Search Results

Creator:

Smithsonian Institution  Search this

National Public Radio  Search this

National Public Radio  Search this

Reagon, Bernice Johnson, 1942-  Search this

Extent:

27 Cubic feet

Type:

Collection descriptions

Archival materials

Interviews

Audiotapes

Date:

1994

Scope and Contents:

Original performance and interview audio recordings, audio outtake materials, program masters, and finished program tapes from the Smithsonian Institution/National Public Radio series WADE IN THE WATER. Collection documents the influence of religion on various African American sacred and secular music styles, including gospel, spirituals, classical, popular, and jazz.

Arrangement:

Collection is arranged into one series.

Provenance:

Made at the national Museum of American History, 1992.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Unrestricted research use of reference audio cassettes only. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Reproduction fees for commercial use. Copyright restrictions. Contact repository for information.

Topic:

Jazz  Search this

Gospel music  Search this

Radio programs, Musical  Search this

African Americans -- Music  Search this

Music -- Religious aspects  Search this

Church music  Search this

Genre/Form:

Interviews

Audiotapes

Citation:

Wade in the Water Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0516

See more items in:

Wade in the Water Radio Series Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0516

Creator:

Adams, Joe, 1922-  Search this

Morehead, Howard, 1926-2003  Search this

Names:

Charles, Ray, 1930-2004  Search this

Extent:

1 Cubic foot (3 boxes and 1 oversize folder)

Type:

Collection descriptions

Archival materials

Photographs

Letters (correspondence)

Scrapbooks

Date:

1948-1980

Summary:

Photographs, scrapbooks, and other materials documenting the career of Joe Adams, a Los Angeles radio announcer and movie and television actor, who later became Ray Charles's manager.

Scope and Contents:

The collection is comprised of photographs, correspondence, certificates, magazines and scrapbooks of newspaper clippings dating from 1947-1980. The materials document Adams's career in radio and film, as well as touching upon his military experience with the Tuskegee Airmen. Various documents and newspaper features depict Adams's relationship with a multitude of local and national celebrities; of particular note is the long list of musicians represented, such as Ella Fitzgerald and Frank Sinatra. Public figures, including several former mayors of Los Angeles and members of law enforcement, also appear.

The collection also includes magazines featuring articles on Adams and other celebrities and public figures. Adams appears in many advertisements for a variety of products that sponsored his radio shows. There are photographs, programs and advertisements for the movies, shows and plays in which Joe Adams appeared, including Disc Jockey and Carmen Jones. There is correspondence from public relations employees during the Ray Charles tour and from other radio personalities and journalists. There are also several certificates given in appreciation for Adams's community service. Newspaper articles and photographs feature "Joe Adams Day," declared by the mayor of Los Angeles, and document Adams's overseas USO tour to entertain the men and women of the Armed Forces, which was also broadcasted on Armed Forces Radio.

Series 1, Photographs, circa 1947-1980; undated, documents Joe Adams's personal and professional life. The photographs are arranged by subject, including Adams's work in radio and film, his public appearances, celebrities, Joe Adams Day, his work with the military and his later years. There is some overlap among the subject categories. The majority of the photographs cannot be dated. Featured programs, places, organizations and celebrities include the 7th United States Infantry Division, Emma Adams, Jim Ameche, Armed Forces Radio, Milton Berle, Eugene Biscailuz, Ruth Bowen, Fletcher Bowron, Tom Bradley, Tommy Butler, California Artichoke Foundation, Ray Charles, Nat King Cole, Paul Compton, Billy Daniels, Disc Jockey, the movie, Egyptian Shriners, Duke Ellington, Ella Fitzgerald, Suzette Gomez, Amos Green, Lionel Hampton, Eddie Harbin, Shirley Haven, Hollywood Foreign Correspondents Association, Lena Horne, Jamaica, the Broadway play, Joe Adams Day, Danny Kaye, KDAY radio, Korea, KOWL Radio, Joe Lewis, Julie London, Nellie Lutcher, Will Martin, Clarence Metcalf, Husky Miller, MGM Studios, Roy Milton, David "Fathead" Newman, One Night Stand radio program, Pantages Nightclub, Pigalle Nightclub, Pub of Pittsburg, Pa., Lillian Randolph, Willis Reed, "Sugar Ray" Robinson, Kenny Rogers, Timmie Rogers, Ruth Bowen Agency, Wylie "Captain Death" Seldon Jr., Lionel "Chico" Sesma, George "Geo" Shearing, Frank Sinatra, "Star of Stars" Charity Show, Barry Sullivan, The Trenier Twins, The Tuskegee Airmen, USO, Viscount Airlines, Ches Washington, Dinah Washington, and Ben Webster.

Series 2, Scrapbooks, circa 1947-1954; undated, consists of newspaper articles, photographs, advertisements, and playbills. The scrapbooks document Adams's start in radio, his permanent appointment to KOWL, his service in the military and the inner-city community, his unique perspective and his philanthropy. They contain newspaper advertisements for Adams's radio shows on KOWL and the Armed Forces Radio Broadcasts. The scrapbooks include advertisements for his television shows as well as events and benefits where Adams was the featured emcee. Ink drawings of Adams used to advertise various products also appear in the newspaper articles. There are news stories on Joe Adams Day, a bus accident involving Lionel Hampton, the release of Ray Charles's song "Georgia" (1979), and advertisements for the movies Carmen Jones and The Manchurian Candidate. Numerous photographs document Adams's broadcasts and musical performances domestically and abroad as well as his interactions with many celebrities in the musical world. Aside from some newspaper clippings that include the date of publication, the contents of the scrapbooks are not dated. Featured programs, places, organizations and figures include Emma Adams, Ira Adams, Don Allen, Armed Forces Radio, Pearl Bailey, George A. Baron, Count Basie, Harry Belafonte, Irvin Berman, Eugene Biscailuz, Manny Borun, Fletcher Bowron, Charley Browning, Carmen Jones, the movie, Ray Charles, Club de Lisa, Arthur Croghan, Clay Cunningham, Dorothy Dandridge, Sammy Davis Jr., Warren Dorn, Billy Eckstine, Egyptian Shriners, Bob Ellis, Kay Francis, Robert D. Funk, Georgia (by Ray Charles), Lee Gillette, Golden Grooves radio show, Curley Hamner, Lionel Hampton, Hunter Hancock, Addie Hansen, Leon Helflin, Billie Holiday, H. Claude Hudson, Jamaica, the Broadway play, Al Jarvis, Herb Jeffries, Joe Adams Day, Leon King, KOWL Radio, June Kristy, Chuck Landis, Mauri Lyn, The Manchurian Candidate, MGM Studios, Husky Miller, Lucky Millinder, Tim Moor, Otto Preminger, Paul Price, Lillian Randolph, Leonard J. Roach, Caesar Romero, Nina Russell, Lionel "Chico" Sesma, Jerry Simons, Mike Thompson, Sonny Tufts, Sarah Vaughan, T-Bone Walker, Dinah Washington, Leon H. Washington Jr. and Artie Wayne.

Series 3, Other Materials, 1948-1980; undated, includes magazines, correspondence, certificates and newspaper articles. The magazine cover stories are dedicated to fashion or to public figures such as John F. Kennedy, but they each contain a feature on Joe Adams and his involvement in the broadcast industry and the jazz music scene. There are fashion photographic spreads using musical stars that Adams knew well such as Nat King Cole. Two certificates thank Adams for community service to the Hollywood Canteen and the Hollywood Junior Chamber of Commerce (the "Out of this World series" celebrity baseball game). The correspondence is from other members of the broadcasting industry and pertains to matters in and outside of the business realm. The series also contains publicity concerning Ray Charles's tour through South Africa and the story of how Adams came to be his manager. Aside from magazines and newspaper clippings where the date of publication is featured, the majority of these materials are not dated. Featured programs, places, organizations and figures include Ami Artzi, Eddie Chamblee, Ray Charles, The Ray Charles Band, Nat King Cole, Madi Comfort, The Cotton Club, Arthur Croghan, Hilary Falkow, Roberta Flack, Joe Greene, Hollywood Canteen, Hollywood Junior Chamber of Commerce, Lena Horne, Charlotte Moton Hubbard, Karen Hutchinson, Jamaica, the Broadway play, Lyndon B. Johnson, James Earl Jones, Danny Kaye, John F. Kennedy, Lew Lauria, Robert Lewis, Sonny Liston, Paul R. McClure, Ricardo Montalban, Willa Moultrie, Lee Harvey Oswald, Breau Palmer, and Jack Ruby.

Arrangement:

The collection is divided into three series.

Series 1, Photographs, circa 1947-1980

Series 2, Scrapbooks, circa 1947-1954; undated

Series 3, Other Materials, 1948-1980; undated

Biographical / Historical:

Joe Adams was born on April 11, 1924. A native of Los Angeles, California, he wanted to work in radio at a very young age. Despite the racial discrimination that existed in the radio and television industry, Adams pressed on, practicing public speaking in vacant lots. He also gained confidence serving domestically as a pilot with the 332nd Tuskegee Airmen Fighter Group during World War II. After his time in the service, Adams was able to get occasional radio work at Hollywood stations such as KFWB, KPAS, KFOX, and KGFJ. In 1946, Adams got the chance to host a fifteen minute radio show at KOWL. He also married his wife, Emma Millhouse, that year.

Within two years, Joe Adams was hosting the number one-rated live radio show in Los Angeles, and the show had expanded from fifteen minutes to five hours. Adams was also able to sign on fifty-six sponsors for his show, a number previously unheard of. This was the beginning of a career that would last for more than twenty years.

During the 1940s and 1950s, Adams garnered success both on the radio, the small screen, and the big screen. He had two television shows, Adams Alley and Joe Adams Presents, made famous for the many music and film stars that Adams featured. Some of the celebrities Adams hosted included Jerry Lewis, Duke Ellington, The Trenier Twins, Ella Fitzgerald, Billie Holiday and Count Basie. Ellington played two themes for Adams's shows, "Take the 'A' Train" and "Smada" ("Adams" backwards). Both songs were written by jazz great, Billy Strayhorn. In 1954, Adams fronted a band that was part of the first USO tour to entertain troops stationed in Korea. Among the band members was actress-turned-singer, Shirley Haven.

Adams opened a nightclub, Pigalle, which was wildly popular in Los Angeles. In addition to being one of the first radio personalities to do a simulcast radio and live show by appearing live at the Paramount Theater in downtown Los Angeles, Adams was the first African American to be featured in an on-air, West Ccoast network radio show.

Adams appeared in nearly thirty movies, including the hit Carmen Jones (1954), where he played Husky Miller, and the original version of The Manchurian Candidate (1962). In 1958, Adams became the first African American to receive the Foreign Correspondents Award for Outstanding New Actors from the Hollywood Foreign Correspondents Association. The Foreign Correspondents Award would later be called The Golden Globe. In 1957, Adams retired from radio and television to star in the Broadway play, Jamaica, with Lena Horne and Ricardo Montalban.

Adams made many famous friends during his career in broadcasting and film; one of the best known was Ray Charles. After inviting Adams on tour in 1959, Charles asked Adams to become his manager. Adams agreed (although to date, Adams humorously claims, he was never formally hired), and he managed Charles until the musician's death in 2004. Adams helped position Charles for fame through such venues as a long line of Pepsi commercials and the creation of both a Ray Charles studio and a company. Adams even arranged for Charles to tour in South Africa, and he served as both the producer of the Ray Charles Show and the wardrobe designer for Charles and his backup singers, the Raelettes.

Adams also acquired expertise outside the broadcasting and music business. He became a licensed commercial pilot and an authority in law. His philanthropy and his tireless work for African Americans and inner-city communities have been recognized by many organizations, from the Egyptian Shriners to the Urban League. Even his home town of Los Angeles has recognized Adams's efforts, making March 14th the official "Joe Adams Day."

Sources

The National Visionary Leadership Project. "Joe Adams." http://www.visionaryproject. org/adamsjoe (accessed June 20, 2008).

Ray Charles Official Website. "Joe Adams." http://www.raycharles.com/the_legacy_ joe_adams.html (accessed June 28, 2008).

Separated Materials:

The Division of Culture and the Arts holds artifacts related to this collection, including three jackets and one blue tuxedo worn by Joe Adams during his onstage career with Ray Charles and two scripts from the movie The Manchurian Candidate (1962) and the Broadway musical, Jamaica. See accession number 2005.3098.

Provenance:

Collection donated by Joe Adams.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Radio broadcasting  Search this

African American radio stations  Search this

Broadcasting  Search this

Genre/Form:

Photographs -- 20th century

Letters (correspondence) -- 20th century.

Scrapbooks -- 20th century

Citation:

Joe Adams Papers, 1948-1980, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0908

See more items in:

Joe Adams Papers

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0908

Collector:

Rutgers University. Institute of Jazz Studies  Search this

Names:

Ellington, Duke, 1899-1974  Search this

Extent:

1.5 Cubic feet (4 boxes)

Type:

Collection descriptions

Archival materials

Interviews

Oral history

Audiotapes

Date:

1971-1986.

Scope and Contents:

Collection consists of twenty-five (25) 7-inch reel-to-reel audiotapes of nine (9) radio interviews documenting the career of Duke Ellington as composer and musician.

Arrangement:

Collection arranged into one series.

Provenance:

Collection donated by Dan Morgenstern, Institute of Jazz Studies, Rutgers University, November 7, 1992.

Restrictions:

Collection is open for research but the master tapes are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Occupation:

Composers -- 20th century  Search this

Topic:

Music -- 20th century -- United States  Search this

Musicians -- 1970-1990 -- United States  Search this

Jazz musicians -- 1970-1990 -- United States  Search this

Jazz -- 1970-2000  Search this

African American composers  Search this

Genre/Form:

Interviews -- 1970-1990

Oral history -- 1970-1990

Audiotapes -- 1970-1990

Citation:

Rutgers University Collection of Radio Interviews about Duke Ellington, 1971-1986, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0328

See more items in:

Rutgers University Collection of Radio Interviews about Duke Ellington

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0328

Creator:

Smithsonian Institution  Search this

Greenlee, Marcia (oral historian)  Search this

Willard, Patricia  Search this

Names:

Duke Ellington Orchestra  Search this

Aasland, Benny  Search this

Babs, Alice  Search this

Bell, Aaron  Search this

Bellson, Louis  Search this

Boatwright, Ruth Ellington, 1914-2004  Search this

Bolling, Claude  Search this

Bridgers, Aaron  Search this

Burrell, Kenny  Search this

Carneiro, Luis  Search this

Celley, Al  Search this

Cohen, Oscar  Search this

Cole, Maria  Search this

Cook, John  Search this

Cooper, Buster  Search this

Courtney, Shirley  Search this

Dance, Helen Oakley  Search this

Dance, Stanley  Search this

Davis, Kay  Search this

Ellington, Duke, 1899-1974  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Granz, Norman  Search this

Hamilton, Jimmy  Search this

Jeffries, Herb  Search this

Jones, Herbie  Search this

Jones, Max  Search this

Kerr, Brooks  Search this

Lamb, John  Search this

Lowe, Arnold "Jim"  Search this

McCuen, Brad  Search this

Roche, Betty  Search this

Sanders, John  Search this

Sherrill, Joya  Search this

Szterenfeld, Alejandro  Search this

Terry, Clark  Search this

Udkoff, Evelyn  Search this

Udkoff, Robert, 1918- (businessman)  Search this

Vono, Caio  Search this

Wein, George  Search this

Woode, James  Search this

Woodman, Britt  Search this

Extent:

15 Cubic feet (22 boxes)

Type:

Collection descriptions

Archival materials

Oral history

Interviews

Date:

1989- 1993

Summary:

Thirty-nine oral history interviews created by the Archives Center with Duke Ellington's music and business associates. The interviews cover a range of topics including Ellington as a musician, the significance of race in Ellington's work and life, Ellington and the economics of the music business, Ellington as international cultural figure, and Ellington and the historical record.

Scope and Contents:

Interviews with musicians who performed with Ellington, producers and other business associates, Ellington scholars and fans, and family members documenting personal and musical relationships with Duke Ellington.

Arrangement:

The collection is arranged in one series.

Series 1, Oral History Tapes, 1989-1993

Biographical / Historical:

The collection was created by the Archives Center to provide research background about the Duke Ellington Orchestra. It complements a growing number of Archives Center collections related to Ellington and American music. The interviewees were asked about their own backgrounds, their personal and musical relationships with Duke, and their assessment of Ellington's strengths and weaknesses and his role in twentieth century American music. The discussions centered on five major themes including Ellington as a musician, the significance of race in Ellington's work and life, Ellington and the economics of the music business, Ellington as international cultural figure, and Ellington and the historical record. Recollections range from approximately the 1940s through the mid 1970s.

The thirty-nine Interviews were conducted by oral historian Marcia Greenlee and former Duke Ellington publicist Patricia Willard with former Ellington music and business associates.

Related Materials:

Materials in the Archives Center

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Al Celley Collection of Duke Ellington Materials (AC1240)

Duke Ellington Collection (AC0301)

Edward and Gaye Ellington Collection (AC0704)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

New York Chapter of the Duke Ellington Society Collection (AC0390)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ernie Smith Jazz Film Collection (AC0491)

Provenance:

Collection created by the National Museum of American History, 1989-1993.

Restrictions:

Collection is open for research but the master tapes are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Copyright and commercial use restrictions. Contact Archives Center staff for information.

Topic:

Jazz  Search this

Jazz musicians -- Interviews -- 1989-1991 -- United States  Search this

African American musicians  Search this

Genre/Form:

Oral history -- 1980-2000

Interviews -- 1980-2000

Citation:

Duke Ellington Oral History Project, 1989-1993, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0368

See more items in:

Duke Ellington Oral History Project

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0368

Interviewer:

Center for Advertising History, Archives Center  Search this

Ellsworth, Scott, Dr.  Search this

Creator:

Nike, Inc.  Search this

Names:

Adidas  Search this

Asics  Search this

Nike, Inc.  Search this

Wieden & Kennedy  Search this

Interviewee:

Onitsuka  Search this

Bedbury, Scott  Search this

Bowerman, William  Search this

Brown, John A.  Search this

Champ, Janet  Search this

Clarke, Tom  Search this

Clow, Lee  Search this

Conlon, Jerry  Search this

Davenport, Bill  Search this

Dolan, Liz  Search this

Donohue, Richard  Search this

Farris, Nelson  Search this

Hale, Cindy  Search this

Hoffman, Susan  Search this

Jackson, Bo  Search this

Jaqua, John  Search this

Johnson, Jeff  Search this

Kitami, Shoji  Search this

Knight, Phillip  Search this

McConnell, Pam  Search this

Moore, Charlotte  Search this

Moore, Kenny  Search this

Moore, Peter  Search this

Onitsuka, Kimachiro  Search this

Parker, Mark  Search this

Riswold, Jim  Search this

Robinson, Charles  Search this

Sakaguchi, Tokio  Search this

Stobie, Patsy Mest  Search this

Strasser, Robert (marketing executive)  Search this

Thomashow, Mark  Search this

Wieden, Dan  Search this

Extent:

12 Cubic feet (25 boxes)

Type:

Collection descriptions

Archival materials

Oral history

Videotapes

Tear sheets

Clippings

Audiotapes

Fliers (printed matter)

Advertising fliers

Commercials

Interviews

Place:

Beaverton (Or.)

Portland (Oregon)

Date:

1958 - 1992

Summary:

The Nike Advertising Oral History and Documentation Collection is the result of a two-year study of advertising of Nike athletic shoes. The effort was supported in part by a grant from Nike, Inc. Thirty-one oral history interviews were conducted with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy. A variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that documents, in print and electronic media, the history and development of the company and its advertising campaigns.

Scope and Contents:

This collection consists of thirty-one oral history interviews conducted by historian Scott Ellsworth with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy and related materials collected by the Center for Advertising History staff. There are audiocassettes (original and reference), 1/4" open reel audiotape (master), 3/4" videotapes, and VHS videotapes.

Arrangement:

The collection is rganized into seven series.

Series 1, Research Files, 1979-1992

Subseries 1.1, Materials Compiled by the Center for Advertising History, 1979-1992

Subseries 1.2, Material Compiled by Nike, 1982-1992

Series 2, Interviewee Files, 1990-1992

Series 3, Oral History Interviews, 1990-1992

Subseries 3.1, Original Audiotapes (audio cassette), 1990-1992

Subseries 3.2, Researcher copies (audio cassette), 1990-1992

Subseries 3.3, Preservation masters (1/4 inch audiotape), 1990-1992

Series 4, Television Commercials, 1977-1990 and undated

Subseries 4.1, Master Copies, 1977-1990 and undated

Subseries 4.2, Researcher copies, 1977-1990 and undated

Series 5, Print Advertisements, 1985-1993

Subseries 5.1, Ad Slicks, 1985-1993

Subseries 5.2, Slides, 1989 and undated

Series 6, Trade Catalogues and Photographs, 1958-1982

Series 7, Administrative Files, 1982-1990

Biographical / Historical:

The Nike Advertising Oral History and Documentation Collection is the result of a two-year study of advertising of Nike athletic shoes. The effort was supported in part by a grant from Nike, Inc. Thirty-one oral history interviews were conducted with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy. A variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that documents, in print and electronic media, the history and development of the company and its advertising campaigns.

The consistently high quality of this advertising, its award-winning artistic and creative innovations, and its contribution to the fitness movement in America combine to make this a significant chapter in the history of contemporary American advertising.

One aim of the project was to record the process of decision-making in the creation of successful ad campaigns, a process not often documented in the surviving records. Topics addressed in the oral history interviews include the origins of Nike and Nike advertising, the relationship between corporate culture and advertising, the place of advertising in overall marketing strategy, the development of brand image and identity, the nature of the creative process in producing effective advertising images, the use of athletes as endorsers, and Nikes'simpact on the popular culture. Well-known campaigns are examined in depth, including Nikes's, use of the Beatles tune "Revolution", the "I Love L.A Spots" produced in conjunction with the 1984 Olympics, the controversial billboards campaign, the award-winning "Bo Knows" spots, and a series of commercials directed by African-American filmmaker Spike Lee. The collection is also a rich source of visual imagery for researchers interested in the portrayal of athletes, women and African-Americans.

Related Materials:

Materials in the Archives Center

Alka-Seltzer Documentation and Oral History Collection, 1953-1986 (AC0184)

N. W. Ayer Advertising Agency Records, 1849-1851, 1869-1996 (AC0059)

Campbell Soup Advertising Oral History and Documentation Project, 1904-1989 (AC0367)

Cover Girl Make-Up Advertising Oral History and Documentation Project, 1959-1990 (AC04374)

Federal Express Oral History and Documentation Project Collection, 1972-1987 (AC0306)

Caroline R. Jones Collection, circa 1942-1996 (AC0552)

Marlboro Oral History and Documentation Project, circa 1926-1986 (AC0198)

Pepsi Generation Oral History and Documentation Collection, 1938-1986 (AC0092)

Rob and Julie Strasser Collection, 1970-1990 (AC0525)

Provenance:

The collection was donated by Nike, Inc. in 1991 and 1992.

Restrictions:

Collection is open for research but the master (preservation) tapes are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Women in the advertising industry  Search this

Sports for women  Search this

Sports  Search this

Women in advertising  Search this

Television advertising  Search this

Signs and signboards -- 1970-2000  Search this

Slogans  Search this

Marketing  Search this

Music in advertising  Search this

Commercial art  Search this

Endorsements in advertising  Search this

Broadcast advertising  Search this

Business -- History  Search this

Basketball  Search this

advertising -- History  Search this

Track and field  Search this

Copy writers  Search this

Athletes  Search this

Shoes -- 1970-2000  Search this

Motion picture producers and directors  Search this

African American athletes  Search this

Running -- 1970-2000  Search this

Running shoes -- 1970-2000  Search this

Athletic shoes -- 1970-2000  Search this

Shoe industry -- 1970-2000  Search this

Genre/Form:

Oral history

Videotapes

Tear sheets

Clippings

Audiotapes

Fliers (printed matter)

Advertising fliers

Commercials

Interviews -- 1970-1990

Citation:

Nike Advertising Oral History and Documentation Collection, 1958-1992, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0448

See more items in:

Nike Advertising Oral History and Documentation Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0448

Performer:

Basie, Count, 1904-  Search this

Webster, Ben  Search this

Armstrong, Louis, 1901-1971  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Jamal, Ahmad, 1930-  Search this

Robinson, Bill, 1878-1949  Search this

Davis, Miles  Search this

Collector:

Smith, Ernie  Search this

Names:

Apollo Theatre (New York, N.Y.)  Search this

Extent:

30 Cubic feet (352 film reels , 16 mm)

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Place:

Harlem (New York, N.Y.) -- 20th century

Date:

1894-1979

Summary:

More than 300 reels of 16mm black and white and color film, silent and sound, fiction and documentary motion picture film documenting jazz and related musical performances, social and popular dance styles and performances, jazz musicians, performance locales, and documentation of African-American popular culture. A list of featured performers in the collection is shown below. The films are frequently compilations produced by Smith for lectures.

Scope and Contents:

The collection consists of 352 reels of 16mm motion picture film. Most of the film is 16mm black and white and sound (composite optical track print), although a few titles are silent or in color. The collection is comprised of compilation reels created by Ernie Smith to accompany his lectures, topical compilation reels created by Ernie Smith, compilation reels created by the Archives Center, and single title reels. The Archives Center produced master and reference video copies using a wet-gate telecine film-to-tape transfer system. Titles were often combined to allow for increased ease of handling, storage, and duplication.

The collection is strongest in the areas of jazz dance styles including Lindy Hop and tap, overviews of jazz musical performers and styles; specific jazz musicians and performers including Duke Ellington, Louis Armstrong, Cab Calloway, Woody Herman, Artie Shaw, Bob Crosby, Lionel Hampton, Count Basie, Jack Teagarden as well as a wide range of female vocalists; and documentation of the New York jazz and club scene. The collection includes feature films and excerpts from feature films, Soundies and other film shorts, television kinescopes, and documentary films.

Arrangement:

The collection is arranged into one series and is not arranged in accordance with standard archival procedures. The breadth of the collection and the existence of so many multiple topic and/or performer compilation reels made it impossible to impose traditional archival series order. Therefore, each reel is described at the item level in the container list.

Biographical / Historical:

Ernie Smith began collecting jazz-related film in 1955. He wrote the entry about jazz film in the "Grove Dictionary of Jazz," and worked with Marshall Stearns on the book "Jazz Dance."

Ernest (Ernie) Smith began collecting jazz and jazz dance films during the mid-1950s. An Art Director for a New York advertising agency, Smith had a long-standing interest in jazz and jazz dance that began during his youth in Pittsburgh, Pa. Early on, Smith discovered that jazz music was best appreciated while dancing. He became an accomplished Lindy Hopper, frequenting both white and African American ballrooms.

His job at the advertising agency supported Smith's two passions - painting and jazz dance and music. Smith was also a film enthusiast so, in 1954, after taking a jazz class at the New School taught by Marshall Stearns, a leading jazz scholar, he began collecting examples of jazz and jazz dance on film. In the process of creating his film collection, Smith became one of the leading authorities on jazz and jazz dance films. He collaborated with Stearns on the 1964 book Jazz Dance, compiling the book's jazz dance film listing. He also wrote the extensive entry on jazz film for the 1988 edition of New Grove Dictionary of Jazz .

Smith built his film collection by identifying films of potential interest and acquiring them through trade and purchase. He created lecture reels on specific topics -- the history of jazz, social dance, tap dance, Duke Ellington, Lindy Hop -- and presented lecture/screenings nationally and internationally. He also provided footage for numerous documentaries and maintained active relationships with filmmakers, other film collectors, jazz scholars, the swing dance community, and musicians.

Ernie Smith donated his film collection to the Archives Center in 1993. He continues to lecture and participate in swing dance activities, but he devotes the majority of his time to painting and related artistic pursuits.

Provenance:

The Archives Center acquired the collection from Ernie Smith in 1993.

Restrictions:

Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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:

Tap dancing -- 1930-1970  Search this

Motion pictures and music -- 1930-1970  Search this

Dancing in motion pictures, television, etc. -- 1930-1970  Search this

Television and music -- 1930-1970  Search this

Jazz -- 20th century -- United States  Search this

Jazz musicians -- 1930-1970  Search this

Jazz dance -- 1930-1970  Search this

African Americans in the performing arts -- 1930-1970  Search this

Genre/Form:

Motion pictures (visual works) -- 20th century

Citation:

Ernie Smith Jazz Film Collection, Archives Center, National Museum of American History.

Sponsor:

America's Jazz Heritage: A Partnership of the The Lila Wallace-Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies.

Identifier:

NMAH.AC.0491

See more items in:

Ernie Smith Jazz Film Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0491

Creator:

Bernholm, Jonas, 1946-  Search this

Extent:

8 Cubic feet

Type:

Collection descriptions

Archival materials

Articles

Notes

Correspondence

Newsletters

Press releases

Date:

1976-1991.

Summary:

Collection documents Jonas Bernholm's interest and work promoting African American Music, specifically rhythm and blues.

Scope and Contents note:

Series 1: Correspondence, 1972-1994, undated

This series is divided into four subseries: Subseries 1.1 (Artists), Subseries 1.2 (Collaborators), Subseries 1.3 (Douglas Seroff), and Subseries 1.4 (Record Companies). Subseries 1.1 (1972-1993) consists mostly of correspondence exchanged between Bernholm and recording artists, as well as letters about the artists from their agents, family members, etc. Other types of materials included in this subseries are: copies of newspaper clippings, death certificates, contracts, and receipts. This subseries is, mostly, in alphabetical order by the artist's last name. Subseries 1.2 (1978-1985) is largely a collection of letters between Bernholm and those helping him create his albums. Topics include: photos, financial transactions and technical information about creating an album. Bills and receipts are also found in the subseries. Two folders deal specifically with correspondence Bernholm exchanged between Felix Prochaska and Lou Doggett. Subseries 1.3 (1979-1986) documents the correspondence between Bernholm and independent music scholar, music producer and businessman Douglas Seroff. It includes an exchange of letters regarding the start of a new record label for gospel music and the creation and reissue of gospel LPs. It also includes auction results, bills, postage labels, and information on a 1985 Grammy nomination. Subseries 1.4 (1977-1990) consists of correspondence between Bernholm and such recording companies as Clanka Lanka, Rounder Records, Big J Records, Blues King Records, Bogus Records, J.D. Productions, Fleetville Records, La Val Records and Relic Records. Also included are contracts/agreements, statements, artist promotion, as well as information on taping sessions and royalties.

Series 2: Promotional/Publicity Materials, 1971-1991, undated

This series is divided into two subseries: Subseries A (Promotion and Collaborator Correspondence) and Subseries 2.2 (Fan Club Materials). Subseries 2.1 (1976-1991) consists mostly of correspondence about artist or album promotion; including published articles, photographs, and information about concerts, tours, and radio stations throughout the US and Europe. Subseries B contains artist biographies, newsletters, promotional material, and information regarding contemporary artist-related events from record companies, talent agencies and official fan clubs.

Series 3: Research Materials, undated

This series is divided into four subseries: Subseries 3.1 (Artists), Subseries 3.2 (Record Company), Subseries 3.3 (Ray Funk), and Subseries 3.4 (Record Labels). Subseries A is composed of album liner notes for individual artists, as well as photocopies of magazine/newspaper articles that detail biography and album information for several artists. Other information includes correspondence about artists, and album song listings. Subseries 3.2 is an alphabetical listing, by record company name, of their discographies. Subseries C includes music related articles and correspondence from and by Alaskan writer, music aficionado and radio host Ray Funk. Copies of artist photos from Norbert Hess are also available. Subseries 3.4 contains listings of songs from specific artists and the labels they can be found on.

Series 4: Production Materials, undated

This series is composed of production notes used in the assembly of albums. This includes artist biographies and discographies, as well as song listings for specific albums. This subseries is organized alphabetically by artist.

Arrangement:

Series 1, Correspondence, 1972-1994, undated

Series 2, Promotional/Publicity Materials, 1965-1991, undated

Series 3, Research Materials, undated

Series 4, Production Materials, undated

Biographical/Historical note:

Jonas Bernholm (1946-) is a music executive, and African-American music aficionado from Sweden. He is best known for reissuing works of jazz, blues, and R&B artists on his own labels; the most well-recognized being Route 66, and Mr. R&B. His passion was ignited by the energy and charisma seen in the likes of Elvis Presley and Little Richard. He began collecting music from abroad and eventually visited the United States during the summer of 1968. During his trip Bernholm realized that many recording artists from the 40s and 50s were out of work and their music was no longer in circulation. Upon his return to Sweden he resolved to reissue the work of many artists on his own labels. His labels included: Route 66, MR R&B, Jukebox Lil, Whiskey Women, Earth Angel , Dr. Horse, Crown Prince, Gospel Jubilee, and Blues Boy.

Related Materials:

The Division of Music, Sports and Entertainment holds artifacts related to this collection including: posters and sound recordings. See Accession #1996.0153.

Provenance:

Collection donated by Jonas Bernholm, 1996.

Restrictions:

Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.

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:

Blues musicians  Search this

African American music -- 20th century  Search this

African American musicians  Search this

Popular music -- Publishing and writing  Search this

Rhythm and blues music  Search this

Genre/Form:

Articles -- 1950-2000

Notes

Correspondence -- 1970-2000

Newsletters -- 20th century

Press releases

Citation:

Jonas Bernholm Rhythm and Blues Collection, 1976-1991, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0551

See more items in:

Jonas Bernholm Rhythm and Blues Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0551

Consultant:

Richardson, Deborra  Search this

Collector:

Reagon, Bernice Johnson, 1942-  Search this

Names:

Chick Webb Orchestra  Search this

Hampton University Choir  Search this

Harmonizing Four  Search this

Jubilee Singers  Search this

Dett, Nathaniel  Search this

Dorsey, Thomas A.  Search this

Ellington, Duke, 1899-1974  Search this

Tharpe, Rosetta  Search this

Tindley, Charles  Search this

Extent:

6.55 Cubic feet (17 boxes)

Type:

Collection descriptions

Archival materials

Date:

circa 1822-1994

Summary:

The collection documents the customs and culture of black gospel song and its performance in 19th- and 20th-century America. Dr. Reagon collected photographs, sheet music, and other primary and secondary sources chronicling the development and legacy of this medium, from the Civil War to the Civil Rights movement, from blues to Gospel to classical to jazz.

Among the subjects included in this collection are trailblazers such as Charles Tindley, Thomas A. Dorsey, Rosetta Tharpe, Duke Ellington, and Nathaniel Dett. Noted performers are the Fisk Jubilee Singers, the Harmonizing Four, the Hampton University Choir, and the Chick Webb Orchestra.

Scope and Contents:

The Bernice Johnson Reagon Collection of the African American Sacred Music Tradition documents the music, and the society, history, and customs from which it emerged. The materials were collected by Dr. Reagon during her tenure as Director of the Program in Black American Culture, Curator, and Curator Emerita at the National Museum of American History, Smithsonian Institution (1977-1997). The records span the nineteenth century and greater part of the twentieth century. The collection is important because it allows an understanding of the interconnectivity of African American musical forms. Gospel, Jazz, and Protest Songs document the African experience in America through verse and melody. Dr. Reagon collected photographs, sheet music and other primary and secondary sources chronicling the development of African American sacred music tradition from its birth during the period of slavery through the creation of concert spiritual, gospel music, jazz and the performance of protest song in the century following Emancipation.

The records, which measure approximately six linear feet, contain photographs, sheet music, and what Dr. Reagon calls "cultural files" pertaining to figures in, types of, and history of African American music. The cultural file material formats include book, news and magazine articles, programs, bio-sketches, and music. Information about personalities such as Marian Anderson, La Verne Baker, Dorothy Love Coates, Nathaniel Dett, Thomas Dorsey, Frederick Douglass, Duke Ellington, and the Golden Gate Quartet are contained among the collection materials. Also, there are items on gospel trailblazers such as Charles Tindley, Thomas A. Dorsey, and Rosetta Tharpe. In addition, the collection features materials connected to historians and other scholars who participated in a number of teams Reagon organized to carry out specific research initiatives in sacred music traditions and the larger African American experience.

The collection, which was arranged by Dr. Reagon and staff, consists of four parts: a cultural file, a sheet music file, a photography file, and a negative file. The cultural file includes primary documents such as programs from historic performances, personal letters, press releases, and programs from scholarly conferences as well as secondary materials such as journal articles, excerpts from books, and biographical notes. The photography (and negative) files contain photographs of performers and scholars who have participated in the evolution of the African American sacred music tradition. The sheet music file encompasses songbooks and individual pieces of music.

Series 1: Cultural Files, ca. 1836 - 1994: The bulk of materials date from the 1920's to the 1960's. Four document boxes of materials which relate to prominent personalities, groups and events that contributed to the popularization of African American sacred music. Also included in this series is information on slave songs, the Civil War, the Black Church, the Civil Rights Movement, and popular music culture.

Series 2: Sheet Music, ca. 1901 - 1993: The bulk of materials date from the 1900's to the 1950's. Three document boxes of sacred music sheets and songbooks including concert, spiritual, and gospel arrangements. Also included are a few popular compositions, some written by classically trained musicians.

Series 3: Negative Files, ca. 1880's - 1993: The bulk of the materials ranges from 1940 to 1965. Two boxes document boxes of photographic negatives depicting gospel music performers and performances. Included .are contact sheets and individual negatives of varying sizes.

Series 4: Photographs and Illustrations, ca. 1822 - 1993: The bulk of materials range from the 1900's to the 1980's. Eight document boxes of photographs featuring gospel performers, performances, sacred rituals, sacred organizations, Civil Rights activity , and gospel music conferences (primarily black and white).

Biographical / Historical:

Bernice Johnson Reagon, noted vocalist, musician, curator, historian, writer and civil rights activist, provided the impetus for the Smithsonian Institution's research into African American sacred song and music traditions from 1977 until ca. 1997.

Dr. Reagon was born October 2, 1942 to a rural Georgia Baptist minister (Jesse Johnson) and his wife (Beatrice Wise) whose religious influence is evident in her research and performance style. She came of age during the 1960's Civil Rights era, and was a Student Non-violent Coordinating Committee (SNCC) Freedom Singer. The SNCC Freedom Singers were an African American group whose vocal singing style was an integral element in the civil rights struggles. The Singers traveled throughout the country performing protest songs such as "We Shall Not Be Moved" and "This Little Light of Mine". Their songs reflected the Black church theology of the era, emphasizing freedom, long denied, but fervently sought by civil rights activists and the people they represented.

At one march, Reagon was jailed along with hundreds of other demonstrators. This experience taught her the importance of music as a political act. Reagon reflected on this in the book We Who Believe in Freedom: Sweet Honey in the Rock... She founded Sweet Honey in the Rock, a highly regarded female a capella ensemble dedicated to performing traditional music of the African diaspora in 1973, started working full time at the Smithsonian Institution in 1974, and earned a Ph. D. from Howard University in 1975.

Reagon's life has combined political activism with music and cultural history. She began directing the Smithsonian's Program in Black American Culture in 1976. In 1988 she became a curator at the National Museum of American History and after retirement in 1993 continued her work in African American songs of protest and sacred traditions as a curator emeritus at the Smithsonian and a distinguished professor at American University.

Dr. Reagon has authored and edited numerous publications including, We'll Understand It Better By and By: African American Pioneering Gospel Composers, (Smithsonian Press, 1992) and We Who Believe in Freedom: Sweet Honey in the Rock...Still on the Journey (Anchor Books, 1993). She was principal scholar, producer and host of the National Public Radio series "Wade in the Water: African American Sacred Music Traditions (1994). Dr. Reagon has served as consultant composer and performer for several film and video projects including programs for PBS,"Eye on the Prize" (Blackside Productions) and "We Shall Overcome" (Ginger Productions), and has won a number of awards for her scholarship and pioneering work (MacArthur Fellowship, 1989; the Charles Frankel Prize,1995 and the Isadora Duncan award, 1996).

Provenance:

Collection donated by Bernice Johnson Reagon.

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:

Gospel music  Search this

Identifier:

NMAH.AC.0653

See more items in:

Bernice Johnson Reagon Collection of African American Sacred Music

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0653

Author:

Maynard, Thomas  Search this

Donor:

Clark, Julie  Search this

Clark, Julie  Search this

Extent:

1 Cubic foot (2 boxes)

Type:

Collection descriptions

Archival materials

Bills of sale

Deeds

Land titles

Slave bills of sale

Manuscripts

Manumission, deeds of

Place:

Maryland

Date:

undated

1710-1865

Summary:

A collection of a variety of legal documents that relate to slavery and African-Americans.

Scope and Contents:

This collection consists mainly of a wide vareity of court and legal documents such as, bills of sale, warrants, a manumission document, a certificate of free birth, and documents concerning debt, property, and legal obligations. The documents originated in four states: Alabama, the Carolina colony, Indiana, Louisiana, Maryland, New York, Pennsylvania, Tennessee, and Texas. They span the greatest portion of the era of slavery within what is now the United States. Most of the documents are from Lawrence County, Alabama and may have at one time been created or used as evidence in either an orphans court or civil court case. The documents are arranged in one series in chronological order.

Arrangement:

The collection is divided into 1 series:

Series 1: Legal Documents Concerning Slavery, 1710-1865, undated

Biographical / Historical:

Up until the Emancipation Proclamation and the subsequent victory of the Union forces in the Civil War, slaves were considered chattel, property that could be bought and sold. Slaves were a commodity that could be attached for non-payment of debt, used as collateral, given as bequests in a will, and were considered assets of a deceased's estate. As such, they engendered legal battles and the need for a variety of legal documents asserting one's freedom or manumission.

Provenance:

Bill of Sale of "one Negro girl named Nancy, about three years old, from Thomas Maynard to John Stephen Hale, for the sum of 30 pounds, Frederick County, Maryland, June 13, 1796." 2002 acquisition: "Receipt for a slave named Wilson", January 19, 1863, and two carte-de-visite portraits: W.B. Mitchell, July 1880, and Pleasant A. Mitchell, undated. Gifts of Julie Clark, 2008 addendum.

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:

Branding (Punishment)  Search this

Fugitive slaves  Search this

Slaves -- Emancipation  Search this

Slave trade -- Maryland  Search this

Slaveholders -- Maryland  Search this

Slavery -- United States -- Maryland  Search this

Genre/Form:

Bills of sale

Deeds

Land titles

Slave bills of sale

Manuscripts -- 18th century

Manumission, deeds of

Citation:

Legal Documents Concerning Slavery Collection, 1710-1865, undated, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0786

See more items in:

Legal Documents Concerning Slavery Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0786

Creator:

Shurr, Robert L.  Search this

Handy, W. C. (William Christopher), 1873-1958  Search this

Names:

Pace, Harry (song writer)  Search this

Extent:

0.3 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Sheet music

Letters (correspondence)

Correspondence

Photographs

Personal papers

Date:

1928

1948 - 1948

Scope and Contents note:

The collection consists of a photograph, several letters written by Handy, and several pieces of music which he published.

Handy remains among the most influential of American Blues songwriters. Handy is credited with giving Blues, its contemporary form. While Handy was not the first to publish music in the blues form, he took the blues from a regional music style with a limited audience to one of the dominant national forces in American music.

Handy was an educated musician who used folk material in his compositions. He was scrupulous in documenting the sources of his works, which frequently combined stylistic influences from several performers.

Arrangement:

Divided into 4 series: (1) Correspondence, 1928; (2) Photographs, 1948; (3) Sheet music, 1948; and (4) Robert L. Shurr papers.

Biographical/Historical note:

William Christopher Handy, a composer and music publisher, was born in Florence, Alabama on November 16, 1873. He is known as the "father of the blues" because he was the first person to collect and write the songs down which had been played by workers, illiterates, and share croppers. These original blues songs had a three line verse, a definite musical pattern which usually expressed a lament of some kind, and often ended in "ironical self -ridicule, fatalistic resignation, or absurd incongruous laughter" He also had a minstrel show band.

Among the more than sixty songs he wrote were "Memphis Blues, St. Louis Blues, Beale Street Blues, Mississippi Blues, and Joe Turner Blues." Handy wrote other secular songs, made arrangements of spirituals, and did orchestral work as a composer and conductor.

To get his music published. Handy, with Harry Pace, a songwriter, founded a music publishing house in Memphis in 1907 which was moved to New York in 1918. Among the songs his company published was "A Good Man is Hard to Find" which Sophie Tucker, a white singer, sang on Broadway and helped to make it a hit.

Handy died on March 29, 1958 in New York City. Later that year a movie based on his life was issued. It was titled "St. Louis Blues" and Nat "King" Cole played the role of Handy.

Related Archival Materials:

Received with George Washington Carver Collection, same donor.

Provenance:

Collection donated by Robert L. Shurr.

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.

Occupation:

Composers -- 20th century  Search this

Topic:

Popular music -- Publishing and writing  Search this

Blues (Music)  Search this

African American music -- 20th century  Search this

African American composers  Search this

Genre/Form:

Sheet music

Letters (correspondence) -- 1900-1950

Correspondence -- 20th century

Photographs -- 1900-1950

Personal papers

Citation:

W. C. Handy Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0132

See more items in:

W. C. Handy Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0132

Creator:

Ewin, James Lithgow (inventor)  Search this

Extent:

1 Cubic foot (1 box)

Type:

Collection descriptions

Archival materials

Articles

Correspondence

Newsletters

Notes

Patents

Press releases

Date:

1873, 1874, 1879.

Scope and Contents note:

This collection includes an English patent paper #2126 for improved vulcanizable water-proof gum, 1873, to Benjamin Joseph Barnard Mills; a U.S. patent paper #151,109 for improvement in the art of manufacturing horseshoes, 1874; and an English patent paper #1194 for improvement in street-lighting apparatus.

Provenance:

Collection donated by James Lithgow Ewin, March 13, 1894.

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:

Vulcanization  Search this

Street-lighting apparatus  Search this

Rhythm and blues music  Search this

African American music -- 20th century  Search this

African American musicians  Search this

Blues musicians  Search this

Horseshoeing  Search this

Inventions -- 1870-1880  Search this

Inventors -- 1870-1880  Search this

Popular music -- Publishing and writing  Search this

Genre/Form:

Articles -- 1950-2000

Correspondence -- 1970-2000

Newsletters -- 20th century

Notes

Patents -- 1870-1880

Press releases

Citation:

James Lithgow Ewin Patents, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0051

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0051

Maker:

Luba artist  Search this

Medium:

Wood, reptile skin, pigment

Dimensions:

H x W x D: 40.3 x 33 x 30.5 cm (15 7/8 x 13 x 12 in.)

Type:

Sculpture

Geography:

Kinshasa, Democratic Republic of the Congo

Date:

Late 19th to early 20th century

Topic:

Status  Search this

Male use  Search this

Janus-faced  Search this

male  Search this

Credit Line:

Purchased with funds provided by the Annie Laurie Aitken Endowment

Object number:

2013-6-1

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Exhibition:

Visionary: Viewpoints on Africa's Arts

On View:

NMAfA, Second Level Gallery (2193)

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys729be34bc-9985-4dc9-8d40-bfac95e4474a

EDAN-URL:

edanmdm:nmafa_2013-6-1

Collector:

Musical History, Division of (NMAH, SI)  Search this

Musical History, Division of (NMAH, SI)  Search this

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

New York (N.Y.) -- 20th century

Harlem (New York, N.Y.) -- 20th century

Washington (D.C.) -- 20th century

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.

Related Materials:

Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

Jazz -- 20th century -- United States  Search this

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Collector:

Ellington, Duke, 1899-1974  Search this

Photographer:

DeCarava, Roy  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Date:

1924-1972, undated

Scope and Contents:

Contains black and white and color photographs, contact sheets, slides, and negatives documenting Duke Ellington's career as a musician and the evolution of the Duke Ellington Orchestra between 1924 and 1972. The photographs depict the orchestra and its various band members and singers in domestic concerts and international tours, Ellington with presidents and heads of state, Ellington's family, the Sacred Concerts, and publicity shots of Ellington.

Images of particular interest include Duke Ellington with Presidents Richard M. Nixon and Lyndon B. Johnson, Queen Elizabeth, Princess Margaret, and prominent musicians including Louis Armstrong, Ella Fitzgerald, Tony Bennett, Leonard Bernstein, and Billy Strayhorn. The images also document places of interest where Ellington performed, such as Birdland, Westminster Cathedral, and the ancient theatre in Baghdad. Of particular interest are photographs of the original Cotton Club Orchestra and the Washingtonians, Duke Ellington's first band.

The photographs are arranged into subject categories such as Awards, Band Members, Duke Ellington at the Piano, Friends and Associates, International Tours, Publicity, etc.

Miscellaneous photographs of musicians, concerts, etc. Includes work by famed photographer Roy de Carava, ca. 1960s (Box 1, folders 33, 34, and 35, and other locations in the series).

Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Musicians -- 20th century  Search this

Topic:

African American musicians  Search this

African American musicians  Search this

Genre/Form:

Photographs -- 20th century -- Black-and-white photoprints

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301, Series 7

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref18966

Names:

Ellington, Duke, 1899-1974  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper., approx. 8" x 6".)

Container:

Box 16 (Series 7), Folder 4

Box 17 (Series 7), Folder 1

Type:

Archival materials

Photographs

Date:

1968 - 1968

Scope and Contents:

Photographer unidentified.

Arrangement:

Series 7, Box No. 7, Folder 10.

Local Numbers:

AC0301-0000029.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Jazz musicians -- 1950-2000 -- United States  Search this

African Americans  Search this

Genre/Form:

Photographs -- 1960-1970 -- Black-and-white photoprints -- Silver gelatin

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301, File 7.7.44

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref19688

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Type:

Archival materials

Date:

1939-1973, undated

Scope and Contents note:

Contains articles from nationally and internationally published newspapers and magazines documenting the tours, performances, and television appearances of Duke Ellington and the Duke Ellington Orchestra between 1931 and 1973. The clippings were compiled for Duke Ellington by clipping services Burelles, Incorporated, Livingston, New Jersey; Vital Information Press, Brooklyn, New York; Luce International of New York, New York; and Associated Press Clippings, London, England.

The newspaper clippings document Ellington's activities in the United States. The clippings are also an extension of the scrapbooks which document Ellington's international tours and some early American performances between 1933 and 1958 that were reported by international news services. Newspaper clippings for the years 1960-1961 can be found in volume twenty two in the scrapbook series. The clippings are arranged in chronological order. Samples of the mailing envelopes from the newspaper clipping service and other materials found among the clippings are at the end of the series. Of particular interest are clippings with caricatures of Ellington and other African-American performers such as Harry Belafonte and Diahann Carroll; the 1959 premiere performance at Hunter College of Ellington's Queen Suite, written for England's Queen Elizabeth II; and an Ellington concert following a Detroit Pistons and St. Louis Hawks professional basketball game in 1960.

Some of the newspaper clippings were discarded due condition of the materials.

Collection Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301, Series 9

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref20034

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Container:

Box 5 (Series 12), Folder 1

Type:

Archival materials

Scope and Contents note:

New York, Hunter College Assembly Hall, New York; Friday, December 9, 1966. Quarter sized. 18 ¼ x 14. 2c. Rust on lavender; rust color lettering and print of Duke Ellington.

Collection Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 12: Posters and Oversize Graphics / 12.1: Domestic Tours / 12.1.2: New York

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref21533

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Container:

Box 5 (Series 16), Folder 11

Type:

Archival materials

Date:

1970 - 1970

Collection Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 16: Miscellaneous

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref22203

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Container:

Box 5 (Series 16), Folder 10

Type:

Archival materials

Date:

1971 - 1971

Collection Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 16: Miscellaneous

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref22204

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Container:

Box 5 (Series 16), Folder 8

Type:

Archival materials

Date:

1973 - 1973

Collection Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 16: Miscellaneous

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref22206