played any modern pieces with him. I am sure he plays a few more contemporary pieces but he sticks with a lot of the regular stuff I think. It’s an enjoyable experience to go to the symphony. I haven't heard anything that was really ghastly, well in my opinion. Sometimes the modern music you can’t even find a melody in it. You know, it’s just not pretty and I don’t recall hearing anything like that so far. �Rebecca: Now I have been involved in this discussion of contemporary music for many years now and I always lose to the people who say, “Oh, you just aren’t being open minded enough,” “You’re closed minded,” “You are mired in the ways of the late 19th century.” And I guess that is exactly where I want to be, Mozart, Beethoven, and Brahms and I just can’t apologize for it. Delores: See and that’s me too, and I played with the Casper College Band last semester because they didn’t have a flute player. So, I got to do it and he really likes modern music. Contemporary music maybe one would say and some of it is really, really nice. Some of it is really, really hard and some of it is just uck- I don’t like it. A lot of modern music is really repetitive. You have the same measure that you play ten times and then you have another measure that you play ten times. I don’t know, I am stuck with the old classics as well. Rebecca: Yeah, I am trying to formulate a thought here about this…but it has escaped me. I guess I won’t. It will come back to me right when you are in the middle of something. But, I do want to back up I am going to define ‘suite.’ Carmen was an opera by Georges BizetDelores: Oh yeah. Rebecca: And a suite is a selection from a larger work, I am thinking about The Nutcracker Ballet. There is a whole lot in The Nutcracker Ballet and the Nutcracker suite is taken from that but it is certainly not the whole ballet. Delores: Right, and it is usually 3, 4, or 5 pieces. Rebecca: Yeah short. I did not know there were two suites from Carmen. Delores: You know, I did not know that either and he put them together and apparently they aren’t consecutive because they were interspersed between each other. Because I would hear a movement, “oh yeah I know that one” then I would hear one I had never heard before. So obviously I never played the second suite, but anyway. It was just a whole lot of the same, 10 �movements is just too much. In my opinion, I guess I don’t have the attention span for 10 movements. Rebecca: (laughter) Okay so, does one performance stand out to you or jump out as the most exciting, the most wonderful, maybe the most challenging but rewarding? Delores: Now that is a difficult question. I don't think I have an answer for that one. Rebecca: Too many such moments? Is that why you don’t have an answer or is there another reason? Delores: Oh no, I like them all I just don’t have one thing I remember where I was “Oh wow! That was certainly the best one ever!” I think they were all good. I enjoy playing. Rebecca: Yeah, I know what you mean; I do too. Okay I am looking at my notes. Does anything come to mind that you would like to say about your time with the symphony? Delores: Um, I think- I think I loved it even through the Jonathan Shames days, I have always enjoyed playing. And I think like I said if I could have gone down to second that I would still be playing, but you know I am old and my fingers don’t work as fast and my eye-sight isn’t as good and like I said it wasn’t fun and it was time for me to get out so I did. Rebecca: Yeah, I rememberDelores: I would say it is certainly more fun to play than to listen, but I still go and listen. But I still keep thinking, “boy I wish I were up there playing.” Rebecca: Yeah I know what you mean. Playing, there is nothing like it. Unless it is a struggle. I have been in positions, not recently or for quite a while, this was early in my career, where I was over my head. That was not fun. Oh well. �Delores: Yeah, I don’t recall ever feeling like, “boy I really screwed up that performance big time.” Which is good I guess. That is another reason you should get out when you can so they don’t have to tell you, “Delores it is time for you to step down.” Rebecca: Well wind players are in a little different of a position than string players because frankly in a string section it is a little bit easier to hide. To fake it if you have to or if you are slipping last longer because you have the entire sound of the section to camouflage your shortcomings. Delores: Yes, true that. Rebecca: And for woodwinds and brass you guys are basically in a solo position where whatever you play is heard. You are the only one playing the part. Delores: Yes. That was the case with the band this last semester because I was the only flute. So, although the group is so small now he is always playing these pieces that only have five parts so there is always someone who has the same part. It wasn’t a flute, but yes it is stressful. To be out there hanging out there alone. Rebecca: It keeps you- I am sure it keeps you on your toes. I remember when I spent, at one point in my career I think it was a full year and three months playing in only orchestras and it wasn’t very good for my playing because you can’t hear yourself as well as if you are playing chamber music for example. I should mention for the non-musicians that chamber music is when there is one person on a part, you can’t possibly hide or fake your way through. Delores: Right, Right- Playing a quintet or a chamber group is fun and I still do that. I am a- I don’t know what you would call me but we have a little group that is two flutes, bassoon, and a piano and they still allow me to do that because no one is going to come up from Colorado to play at a nursing home for an hour or a half an hour. So I guess I am still an honorary member �and I really enjoy doing that. Playing in the small groups for different groups like nursing homes and assisted living and stuff. Rebecca: That is really cool, if it is a group of two flutes, a bassoon and a piano do you guys do transcriptions of other pieces then? Delores: Do we do what? Rebecca: Transcriptions of other pieces, not written for that combination. [To transcribe is to arrange a musical composition for some instrument or voice other than the original] Delores: Oh, um. Yes because we do a lot of chamber music and a lot of it was written for you know two violins and bassoon or cello and piano that kind of stuff. Rebecca: Yeah. Delores: And of course we do that through the symphony. The symphony does the job for us and sends us out. Rebecca: Oh, I didn’t know that. Delores: Yeah, it is called Music on the Move. We used to play, we used to do a lot of schools. But of course since the pandemic we haven’t done any of that. But I think that we did like three nursing homes, assisted living homes, in May and June. Nope this is May so it must have been March and April. (laughter) So anyway we are getting out there still which is fun. Rebecca: That is great. Okay, well it is kind of fun for you to tell me that you didn’t have a high point because it was all so much fun. That is not a common answer but it sure makes sense to me. Delores: (laughter) Well that’s good, I mean none stick out. I always felt good after I left a performance. �Rebecca: Okay, I am scanning my notes. Is there anything else you want to add before we wrap up? Delores: Um- No I don’t think so. Rebecca: Okay, well thank you very much for making yourself available. Delores: And thank you for including me. Rebecca: Well sure, I will talk to you later. Delores: Okay, Bye-Bye. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource WyoHistory.org Wyoming Symphony Orchestra Oral History Project Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a> Date Created Date of creation of the resource. 2022-2023 Creator An entity primarily responsible for making the resource WyoHistory.org; Rebecca Hein Language A language of the resource ENG Identifier An unambiguous reference to the resource within a given context NCA 01.i.2022.02 Type The nature or genre of the resource Sound; Text Description An account of the resource Audio files and transcripts created and edited by Rebecca Hein and students at Casper College during an oral history project with players of the Wyoming Symphony Orchestra. The oral histories were conducted by Hein between 2022 and 2023 and are a part of Wyohistory.org publishing project. Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data M4A Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Delores Thornton Wyoming Symphony Orchestra Oral History Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a> Date Created Date of creation of the resource. 2022-06-14 Description An account of the resource Audio file and transcript for oral history interview with Wyoming Symphony Orchestra player Delores Thornton. This interview was conducted by Rebecca Hein for Wyohistory.org on June 14, 2022. Type The nature or genre of the resource M4A Creator An entity primarily responsible for making the resource Becky Hein; Delores Thornton Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. WyoHistory.org Wyoming Symphony Orchestra Oral History Project, NCA 01.i.2022.02 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA 01.i.2022.02_Delores_Thornton_6-14-22_Condensed Format The file format, physical medium, or dimensions of the resource M4A https://caspercollege.cvlcollections.org/files/original/87e28a077fb77aa792ceeb9b26af37e9.jpeg a768c0e50dda4221297ff304d65d5bbd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Collection of Downtown Development Authority of Casper, Wyoming Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Subject The topic of the resource Casper (inhabited place); Casper (Wyo.) -- History -- Pictorial works. Description An account of the resource This collection contains the digital copies of photographs brought in for scanning by Casper's Downtown Development Authority in November of 2008. Identifier An unambiguous reference to the resource within a given context NCA 01.iii.2008.01_DigitalDowntownDevelopmentAuthorityPhotographs Date Created Date of creation of the resource. 1930-1940 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Demos Cafe, Rex Theatre, and Henning Hotel Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Subject The topic of the resource Casper (inhabited place) Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper Downtown Development Authority Identifier An unambiguous reference to the resource within a given context NCA 01.iii.2008.01_DemosCafe-Rex-and-Henning Format The file format, physical medium, or dimensions of the resource JPEG Date Created Date of creation of the resource. 1930-1940 https://caspercollege.cvlcollections.org/files/original/35797c9d024b27bd57b8b9548ef56bad.jpg fae177a49df9e47e303f8e347e4d2673 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Denise Anderson Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Access Rights Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies. Archivists are happy to assist anyone with accessing the physical or electronic copies of photographs. The Casper College Goodstein Foundation Library is glad to grant uses of this material that it actively manages and cares for and will provide its publication policy upon request. Date Created Date of creation of the resource. 1983-02-21 Description An account of the resource Photograph of Denise Anderson from the Black History Month folder in the Casper Star-Tribune Photographs Events series. This photograph is a part of a collection that consists of photographs and negatives created and used by the Casper Star Tribune from 1967 until the middle of 1995 according to a newspaper article on the donation from February of 2000. In the words of Special Collections Curator, Kevin Anderson, the photographs in this collection serve to document "events in our own lives, events in our own history." There were 19,000 envelopes that were gifted to the repository, which totaled between 330,000 and 460,000 images. Images in this collection may support the use of other collections in the repository or vice versa. Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper Star-Tribune Is Part Of A related resource in which the described resource is physically or logically included. Casper Star-Tribune Photographs, NCA 01.ii.2000.01. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA 01.ii.2000.01_ESP_BlackHist_1983-02-21_01 Format The file format, physical medium, or dimensions of the resource JPG Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Casper Star-Tribune gifted 20 years of photographic negatives and prints to Casper College early in the year 2000. These photographs and negatives have been managed by the Casper College Archives and Special Collections housed in its Western History Center. Subject The topic of the resource African American History Month https://caspercollege.cvlcollections.org/files/original/7af18eaedb72054d9fde0d4859b43ff0.pdf a82a60995b9085b965bf35193ebbd135 PDF Text Text AFTER 5 DAYS RETURN TO UNITED STATES DEPARTMENT OF AGRICULTURE agricultural marketing service 21 U LIVESTOCK EXCHANGE, DENVER. COLORADO OFFICIAL business Elnier T. Forsllng 105 Federal Bldg., Casper, Wyo. -H �\ I c-u 0 1^1 to L'C.r</A I ri i u, un 1 vuu I vn c AGRICULTURAL MARKETING 6ERV1CE DENVER, COLORADO, THE I 939 LAMB CROP REPORT (released LIVESTOCK EXCH. TELEPHONEt-KEYSTONE Hl5lJ 1959) THURSDAY,JULY 2?, 21 WASHINGTON, D. C«, JULY 2^, l959:- EXTEN’N 332* A LAMB CROP IN 1959, ABOUT ONE PER CENT SMALLER THAN THE RECORD CROP OF I 95^, BUT LARGER THAN IN ANY OTHER YEAR, WAS REPORTED TODAY BY THE agricultural MAHKETING SERVICE. THIS YEAR’S CROP, ESTIMATED AT 31,867,000 HEAD, WAS ABOUT EIGHT PER CENT LARGER THAN THE TEN-YEAR, (1928-37) AVERAGE, AND FOUR PER CENT LARGER THAN THE five-year, (195U—5g) AVERAGE. the decrease from last year WAS A RESULT OF THE SMALLER CROP IN THE WESTERN SHEEP STATES, SINCE THE NATIVE LAMB CROP WAS A LITTLE LARGER THIS YEAR THAN LAST. LAMB CROP, (the AVERAGE NIWBER OF LAMBS SAVED PER 100 EWES), WAS SMALLER THIS YEAR THAN LAST, BUT THE NUMBER OF BREEDING EWES WAS LARGER STATES, THE PERCENTAGE IN BOTH THE NATIVE AND WESTERN AREAS. IN THE NATIVE . the INCREASE IN THE NUMBER OF EWES WAS LARGE ENOUGH TO MORE THAN OFFSET THE EFFECTS OF THE SMALLER PERCENTAGE CnOP«- THE NATIVE LAMB CROP THIS YEAR IS ESTIMATED AT II ,087,000 HEAD, COMPARED WITH 10,996,000 LAST YEAR, AND THE FIVE-YEAR AVERAGE OF 11,133,000 HEAD. WAS 98.9 THIS YEAR. THE PERCENTAGE LAMB CROP THIS WAS BELOW AVERAGE, AND COMPARED WITH 99.7 IN 1958. THE NUMBER OF OF THIS YEAR, ESTIMATED AT 11,215,000 WAS THE LARGEST ON RECORD, AND BREEDING EWES ON JANUARY I ABOUT TWO PER CENT LARGER THAN IN 1958. THE 1959 lamb CROP IN THE WESTERN SHEEP STATES IS ESTIMATED AT 20,780,000 HEAD, COMPARED WITH 21,|6l,000 IN I 9 5^ AND THE FIVE-YEAR AVERAGE OF 19,^87,000. LARGEST CROP ON RECORD FOR THESE STATES. THIS IS THE THIRD THE PERCENTAGE LAMB CROP THIS YEAR WAS 81.0 COMPARED WITH THE HIGH PERCENTAGE OF 85.9 LAST YEAR, AND THE TEN-YEAR AVERAGE OF 76.’». THE NUMBER OF BREEDING EWES IN THESE STATES ON JANUARY I WAS 25,657,000 HEAD, COMPARED WITH 25,222,000 AT THE BEGINNING OF I 938. THE REDUCTION IN THE WESTERN LAMB CROP THIS YEAR WAS LARGELY THE RESULT OF A THOUGH THE ESTIMATED NUMBER OF BREEDING EWES IN TEXAS WAS ABOUT SHARP REDUCTION IN TEXAS. *150,000 LARGER ON JANUARY I THAN A YEAR EARLIER, THE SHARP DROP IN THE PERCENTAGE LAMB CROP FROM 76iO TO 62.0 RESULTED IN A LAMB CROP IN THE STATE NEARLY 600,000 SMALLER THIS YEAR THAN LAST. — Texas, the l;sMB EXCLUDING crop in the western sheep states this year was about 200,000 head lar­ ger THAN LAST, WITH THE NUMBER OF BREEDING EWES ABOUT THE SAME IN THE TWO YEARS, AND THE PERCEN- TaGE crop of 37*H THIS YEAR, COMPARED WITH 86.U LAST YEAR. THE PERCENTAGE LAMB CROP WAS LARGER IN ALL OF THE STATES, EXCEPT IN WYOMING AND OREGON, WHERE IT WAS ^ALL'ER, ANO IN MON^ THIS YEAR TANA, WHERE THE PERCENTAGE WAS THE SAME. WEATHER CONDITIONS IN THE WESTERN SHEEP STATES DURING THE 1939 LAMBING SEASON WERE generally FAVORABLE, BUT FEED CONDITIONS IN A NUMBER OF STATES DURING OR FOLLOWING LAMBING WERE RATHER POOR. EXCEPT IN A FEW FAVORED AREAS, RANGE CONDITIONS IN THE WESTERN SHEEP STATES DURING THE SPRING AND EARLY SUMMER WERE MUCH BELOW LAST YEAR, ANO BELOW AVERAGE. THE EARLY LAMBS MARKETED FROM THlS AREA HAVE BEEN OF POORER QUALITY THAN LAST YEAR, ANO IT NOW SEEMS PROBABLE THAT THE LATE LAMBS WILL BE OF LIGHTER WEIGHTS ANO WITH A MUCH LARGER PERCENTAGE IN FEEDER CONDITION THIS'YEAR. INFORMATION UPON WHICH THE ESTIMATE OF THE 1959 LAMB CROP IS BASED WAS OBTAINED FROM SHEEP PRODUCERS V/HOSE FLOCKS ON JANUARY 1, I 939 CONTAINED ABOUT 3,890,000 BREEDING EWES, ( INCLUDING EWE LAMBS), WHICH IS NINE PER CENT OF THE ESTIMATED NUMBER OF BREEDING EWES IN THE UNITED STATES ON JANUARY I, FOR TiTe NATIVE SHEEP STATES, THE REPORTS WERE OBTAINED THROUGH THE RURAL MAIL CARRIERS IN COOPERATION WITH THE POST OFFICE DEPARTMENT. FOR THE WESTERN SHEEP STATES THEY WERE OBTAINED DIRECTLY FROM GROWERS ANO OWNERS OF BOTH RANGE AND RANCH FLOCKS. Released by the agricultural marketing sercice, 7-27-39 12:00 M -G Washington, d. c., July 27, 1959« H. W. FRENCH, LOCAL REPRESENTATIVE. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roy B. Minty Papers Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a> Date Created Date of creation of the resource. 1930-1939 Description An account of the resource Roy B. Minty was a livestock broker out of Casper, WY. His office was located in the lobby of the Henning Hotel. Researchers will find letters and telegrams exchanged between Minty and Draper and Draper Incorporated Wool out of Boston, Massachusetts among other items of potential interest to the sheep and wool industry in Wyoming during the 1930s. Minty's papers consist of correspondence, data on Wyoming sheep ranchers from 1934, correspondence in regard to the Careyhust Ranch from 1937-1939, information on a Wind River Day School lamb sale, as well as ledgerbooks, settlement slips, bills of sale, contracts, agreements, and more. These records date from the late 1920s to the late 1930s. Type The nature or genre of the resource Collection Access Rights Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies. Archivists are happy to assist anyone with accessing the physical or electronic copies of these records. The Casper College Goodstein Foundation Library is glad to grant uses of this material that it actively manages and cares for and will provide its publication policy upon request. Language A language of the resource ENG Identifier An unambiguous reference to the resource within a given context NCA 01.ii.2023.03_RoyBMintyPapers Extent The size or duration of the resource. 37.5 megabytes (3 folders, 43 files) Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Department of Agriculture letter Rights Information about rights held in and over the resource http://rightsstatements.org/vocab/NoC-US/1.0/ Date Created Date of creation of the resource. 1939-07-27 Identifier An unambiguous reference to the resource within a given context NCA 01.ii.2023.03_DepartmentofAgricultureLetter Language A language of the resource ENG Format The file format, physical medium, or dimensions of the resource PDF Publisher An entity responsible for making the resource available United States Department of Agriculture Type The nature or genre of the resource Text https://caspercollege.cvlcollections.org/files/original/1e70f73edd4b3f0bc68f4f10eb1b20e0.tif 9ec512926587f1a484aeec52ae2dc1d2 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Magazine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Desperado Money Clip 1 Rights Information about rights held in and over the resource <div class="element-text"> <div class="element-text"> <div class="element-text"> <div class="element-text five columns omega"> <div class="element-text five columns omega"> <div class="element-text five columns omega"> <div class="element-text"><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></div> </div> </div> </div> </div> </div> </div> <div id="dublin-core-rights" class="element"> <div class="element-text"> <div id="dublin-core-rights" class="element"> <div class="element-text"> <div id="dublin-core-rights" class="element"> <div class="element-text"> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <div id="dublin-core-rights" class="element"> <div class="element-text"><em>Expression</em><span>&nbsp;</span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Date Created Date of creation of the resource. 2023 Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Jessee Lee Is Part Of A related resource in which the described resource is physically or logically included. Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 04.ii.c.2022.01_Exp_2023_Art_76 Format The file format, physical medium, or dimensions of the resource TIF Publisher An entity responsible for making the resource available Casper College https://caspercollege.cvlcollections.org/files/original/9696bec08666e1ae10be09e3ad247ddc.tif 06ba300c6a5ef1c8d60d96bdb224c30d Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Magazine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Desperado Money Clip 2 Rights Information about rights held in and over the resource <div class="element-text"> <div class="element-text"> <div class="element-text"> <div class="element-text five columns omega"> <div class="element-text five columns omega"> <div class="element-text five columns omega"> <div class="element-text"><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></div> </div> </div> </div> </div> </div> </div> <div id="dublin-core-rights" class="element"> <div class="element-text"> <div id="dublin-core-rights" class="element"> <div class="element-text"> <div id="dublin-core-rights" class="element"> <div class="element-text"> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <div id="dublin-core-rights" class="element"> <div class="element-text"><em>Expression</em><span>&nbsp;</span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Date Created Date of creation of the resource. 2023 Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Jessee Lee Is Part Of A related resource in which the described resource is physically or logically included. Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 04.ii.c.2022.01_Exp_2023_Art_77 Format The file format, physical medium, or dimensions of the resource TIF Publisher An entity responsible for making the resource available Casper College https://caspercollege.cvlcollections.org/files/original/43656d77d28ccc6c093d5ef22324df8f.pdf 5e217b496a838ca04fe13abd9c343ac4 PDF Text Text Casper College Goodstein Foundation Library Western History Center Archives Persona Prompts using an Anchored Collection: Chuck Morrison Application Persona In the Reading Room... Remote/Digital Request Style The Guardian (The FactChecker) They focus on provenance. They They will pore over the Finding Aid want to see the physical folders to (the map of the collection) before understand the "original order" and they ever ask for a file. They want the ensure their citations are 100% "big picture" of the inventory. accurate. The Story Weaver (The Narrative Hunter) They look for marginalia—the scribbles in the margins of Casper’s legal documents or the emotional tone in a handwritten letter. They request scans of correspondence or diaries. They are looking for the "voice" of the people within the Morrison collection. They want to know if they can photograph everything to use The Trailblazer OCR (Optical Character (The Data Recognition) later or if there is a Miner) way to map the locations mentioned. They are the most likely to use Remote Access portals. They want high-res downloads they can manipulate or "crunch" using digital tools. They are looking for the "Hero Image." They want the most visually striking map, the most unique artifact, or the document with the most "wow" factor. They look for Media & Photos. They want assets they can put into a PowerPoint, a blog post, or a TikTok about Wyoming history. The Curator (The Visual Storyteller) � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Develop your Archival Persona Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC-EDU/1.0/">http://rightsstatements.org/vocab/InC-EDU/1.0/</a> Date Created Date of creation of the resource. 2026-01-06 Description An account of the resource This is a set of questions that allow Casper College students to choose the answer that best describes their natural curiosity using an Anchored Collection in the Western History Center. There are no wrong answers! Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Hanz Olson Language A language of the resource ENG Format The file format, physical medium, or dimensions of the resource PDF https://caspercollege.cvlcollections.org/files/original/471b075497067f4e2ae24c4da65745cf.jpg dbd06d574ed0b9039b97e77492f00a1c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Alumni and other Distinguished Honoree Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Description An account of the resource This is a collection of digitized photographic prints of Casper College alumni and other individuals. Some of the individual photographs have been identified on their prints and some have not. It is thought that these photographs , negatives were transferred to the archives from either the Foundation Office or Public Relations. Some of the alumni photographed have been named Distinguished Alumni. The repository does not currently have a date range, but these photographs may extend from the 1960s to the 1990s. Some of these photographs appear to be part of a series of photographs that included Marialyce Barrett Tobin. Is Part Of A related resource in which the described resource is physically or logically included. Casper College People &amp; Personages Photographs, CCA 04.xiv.2023.01_People WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 03.d.2024.01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dick Cheney Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Description An account of the resource Photograph of Casper College alumnus, Dick Cheney. He attended Casper College in 1963 and in 1990 he became a Distinguished Alumni. Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. People & Personages (1)-Alumni & Others , 1990, CCA 03.d.2024.01 WyCaC US. Casper College People & Personages Photographs, CCA 04.xiv.2023.01_People WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 03.d.2024.01_Photos_DickCheney Format The file format, physical medium, or dimensions of the resource JPG https://caspercollege.cvlcollections.org/files/original/c3380272274b9e9ffffbfea2bfa972f7.jpg 7c242daa4529373d4292f873af9831cc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Alumni and other Distinguished Honoree Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Description An account of the resource This is a collection of digitized photographic prints of Casper College alumni and other individuals. Some of the individual photographs have been identified on their prints and some have not. It is thought that these photographs , negatives were transferred to the archives from either the Foundation Office or Public Relations. Some of the alumni photographed have been named Distinguished Alumni. The repository does not currently have a date range, but these photographs may extend from the 1960s to the 1990s. Some of these photographs appear to be part of a series of photographs that included Marialyce Barrett Tobin. Is Part Of A related resource in which the described resource is physically or logically included. Casper College People &amp; Personages Photographs, CCA 04.xiv.2023.01_People WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 03.d.2024.01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dick Wheeler Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Description An account of the resource Photograph of Casper College alumnus, Dick Wheeler. Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. People & Personages (1)-Alumni & Others , 1990, CCA 03.d.2024.01 WyCaC US. Casper College People & Personages Photographs, CCA 04.xiv.2023.01_People WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 03.d.2024.01_Photos_DickWheeler Format The file format, physical medium, or dimensions of the resource JPG https://caspercollege.cvlcollections.org/files/original/5b1fc4a1bd877650792f2520615e7183.tif 5a2e3cb937901672bccdff14bbd2a0a6 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Magazine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dinner Time Rights Information about rights held in and over the resource <div class="element-text five columns omega"> <p><a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a></p> </div> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <div id="dublin-core-rights" class="element"> <div class="element-text five columns offset-by-two"> <p><em>Expression</em><span>&nbsp;</span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</p> </div> </div> </div> </div> Date Created Date of creation of the resource. 2025 Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource William Fittje Is Part Of A related resource in which the described resource is physically or logically included. Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA_04.ii.c.2022.01_Exp_2025_Art_21 Format The file format, physical medium, or dimensions of the resource TIF Publisher An entity responsible for making the resource available Casper College