The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.
Scope and Contents note:
The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.
Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material.
There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.
Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.
There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.
The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.
Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.
There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.
Audio recordings include 23 cassette from the Alexandria Church of God.
The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.
The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.
The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.
Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.
Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists.
Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.
The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.
There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.
The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.
The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).
The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.
The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio.
Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance.
Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.
There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.
Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.
The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.
The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.
Arrangement note:
This collection is arranged into four series:
Series 1: Henry P. Whitehead papers
Series 2: Howard Theatre
Series 3: Tomlinson D. Todd
Series 4. Elizabeth B. Delaney
Biographical/Historical note:
Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired.
Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.
Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.
Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.
Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.
Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.
Provenance:
The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Ledgers (account books)
Place:
Washington (D.C.) -- 20th century
Date:
1922-1927
Scope and Contents:
Job Numbers: 15,000-21,400
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Listing of photo orders.
Subseries Restrictions:
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details..
Series 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.
Genre/Form:
Ledgers (account books) -- 20th century
Series 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.
The Ellis B. Haizlip papers, which date from circa 1945 --1991 (bulk dates 1965-1990) and measure 63.64 linear feets, are the personal papers of Ellis B. Haizlip, a television, theatre, and event producer most noted for his work on Soul! and Watch your Mouth! The collection is comprised of correspondence, scripts, financial and business documents, printed material, objects, photographs, slides, and videotapes.
Scope and Contents n ote:
This collection, consisting of materials which date from 1945 --1991 (bulk dates 1965-1990), contains personal and business documents accrued by Ellis B. Haizlip over the course of his adult life. The papers do not include many documents relating to Haizlip's family or childhood. Included are instances of personal and business correspondence, paperwork and notes relating to the productions with which Haizlip was involved, and documentation of his political, community, and artistic activist work. Also included are photographs and slides both personal and event-related, and videotapes of various television and film projects, including Soul! and Watch Your Mouth!
Arrangement note:
The collection is divided into 7 series.
Series 1: Biographical, 1941-1990; undated
Series 2: Career, 1950-1990; undated
Series 3: Organizations, 1948-1990; undated
Series 4: Scripts, 1942-1988; undated
Series 5: Printed Materials, 1950-1990; undated
Series 6: Photographs, undated
Series 7: Videotapes, undated
Biographical/Historical note:
Born September 21, 1929 in Washington, D.C., Ellis Benjamin Haizlip was the son of Ellis M. and Sarah Corbett Haizlip. Haizlip began his production career during his days at Howard University, where he produced the Howard Players in addition to majoring in sociology and economics. He moved to New York after graduation and began his involvement in professional production, including both productions at the Harlem YMCA of plays such as Dark of the Moon and international tours of James Baldwin's The Amen Corner and the dance show Black New World.
Haizlip is best known for the television series Soul!, a program that aired on public television WNET during the late 1960s and early 1970s, then resurfaced in the early 1980s. Soul! was a variety show focused on African-American experience, featuring music, dance, poetry, and interviews by and with black performers. Haizlip produced and occasionally hosted the program. He also created the educational series Watch Your Mouth!, a sitcom-style program featuring a diverse cast of characters who all struggled with Standard English.
In addition to his career, Haizlip was involved with a plethora of organizations of all sorts, from political campaigns to arts organizations to a variety of African American groups such as Black Convention, Inc. and the Delta Sigma Theta sorority. Haizlip had a complex relationship with these organizations, serving as a board member on some, a hired event producer on others, and in some cases playing multiple roles within a single organization, such as the Alvin Ailey American Dance Theater.
Haizlip was openly gay, and was active in several LGBT rights groups during his life. His personal life was filled with a social circle of devoted and notable friends, among them Betty Shabazz, Novella Nelson, and Nikki Giovanni.
Haizlip died of lung cancer on January 25, 1991. He was 61 years old.
Related Materials:
This collection contains artifacts catalogued in theACM Ojects collection.
Provenance:
The Ellis B. Haizlip papers were donated to the Anacostia Museum and Center for African American History and Culture on November 12, 1995, by Doris (Haizlip) Sanders.
Restrictions:
The collection is open for research. Medical documents, financial materials and some correspondence in Career series are restricted. Use requires an appointment.
Rights:
The Ellis B. Haizlip papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
The Joy McLean Bosfield papers, which dates from 1923 to 1995 and measures 3.41 linear feet, documents the professional life of Joy McLean Bosfield. The papers are comprised of personal and professional correspondence, concert programs, contracts, newspaper clippings, photographs, radio scripts, and record albums.
Scope and Contents note:
The collection which dates from 1923 to 1995, bulk dates 1945-1985, documents the professional career of Joy McLean Bosfield. The papers document Ms. McLean's professional career as a singer and vocal teacher through photographs and recital programs. In particular, there are two scrapbooks which focus on Ms. McLean's employment with a traveling theater production of Porgy and Bess. There are also radio scripts from Ms. McLean's stint with the British Broadcasting Corporation and phonograph records that captured her vocal talent.
Arrangement note:
The papers are arranged into five series. Folders are arranged alphabetically within series, while documents are organized chronologically. Undated material appears in the front of folders. Oversized material appears in the Career Series.
Series 1: Biographical Files
Series 2: Career
Series 3: Correspondence
Series 4: Music Collection
Series 5: Photographs
Biographical/Historical note:
Joy McLean Bosfield was born on January 27, 1924 to John and Florence Mearimore. Her mother, an immigrant from Demerara, Guiana, married McLean's father, a prominent New York businessman, in March of 1923 in New Jersey. She lived with her family in Paramus, New Jersey until 1940, when she graduated from Ridgewood High School. During that same year McLean was accepted to the prestigious Hunter College, in New York. Her mother moved with her to New York City where they lived with Mrs. Mearimore's older brother. During her time in New York, McLean developed important relationships that helped shape her professionalism and creativeness.
On February 26, 1945, McLean performed in her first recital at St. Martin's Little Theatre. It was the beginning of a long and distinguished career as a soprano opera singer. Three years after graduating and making her debut, she went on to perform at Carnegie Hall. In June of 1948, McLean married Charles McLean and moved to England. Mr. McLean, originally from British Guiana, wished to study law at London University, while Ms. McLean continued to develop her career by working for the BBC (British Broadcasting Corporation) as a solo soprano for several of their programs.
In 1952 Ms. McLean toured with an American company of Porgy and Bess. Through the production she travelled all over the world including eastern and western Europe and the Middle East. When she returned to the United States, McLean joined several musicals and continued to give recitals and public appearances. At some point, McLean married Samuel Bosfield and began being known as McLean Bosfield. She claimed the name change reflected her many years as a public figure and the importance of the associated reputation it generated.
Later in life, McLean moved to Washington D.C. with her husband where she continued to work on her career by giving recitals and performing as a piano accompanist. She also began working for the Frederick Wilkerson Studio of Voice as a vocal coach. After the death of Wilkerson, McLean took over the studio in the 1980s. She called it the McLean Bosfield Vocal Studio. Besides vocal training she also produced public recitals for her students. The final student concert of the studio was held on March 17, 1985. It was not only the final concert for the studio (Ms. McLean retired and closed the studio in 1985) but it would also be Ms. McLean's final public performance. With the death of her husband, Samuel Bosfield, and her mother in 1983 and 1984 McLean found no reason to stay in D.C.
She moved to Chapala, Mexico in 1985 after reconnecting with an old family friend she knew when she lived in New York City while attending college. Upon moving to Mexico, McLean married her long time friend, Bill Jackson who was several years her senior and had moved to Chapala years earlier with his deceased first wife. Jackson and McLean spent several fruitful years together, participating in community theater productions and other community functions until his death in 1991 at the age of 91. On April 4, 1999, Joy McLean Bosfield died.
Provenance:
The Joy McLean papers were donated to the Anacostia Community Museum in September 1985.
Restrictions:
The collection is open for unrestricted research. Use requires an appointment.
Rights:
The Joy McLean papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Included in this subseries are scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook compiled by and about Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.
2.1 A.E. Lichtman Papers
2.2 Administrative and Business Files
2.3 Correspondence
2.4 Subject Files
2.5 Financial Records
2.6 Printed Material
2.7 Research, Notes and Writings
2.8 Photographs
2.9 Audio/Sound and Visual Recording
Biographical / Historical:
The Howard Theatre, a national Historic Landmark is one the great African American theaters. Built in 1910, it is the Nation's oldest legitimate theater devoted to African American performing arts. The theater was founded and owned by the white-owned National Amusement Company. Andrew Thomas served as manager of the theater during its early years. Sherman Dudley, an actor, producer, and entrepreneur, leased and ran the theater beginning in 1922. Abe Lichtman, a white owner of a chain of movie houses took over the theater in 1926. The theater flourished during the early decades of the 20th century and became a staging area for black entertainment industry during the 1920s, and 1930's. Among some of the most notable to perform at the theatre are Billie Holiday, Cab Calloway, Duke Ellington, Charlie Parker, Louis Armstrong, Sara Vaughn, Pearl Bailey, Ella Fitzgerald, and Count Basie. By the late 1960's, due in part to racial desegregation and the 1968 riots the theatre had difficulty attracting patrons. The theater closed in 1970 but due to the efforts of the Howard Theatre Foundation reopened in 1975. Unfortunately five years later in 1980 the theatre closed for a second time. The Theatre reopened in 2012.
Due to the efforts of the Howard Theatre Foundation the theatre was placed on the national register of historic places on February 15, 1974. Three years after the close in 1975 the theatre reopened. On March 10, 1977 the theatre was acquired from the Small Business Administration in part with a grant from the United Black Fund. The Howard Theater Foundation was established in 1973 by a group of local citizens to reestablish and preserve the cultural legacy of the Howard Theatre. The foundation purposes was to preserve the Howard Theatre as a viable cultural institution, foster recognition and appreciation of the African American contribution to the performing arts, foster recognition of outstanding local talent, provide suitable facilities for the presentation of theater, music and dance, and to institute programs for training and development of new talent in theatre, music and dance. The Howard Theatre Foundation collaborated with various cultural and historic organizations, including, Operation Heritage Inc., Tomorrow's World Art Center, and NUV-1.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.
