Search Results

Creator:

Dowd, William R.  Search this

Extent:

33 Cubic feet (81 boxes, 6 oversize folders)

Type:

Collection descriptions

Archival materials

Business records

Design drawings

Date:

1949-1997

Scope and Contents:

The collection documents Dowd's career as a maker and scholar of harpsichords through correspondence, photographs, drawings, notes, and financial materials. The collection contains templates and drawings for harpsichords built or restored by Dowd. The collection also documents the activities of small business and its owner in Boston from 1959-1988.

Arrangement:

The collection is arranged into ten series.

Series 1: William Dowd (Boston Office), 1958-1993

Subseries 1.1: Background Matreials, 1965-1993

Subseries 1.2: Desk Calendars, 1982-1989

Subseries 1.3: Wall Calendars, 1964-1985

Subseries 1.4: Address Books, undated

Subseries 1.5: Telephone Logs, 1985-1988

Subseries 1.6: Catalogs, 1962-1988

Subseries 1.7: Shop Books, 1949-1986

Subseries 1.8: Maintenance, 1981-1993

Series 2: General Files, 1949-1993

Series 3: Design Notes and Drawings, 1952-1990

Subseries 3.1: Drawings, 1952-1990

Subseries 3.2: Design Notes, 1959-1987

Series 4: Suppliers/Services, 1958-1988

Series 5: Owner's Files, 1960s-1980s

Subseries 5.1: Owners Files (alphabetical)

Subseries 5.2: Former Owners (alphabetical)

Series 6: Antique Files, 1949-1979

Series 7: Financial Records, 1961-1987

Series 8: Photographs, 1949-1988

Series 9: Publications, 1969-1994

Series 10: William Dowd (Paris Office), 1971-1985

Series 11: Newspaper Clippings, 1949-1993

Biographical / Historical:

William Richmond Dowd (1922–2008) was an American harpsichord maker. Dowd graduated from Harvard University (1948) and apprenticed with John Challis, a harpsichord maker in Detroit. In 1949, Dowd partnered with Frank Hubbard (1920-1976), a fellow Harvard classmate and harpsichord maker to form Hubbard and Dowd in Boston, operating the Boston School of Harpsichord from 1949-1958. Dowd and Hubbard built harpsichords based on historical principles and dedicated themselves to research and restoration techniques of historical keyboard instruments. The first harpsichords built by Dowd were based on the 1637 Johannes Ruckers single harpsichord. In 1956, Charles Fisher joined the firm as a third partner.

Dowd formed Dowd Harpsichord Shop in 1959, building the Pascal Taskin model of harpsichord. Taskin (1723-1793) was a French harpsichord and piano maker. In 1972, Dowd established an office in Paris in association with Reinhard von Nagel. The Paris office closed in 1985. Dowd closed his workshop in Boston on September 1, 1988 and died in November 1988.

Separated Materials:

The Division of Culture and the Arts contains two harpsichords built by William Dowd. See accessions 1980.0274.1 (Compass: FF - f3. Copy of 1730 Blanchet instrument) and 2009.0229.01 (double manual, serial number 336-75).

Provenance:

The collection was donated by William R. Dowd and Pegram Dowd on June 12, 1997.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Musical instrument makers  Search this

Musical instruments  Search this

Harpsichord  Search this

Harpsichord makers  Search this

Genre/Form:

Business records

Design drawings

Citation:

Dowd Harpsichord Collection, 1949-1997, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0593

See more items in:

Dowd Harpsichord Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0593

Collection Creator:

Dowd, William R.  Search this

Extent:

1 electronic_discs_dvd (William Dowd Boston/Paris, Total Running Time: 73:00. )

Container:

Box 47, Folder 1

Type:

Archival materials

Electronic_discs_dvd

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Dowd Harpsichord Collection, 1949-1997, Archives Center, National Museum of American History.

See more items in:

Dowd Harpsichord Collection

Dowd Harpsichord Collection / Series 1: William Dowd (Boston Office) / 1.1: Background Materials

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0593-ref35

Collection Creator:

Dowd, William R.  Search this

Container:

Box 47, Folder 11

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Dowd Harpsichord Collection, 1949-1997, Archives Center, National Museum of American History.

See more items in:

Dowd Harpsichord Collection

Dowd Harpsichord Collection / Series 1: William Dowd (Boston Office) / 1.1: Background Materials

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0593-ref43

Collection Creator:

Dowd, William R.  Search this

Container:

Box 75, Folder 8

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Dowd Harpsichord Collection, 1949-1997, Archives Center, National Museum of American History.

See more items in:

Dowd Harpsichord Collection

Dowd Harpsichord Collection / Series 10 : William Dowd (Paris Office)

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0593-ref510

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Extent:

3 Negatives (silver gelatin)

Container:

Box 21

Type:

Archival materials

Negatives

Date:

undated

Scope and Contents note:

Job Number: 22715

Subseries Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref10500

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Container:

Box 21

Type:

Archival materials

Date:

undated

Scope and Contents note:

Job Number: 22718

Subseries Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: C - Czerwenka

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref13211

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Container:

Box 314

Type:

Archival materials

Date:

undated

Scope and Contents note:

Job Number: 49931

Subseries Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref9002

Subseries Creator:

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Container:

Box 21

Type:

Archival materials

Date:

undated

Scope and Contents note:

Job Number: 22689

Subseries Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number

Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: B - Byrons

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-05-ref9031

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

1 Cubic foot (consisting of 5 boxes, 1 map folder.)

Type:

Collection descriptions

Archival materials

Ephemera

Business ephemera

Date:

circa 1809-1940

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Baking Powders forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

This material consists primarily of advertising cards, bills/receipts, printed advertisements, book marks, cook books, labels, pamphlets, and recipe books, scattered correspondence on letterhead stationery from manufacturers and distributors of baking powders. These companies also tended to sell other products including bakers' supplies, spices, coffee, teas, cream of tartar, cigars, tobacco, gloss starch, laundry bluing, soap powder, baking soda, soap, corn starch, phosphate of calcium, powdered gelatin and other shelf groceries. The B. T. Babbitt Company located in New York distributed a number of pamphlets and printed advertisements containing reproductions of popular paintings by American artist including Paul de Longpre, Virginia Janus, Percy Moran and J. L. Ferris. Larger size reproductions could be obtained by sending the company trade marks from their products. Other manufacturers such as Edward Canby offered free libraries to their customers. Some of these companies are also in other subject categories such as chemicals, baking soda, patent medicine, images children, art, women, nature scenes, and courtship scenes.

Publications include two pamphlets. Both pamphlets were articles which appeared in the Pharmaceutical Record. "Baking Powders, An Essay on their Composition and Action" (April 1, 1887) was written by George Holland and "Baking Powders" (June 1, 1888) written by C. V. Petraeus discuss the physical qualities of baking powders. H. D. Thatcher & Company also published a pamphlet on the same subject titled "How to Test Baking Powder, Illustrated and Explained for the Practical Use not Only of the Scientist but for the Common People and the Ordinary Cook, with Descriptions of Thatcher's Sugar of Milk Baking Powder and Selected Cooking Recipes "(1890).

Materials are organized alphabetically by name of company. There are three folders of material grouped by type: labels, related pamphlets and miscellaneous items. Miscellaneous items consist of advertising cards with no company to identify manufacturer or dealer.

General:

The following is a list of brand names for various baking powder products. The names that appear on this list are a compilation of those found on materials in the vertical document boxes. It is not a complete list of all the brand names for baking powders. The list is intended to assist researchers in locating desired materials when only the brand name is known.

Brand Name Index

Brand Name -- Manufacturer

Acme -- Lange, Grabe & Baird

Cap Sheaf -- DeLand & Company

Champion -- Johnston Brothers

Chemical -- Deland

Craig's -- Hannum, H.B. & Company

Crown -- Dieter, J.F. & Company

Czar -- Steele & Emory

Enterprise -- Bacon, Stickney & Company

Excelsior -- Redheffer & Stuart

Forest City -- Vouwie Brothers

Gold Medal -- Taylor, J. Monroe

Golden Sheaf -- Henkel Brothers

Golden Shield -- Monroe County Chemical Company

Good Luck -- Chicago Chemical Works

Horsford' s -- Humford Chemical Works

I.C. -- Jacques Manufacturing Company

Imperial Grown -- Anthony, J.B. & Company

International -- Queen City Chemical Company

K.C. -- Jacques Manufacturing Company

Kenton -- Potter Parlin & Company

Knickerbocker -- Stitt, [Wmin?]

Luther's -- Benjamin, L.O. & Company

Miles -- Larzelere, James H.

Morning Glory -- Feeny, G.S.

None Such -- Hanford, Geo G.

Oriole -- Queen City Chemical Company

Patapsco -- Smith, Hanway & Company

Peerless -- Marde

Pure Gold -- Newman, S.A.

Safe & Reliable -- Granger & Company

Sea Foam -- Jones, Gantz & Company

Silver Star -- Gandy, Edward

Snow -- Boston Relish Company

Sun Flower -- Fahnestock Company

Trust -- Burns & Reed

Unrivaled -- Spracues, Warner & Griswold

Victor -- Boos & Holbrook

Windsor -- Kegeler, H. Chas.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Baking Powders is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Baking powder  Search this

Genre/Form:

Ephemera

Business ephemera

Citation:

Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.BakingPowders

See more items in:

Warshaw Collection of Business Americana Subject Categories: Baking Powders

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-bakingpowders

Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Names:

Dorsey, Jimmy, Orchestra  Search this

McKinley, Ray, Orchestra  Search this

Miller, Glenn, Orchestra  Search this

Extent:

19.5 Cubic feet (56 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Ephemera

Music

Scrapbooks

Clippings

Date:

1945-1994

Scope and Contents:

The Ray McKinley Music and Ephemera consists of music, scores, sideman books, photographs, correspondence, news clippings and magazine articles, business records, awards, audio and videotapes, 45 rpm commercial recordings, and miscellaneous biographical notes. The records date from the the late nineteenth century to 1996 and document the professional music career and personal life of Ray McKinley (drummer, band leader, and vocalist). The collection is organized into three series; Series 1: Music ca. 1942-1990, Series 2: Ephemera ca. 1870-1996, and Series 3: Miscellaneous ca. 1943-1993. Materials in each series are arranged either alphabetically by music title or chronologically by date.

The following reference abbreviations are used in the container list to facilitate cross-referencing of materials in different subseries:

see: look for this title or material in the following location sa: see also: additional or related material is available in the following location aka: also known as OS: oversize score OP: oversize photograph

Arrangement:

The collection is divided into three series.

Series 1: Music

Series 2: Ephemera

Series 3: Audio Visual Materials

Biographical / Historical:

Ray McKinley was born on June 18, 1910 in Fort Worth, Texas, the son of Flora Newell McKinley and Raymond Harris McKinley, Sr. McKinley, Jr. entertained himself at an early age by "drumming" on whatever was available, and he received his first drum set at age nine from a family friend. His performing career had begun even earlier, at age six, with a snare drum solo for several thousand at the Elks Circus in the North Fort Worth Coliseum. At twelve he started playing professionally with local bands and orchestras. In an April, 1986 article in Modern Drummer, McKinley commented, "I wasn't that terrific, but everyone thought I was" (see Subseries 2B: Newsclippings and Magazine Articles). Whether deserved or not, his reputation was good enough that when the Jimmy Joy Orchestra came to town and was strapped for a substitute drummer, twelve-year-old McKinley got the job.

McKinley left town for the first time on a tour with the Duncan-Marin band in 1926. While performing in a Chicago nightclub, he was caught in the crossfire of a gang shoot-out and shot in the leg. During his convalescence, he wandered the clubs and listened in on sets. He met "Benny Pollack, Benny Goodman, Glenn Miller and others" (Ray McKinley, see Subseries 2F: Biographical Materials). He left the Duncan-Marin group in 1927 for the Beasley Smith orchestra, and joined the Tracy-Brown Orchestra in 1929. He played with Milt Shaw's Detroiters for a time in 1930, followed by a stint with Dave Bernie's band. With Bernie, he made two trips to England, "where he acquired a set of neckties and a Southern accent" (McKinley, Biographical Materials).

Glenn Miller asked McKinley to join him in Smith Ballew's band in 1932, and Miller later placed McKinley and four others with the Dorsey Brothers' Orchestra. When the Dorseys split, McKinley stayed with Jimmy Dorsey, although he was heavily recruited by other band leaders, including Tommy Dorsey and Benny Goodman. He became known as a vocalist as well as drummer in Jimmy Dorsey's band, and had Bing Crosby name him "one of the ten best vocalists in the country" (All-American Band Leaders, July, 1942). In 1939, at the suggestion of booking agent Willard Alexander, McKinley joined forces with Will Bradley (formerly Wilber Schwitsenberg) to form the "Will Bradley Orchestra featuring Ray McKinley." With McKinley on vocals and drums, the band's several hits included Beat Me Daddy, Eight to the Bar, Down the Road Apiece and Celery Stalks at Midnight. McKinley left in 1942 to form his own group, The Ray McKinley Orchestra. The band was very well-recieved, but broke up after only 8 months due to external factors including the outbreak of the second World War. McKinley placed many of his players with the Tommy Dorsey Orchestra just before he was drafted.

McKinley's old association with Glenn Miller paid off when Glenn took him on for his famous Army Air Force Band. McKinley says that Glenn Miller's band "was one of the two best musical organizations I had anything to do with as a player" (Modern Drummer). The Glenn Miller Band was sent to England in June, 1944. After Miller disappeared in 1944, McKinley fronted the band until its return to the United States in 1945. At this point, McKinley handed the reins to Tex Benecke and formed a new Ray McKinley Orchestra.

McKinley's new orchestra enjoyed great success, partially due to its young talent, including that of arrangers Eddie Sauter and Deane Kincaide. McKinley's showmanship and skills as leader, vocalist, and drummer also earned the band many fans. Some of their hits included Red Silk Stockings and Green Perfume, You Came a Long Way From St. Louis, and Arizay. Unfortunately, the group's inception coincided with the end of the big band era. McKinley adjusted the size and style of the band in attempts to satisfy public demand, but he finally disbanded the group when he suffered an attack of amoebic dysentery in 1951.

After his recovery, McKinley freelanced with different bands and in radio and television, mostly accepting appearances that kept him near his home in Connecticut. His last extended stint with any band came in 1956, when Willard Alexander persuaded the Glenn Miller Estate to sponsor a New Glenn Miller Orchestra with McKinley as its leader. The band played arrangements of old Miller favorites from the original music as well as more contemporary hits. This orchestra, like McKinley's earlier ones, was very successful, performing on television and travelling all over the world. In 1966, McKinley tired of the road and "retired". For the next thirty years, McKinley again stayed close to home, playing "gigs" with various bands, working as a musical consultant for Walt Disney World in 1971, and doing some television and recordings.

McKinley is remembered as a loving family man, screwball showman, and dedicated musician. In January, 1950,InternationalMusician said that McKinley was "known in the trade as a 'drummer's drummer'--just about the highest accolade one can receive." Many of his fellow musicians attest that his clean, energetic style of drumming provided the drive behind many of the bands he played with, while his technical skill and sense of humor produced the exciting solos that made him popular with the public. According to drummer Cliff Leeman, "Unlike many of the highly technical, showman drummers, McKinley combined elements of showmanship and thoughtful, feeling performance. He never ignored his timekeeping duties" (Modern Drummer, 1986). Both on the drums and as band leader, McKinley was a bit of a clown. For instance, the "vocal" in Celery Stalks at Midnight originated when McKinley, for no particular reason, "instead of playing a two bar solo on the drums...just yelled out, 'Celery Stalks along the highway!'" (McKinley, Big Band Jump Newsletter). Still, despite his antics and the fun he obviously had while on the stand, McKinley was deadly serious about music. His thoughts on drumming are evidence of this: "Once you have the techniques down and combine them with an inherent sense of rhythim--I believe you have to be born with it--you're well on your way to becoming a good drummer. If you don't have that bone-deep rhythmic sense, or 'feel', you should be doing something else. That may sound autocratic. But that's the way it is, as far as I'm concerned"( ModernDrummer).

McKinley was married in 1937 but divorced by 1942. He then married ballet dancer Gretchen Havemann in 1943, a few months into his tenure with the Glenn Miller Band. On April 7, 1949, they had daughter for whom Gretchen coined the name Jawn. A loving, happy couple, he and Gretchen celebrated their fiftieth wedding anniversary in 1993. In 1983, he and Gretchen began spending half of their year in a home in Florida and half in Canada. He died in 1995.

Separated Materials:

Ray McKinley drumset and two band stands are located in the Division of Music History.

Provenance:

Donated by Gretchen McKinley and Jawn McKinley Neville on February 2, 1998.

Restrictions:

Collection is open for research.

Rights:

Copyright restrictions. Contact the Archives Center for information.

Topic:

Big band music -- 1940-2000  Search this

Jazz musicians  Search this

Musicians  Search this

Music -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Ephemera -- 20th century

Music -- 1940-2000

Scrapbooks -- 20th century

Clippings -- 20th century

Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0635

See more items in:

Ray McKinley Music and Ephemera

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0635

Collection Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Container:

Box 54, Folder OT7 635.1

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Copyright restrictions. Contact the Archives Center for information.

Collection Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

See more items in:

Ray McKinley Music and Ephemera

Ray McKinley Music and Ephemera / Series 3: Audiovisual Materials / 2.10: Original Tapes

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0635-ref1149

Collection Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Container:

Box 54, Folder OT7 635.2

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Copyright restrictions. Contact the Archives Center for information.

Collection Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

See more items in:

Ray McKinley Music and Ephemera

Ray McKinley Music and Ephemera / Series 3: Audiovisual Materials / 2.10: Original Tapes

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0635-ref1151

Collection Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Container:

Box 54, Folder OT7 635.6

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Copyright restrictions. Contact the Archives Center for information.

Collection Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

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Ray McKinley Music and Ephemera

Ray McKinley Music and Ephemera / Series 3: Audiovisual Materials / 2.10: Original Tapes

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0635-ref1156

Collection Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Container:

Box 54, Folder OT7 635.8

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Copyright restrictions. Contact the Archives Center for information.

Collection Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

See more items in:

Ray McKinley Music and Ephemera

Ray McKinley Music and Ephemera / Series 3: Audiovisual Materials / 2.10: Original Tapes

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0635-ref1158

Collection Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Container:

Box 54, Folder OT7 635.9

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Copyright restrictions. Contact the Archives Center for information.

Collection Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

See more items in:

Ray McKinley Music and Ephemera

Ray McKinley Music and Ephemera / Series 3: Audiovisual Materials / 2.10: Original Tapes

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0635-ref1159

Collection Collector:

McKinley, Ray, 1910-1995 (musician, bandleader)  Search this

Container:

Box 52, Folder 13

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Collection Rights:

Copyright restrictions. Contact the Archives Center for information.

Collection Citation:

Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.

See more items in:

Ray McKinley Music and Ephemera

Ray McKinley Music and Ephemera / Series 3: Audiovisual Materials / 2.9: Reference Videotapes / Series 3: Miscellaneous

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0635-ref1193

Creator:

Naff, Alixa, 1919-2013  Search this

Names:

Naff, Faris  Search this

Naff, Yamna  Search this

Extent:

120 Cubic feet (295 boxes )

2,000 Photographs

450 Cassette tapes

Type:

Collection descriptions

Archival materials

Photographs

Cassette tapes

Date:

1875 - 2004

Summary:

The collection is the result of research conducted by Dr. Alixa Naff relating to the study of the early Arab immigrant experience in the United States from about 1880-World War II. The study began with oral history interviews in 1962 and became a major project in 1980 with a grant from the National Endowment for the Humanities. It documents the assimilation of Arabic speaking immigrants in the United States.

Scope and Contents:

The collection documents the immigration and assimilation of mostly Christian Syrian-Lebanese who came to America at the turn of the twentieth century. The immigrants were predominately-small land-owning peasants and artisans from the village of Syria and Lebanon. According to Alixa Naff, immigrants knew exactly where they were going to live and what they were going to do once they immigrated to America. They mostly chose to live in cities where earlier immigrants had already created communities. The majority of the immigrants became peddlers. Peddlers carried packs containing scissors, razors, pins, buttons, ribbons, threads, needles, combs, mirrors, soap, voile and muslin, lace and crotchet crafts, perfume, scarves, picture frames, oriental rugs, fine linens, leather goods, pictures of saints, religious notions from the holy land, confections and cakes. Peddling offered the immigrants a source of income and a way to learn the English language, American customs and lifestyles. It often led to ownership of a small dry goods store. More successful businesspersons then went on to own a department store or a chain of stores. For those Syrian/Lebanese who chose not to pursue peddling as a source of income other occupations included farming, work in New England textile mills, Midwestern factories, Pittsburgh and Birmingham steel mills and Detroit's automobile assembly lines.

It was in these Syrian communities created by Arab immigrants that Dr. Naff sought interviews, photographs and personal papers. For Alixa Naff this pioneering generation of people offered a wealth of information on the immigrant experience and the critical role that peddling played. Naff conducted interviews in urban and small town communities with an emphasis on Midwestern states. Her informants included first and second generation Christians, Druze and Muslims. Locations of interviews included Detroit, Michigan because it was an industrial city with a large and stable Syrian population of all faiths. Cedar Rapids, Iowa was smaller, a railroad depot at the turn of the century and home to the earliest Muslim groups. Peoria, Illinois was also a small, railroad depot at the turn of the century and it consisted predominately of the Maronite Sect originally from one village in Mount Lebanon. Spring Valley, Illinois was a small mining town with a Christian community and the remnant of a once flourishing peddling settlement. Their Eastern Rite Syrian Orthodox Church was the only one in Illinois until 1961 and served smaller Syrian groups.

Oral history interviews deal with the sociological factors of the assimilation process. Most tapes have been fully transcribed or abstracted. Information from the interviews are supported with published articles; demographic statistics; articles from the Arab-American press, books, journals and dissertations published in the United States or in Arab countries. Personal papers collected from individuals and families provide evidence of the experiences discussed in the interviews and add a personal touch to the reference materials. While there are a number of original items included among the personal papers, there is a substantial amount of duplicate materials. Naff would often collect the originals make copies and then return the originals to the donors.

Arrangement:

[Alixa Naff arranged the collection materials and the Archives Center staff maintained this arrangement due to the size of the collection. Materials are arranged mostly by subject and type.]

The collection is arranged into eight series:

Series 1: Personal Papers

Subseries 1.1: Individuals

Subseries 1.2: Organizations

Series 2: Photographs

Series 3: Oral interviews, Abstracts, Transcripts and Supporting Materials, 1962-1995

Subseries 3.1: Abstracts and Transcripts

Subseries 3.2: By Topic

Subseries3.3: Other Projects

Series 4: Publications

Series 5: Subject Files

Series 6: Project Files

Series 7: Alixa Naff Personal Papers

Series 8: Audio Visual Materials

Biographical / Historical:

The Faris and Yamna Naff Collection is the result of the dedication and research efforts of Dr. Alixa Naff, the daughter of Syrian-Lebanese immigrants. She has spent most of her life documenting the early American experience of the generation of Arabs, mostly Christian, from Syria/Lebanon who came to this country around the turn of the century.

After an administrative career in private industry, Alixa Naff enrolled at the University of California to obtain her B.A. degree. During her senior year, she was required to write a paper for an American history seminar. The topic for the seminar was immigration. Alixa Naff chose Arabs in America as her subject. According to Naff, there was a lack of reference materials relating to her topic. Therefore, she relied mostly on conversations with her parents' friends. Impressed by her work, Alixa Naff's professor offered her a grant to collect Arab folklore.

Alixa Naff conducted her research during the summer of 1962. She interviewed eighty-seven people in sixteen communities across the United States and eastern Canada. All of her informants were at least sixty years old at the time of the interviews and represented the last surviving members of her parents' pioneer immigrant generation. After completing her fieldwork, Naff went on to earn her master's and Ph.D. degrees. She taught on the college level at California State University and the University of Colorado. In 1977, she left teaching citing anti-Arab feelings as the reason for her shift in career paths. Her desire to counter the anti-Arab stereotyping with accurate sources of information created yet another opportunity for her to pursue more research about Arab Americans.

Later in 1977, Alixa Naff served as a consultant on a documentary film relating to Arabs in America. She again realized existed on the subject of the Arab immigrant experience in America. Moreover, much of what she found conflicted with what pioneer informants had told her. Naff was also painfully aware that family members of decreased Arab immigrants often discarded the early artifacts, personal papers, photographs and books brought to America. Shortly after, she began working on a study on the history of Arab immigrants. In 1979, Alixa Naff met Gino Baroni, then undersecretary of the United States Department of Housing and Urban Development and founder of the National Center for Urban Ethnic Affairs. His center helped her secure funding for her research from the National Endowment for the Humanities and provided an office for her to work. The result of this work was a book entitled Becoming American: The Early Arab Immigrant Experience published in 1985. Richard Ahlborn, then curator of the Smithsonian's Community Life Division (now its Department of Cultural Affairs), convinced Naff to donate the collection to the Smithsonian in honor of her parents, Faris and Yamna Naff, and their generation of Arabs who immigrated to America.

Alixa Naff died on June 1, 2013 at the age of 93.

Related Materials:

Materials at the National Museum of American History

The Division of Home and Community Life holds artifacts related to this collection including. See Accession #: 2007.3245.

Materials at the Smithsonian Institution

Photo Lot 2011-02, Alixa Naff photographs of Europe, the Middle East and the Mediterranean and audio tapes on Mediterranean folklore, National Anthropological Archives, Smithsonian Institution.

Provenance:

The collection is the result of research conducted by Dr. Alixa Naff relating to the study of the early Arab immigrant experience in the United States from about 1880-World War II. The study began with oral history interviews in 1962 and became a major project in 1980 with a grant from the National Endowment for the Humanities.

Restrictions:

Collection is open for research.

Researchers must use microfilm copies. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Viewing film portions of collection require special appointment; please inquire with a reference archivist. Do not use when original materials are available on reference video or audio tapes.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Citation:

Faris and Yamna Naff Arab-American Collection Archives Center, National Museum of American History

Identifier:

NMAH.AC.0078

See more items in:

Faris and Yamna Naff Arab American Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0078

Collection Creator:

Naff, Alixa, 1919-2013  Search this

Extent:

1 Videocassettes (VHS)

Container:

Box 288

Type:

Archival materials

Moving Images

Videocassettes (vhs)

Date:

undated

Collection Restrictions:

Collection is open for research.

Researchers must use microfilm copies. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Viewing film portions of collection require special appointment; please inquire with a reference archivist. Do not use when original materials are available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Faris and Yamna Naff Arab-American Collection Archives Center, National Museum of American History

See more items in:

Faris and Yamna Naff Arab American Collection

Faris and Yamna Naff Arab American Collection / Series 8: Audiovisual Materials / 8.6: Moving Image

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0078-ref3783

Collection Creator:

Naff, Alixa, 1919-2013  Search this

Type:

Archival materials

Date:

undated

Collection Restrictions:

Collection is open for research.

Researchers must use microfilm copies. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Viewing film portions of collection require special appointment; please inquire with a reference archivist. Do not use when original materials are available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Faris and Yamna Naff Arab-American Collection Archives Center, National Museum of American History

See more items in:

Faris and Yamna Naff Arab American Collection

Faris and Yamna Naff Arab American Collection / Series 1: Personal Papers / Magazines and Newsletters

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0078-ref135

Source:

Transportation, Division of, NMAH, SI.  Search this

Creator:

Hamily, David  Search this

Names:

Erie Railroad Company  Search this

New York, New Haven, and Hartford Railroad.  Search this

Pennsylvania Railroad.  Search this

Philadelphia and Western Railroad.  Search this

Piedmont and Northern Railroad.  Search this

Sorocabana Railway.  Search this

Takata and Company Railroad.  Search this

Former owner:

Transportation, Division of, NMAH, SI.  Search this

Extent:

1.5 Cubic feet (5 boxes)

Type:

Collection descriptions

Archival materials

Statistics

Correspondence

Blueprints

Place:

Pennsylvania

New Haven (Conn.)

New York

Philadelphia (Pa.)

Hartford (Conn.)

Date:

1912-1949

Scope and Contents:

This collection consists of statistics on electric train operation, drawings, blueprints, technical papers, train classifications, research and development reports, business and financial correspondence (1933, 1939-1948, 1940-1941), installation and operation instructions, locomotive system test procedures, locomotive operations data and calculations, records of locomotive mileages and part failures, suggested locomotive improvements, locomotive specifications, plans for fire extinguishing systems, tonnage ratings and includes material from the New York, New Haven, and Hartford Railroad, Piedmont and Northern Railroad, Pennsylvania Railroad, Takata and Co. Railroad, Philadelphia and Western Railroad, Sorocabana Railway, and Erie Railroad Co.

Arrangement:

The collection is divided into 8 series.

Series 1: New York, New Haven, and Hartford Railroad

Series 2: Piedmont and Northern Railway Company

Series 3: Takata and Company

Series 4: Philadelphia and Western Railway Company

Series 5: Sorocabana Railway

Series 6; Pennsylvania Railroad

Series 7: Miscellaneous Westinghouse Reports

Series 8: Erie Railroad Company

Provenance:

This collection was donated by David Hamily of Pittsburgh, Pennsylvania in 1986.

Restrictions:

The collection is open for research use.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.

Topic:

Locomotives -- Design and construction  Search this

Railroads  Search this

Engineering  Search this

Locomotive industry  Search this

Genre/Form:

Statistics

Correspondence -- 1930-1950

Blueprints

Citation:

Division of Transportation: Railroads' Engineering Data, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0207

See more items in:

Division of Transportation: Railroads' Engineering Data

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0207