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Andrew Chi Atomic Clocks Collection

Creator:
Chi, Andrew  Search this
Names:
United States. National Aeronautics and Space Administration  Search this
Extent:
2 Cubic feet (5 boxes)
Type:
Collection descriptions
Archival materials
Charts
Correspondence
Graphs
Memorandums
Proceedings
Reports
Date:
1959-1980
Summary:
The collection consists of the papers of scientist Andrew Chi, documenting his work on the Cesium 133 atomic clock, and its relevance to the Global Positioning System.
Scope and Contents:
The collections contains correspondence, memorandum, and journal articles related to the Cesium 133 atomic clock. Many of the documents relate to the U.S. Study Group 7, International Radio Consultative Committee (CCIR) which was formed to prepare documents to dtermine the United States position in relating to worldwide service of standard frequency and time-signal emmssions. The CCIR is an advisory arm on technical matters to the International Telecommunicaytions Union (ITU).
Arrangement:
The collection is arranged into two series.

Series 1: U.S. Study Group 7, International Radio Consultative Committee (CCIR) Materials, 1964-1980

Series 2: Other Materials, 1959-1977
Biographical / Historical:
Andrew R. Chi was head of the Timing Systems Section, Space Data Control Branch, at the Goddard Space Flight Center.
Provenance:
Immediate source of acquisition unknown.
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:
Atomic clocks  Search this
Genre/Form:
Charts
Correspondence -- 20th century
Graphs
Memorandums -- 1950-2000
Proceedings
Reports -- 20th century
Citation:
Andrew Chi Atomic Clocks Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1264
See more items in:
Andrew Chi Atomic Clocks Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f8a1e49d-9a37-4788-b1c0-07d3ff621281
EDAN-URL:
ead_collection:sova-nmah-ac-1264

Elizabeth Gordon Papers

Creator:
Gordon, Elizabeth, 1906-2000  Search this
Names:
Claiborne, Craig  Search this
Gordon, Elizabeth, 1906-2000  Search this
Leach, Bernard, 1887-1979  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Periodicals
Photographs
Correspondence
Personal papers
Place:
Japan
Date:
1958-1987
Summary:
Papers, 1959-1987, of Elizabeth Gordon, editor of the periodical, House Beautiful from 1941-1964, mostly related to her research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; notes; drafts for articles and lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; drawings of paper and foil art; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Scope and Contents:
The Elizabeth Gordon Papers measure 4.5 linear feet and span the years 1959-1987. The collection mainly documents Ms. Gordon's research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; research notes and materials; articles; lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; article materials; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Arrangement note:
This collection is organized into eight series. 1. Biographical data, 2. Shibui research, 3. Shibui issues of, House Beautiful, 4. Correspondence, 5. Shibui promotion, 6. Exhibition files, 7. Printed materials, and 8. Photographs.
Biographical Information:
Born in Logansport, Indiana in 1906, Elizabeth Gordon served as editor of House Beautiful magazine 1941 to 1964. Ms. Gordon first became interested in Japanese aesthetics during the mid-1950s. As a result she began to read and study Japanese art, history and culture. In 1959, Gordon travelled to Japan with three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize. In August and September, 1960, House Beautiful, under the editorial control of Ms. Gordon, published two extremely popular issues devoted to the subject of "shibui". Due to the popularity of the issues, museum exhibits devoted to the concept of "shibui" travelled around the United States. Ms. Gordon died in Adamstown, Maryland in 2000.

Biographical Overview

1906 -- Born in Logansport, Indiana

1920s -- Attended the University of Chicago

1930s -- Moved to New York to work as a promotional copywriter for several newspapers

1930s -- Syndicated columnist on home maintenance for The New York Herald Tribune

1930s -- Editor at Good Housekeeping (here for 8 years)

1937 -- More House for your Money by Elizabeth Gordon and Dorothy Ducas published by W. Morrow and Company: New York.

1937 -- Married Carl Hafey Norcross

1939 -- Appointed editor of House Beautiful

1964 -- Left the magazine world

1972 -- Published a special issue on Scandinavian design and awarded the insignia of a knight, first class, in the Finnish Order of the Lion

1987 -- American Institute of Architects made her an honorary member

1988 -- Carl Hafey Norcross died

September 3, 2000 -- Died in Adamstown, MD

(The following biography of Elizabeth Gordon comes courtesy of curator Louise Cort. Written in consultation with Elizabeth Gordon, October 23, 1987)

The research papers, memoranda, magazines, books, photographs and color transparencies and other materials in this archives are related to the publication by Elizabeth Gordon (Mrs. Carl Norcross), editor of House Beautiful from 1941 to 1964 and creator of the August, 1960 issue of the magazine on the special theme of the Japanese aesthetic concept of "shibui". The "shibui issue" was followed by the September, 1960, issue of the same publication on the theme, "How to be shibui with American things." As a by-product of the issues, a "Shibui Exhibition" travelled to eleven museums in the United States during 1961-1964. Each exhibition was opened with a slide lecture by Elizabeth Gordon.

Miss Gordon first became curious about Japanese aesthetics in the mid-1950s when she began to see Japanese objects being displayed and used in the homes of Americans who had spent time in Japan during the Occupation and Japanese influence began to appear in wholesale showrooms of home furnishings manufacturers. It was clear that the time had come: she HAD to go to Japan!

She read for five years before going to Japan - history, social mores, art history. (Many of the books on Japan that she collected during this time have been presented to the library at the University of Maryland, College Park.)

An important bit of advice came from Alice Spaulding Bowen, owner of Pacifica, the highest quality shop of Asian antiquities in Honolulu, who told her, "Be sure to read, The Tale of Genji - then you'll understand everything."

She made her first trip to Japan in April, 1959, accompanied by three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Miss Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize.

Miss Gordon came home, planning to spend the summer researching "shibui" with the aid of the Japan Society. But she found virtually nothing written in English on the concept. So she returned to Japan in December, 1959 together with staff member Marion Gough, to dig deeper and to work out details and get better educated with Eiko Yuasa. One of their devices was to walk through department stores and discuss with sales personnel whether objects for sale were "shibui", or were "jimi" or "hade", and why. Between themselves, they did the same for the costumes of women they saw on the streets.

Lacking printed sources for information on "shibui", Miss Gordon sought out and interviewed experts, including Douglas Overton, head of the Japan Society in New York. In Japan in December, 1959, she met Yanagi Soetsu, founder of Japan's Folk Craft Movement and head of the Craft Museum in Tokyo (with an introduction from Tonomura Kichinosuke, head of the Craft Museum in Kurashiki). She met the chef Tsuji Kaichi, who was commissioned to write an article on "kaiseki" (that could not be used because of an inadequate English translation) and Frances Blakemore. She met several times with Bernard Leach and attended his lecture at Bonnier's while he was in New York in March, 1960. (He would later write a "fan letter" for the issue)

As the concept of "the shibui issue" began to take shape, a third trip in the spring of 1960 focused on photography - to produce the shooting script decided on the preceding December. This was executed by the noted photographer Ezra Stoller of Rye, New York, and John DeKoven Hill, House Beautiful's Editorial Director. (Mr. Hill worked with Frank Lloyd Wright except for the ten years that he was a member of the House Beautiful editorial staff)

Miss Gordon was back in Japan in Mid-August 1960 as the "shibui issue" was causing a sensation. Altogether she spent sixteen months in Japan.

As one of the experiences that influenced her strong interest in Japanese costumes and textiles, Miss Gordon remembers a spectacularly thorough exhibition at the Tokyo National Museum in Ueno on, 1200 Years of Japanese Costume. She saw it on the last day of its exhibition (possibly 1964).

The August 1960 issue sold out quickly. Copies of the magazine, which sold for fifty cents, were sold on the "black market" for ten dollars.

The publication of the August 1960 issue was followed by an unprecedented avalanche of "fan mail". Many department heads in colleges and universities, including the Harvard-Yenching Institute and the Oriental Institute of the University of Chicago (where Miss Gordon had worked as an undergraduate) wrote to comment on the issue. Many people in other fields of endeavor wrote: heads of firms concerned with interior design, landscape architecture, and related areas expressed their interest in the concept of "shibui" Other writers include Bernard Leach, Gertrude Natzler, Laura Gilpin, Mainbocher, the architect Yoshimura Junzo, the textile artist Marianne Strengell, Walter Kerr, Craig Claiborne, and Oliver Statler.

The "shibui issue" was followed immediately by the September issue dealing with the use of non-Japanese objects to express the concept of "shibui." (Miss Gordon convinced her advertisers, who had been skeptical about the potential success of the August issue, by promising the September issue dealing with American products.) Four American firms were involved in the production of an integrated line of paints, wallpaper, furniture and carpets expressive of the concept. Products were designed by the firms' designers following the clues offered by objects and fabrics purchased by Miss Gordon in Japan in December 1959 and spring 1960. Miss Gordon has expressed her dissatisfaction with the September issue, although public opinion was positive. She feels that some of the firms failed in the "shibui" project, though some "caught" the message: namely the paint company and the fabric/wallpaper company.

In response to strong public interest, the House Beautiful staff prepared a travelling exhibition to introduce the concept of "shibui" through a series of vignettes, mixing fabrics and objects, colors and textures. The museum installation was designed by John Hill of House Beautiful. Japan Air Lines underwrote shipping costs.

The exhibition began in Philadelphia in late 1961. Ezra Stoller was sent to photograph the installation in considerable detail at the Dallas Museum of Fine Arts in January, 1962, so that his photographs cold serve as guidelines for installations at the other museums, which included the San Francisco Museum of Art (April 1962), the Newark Pubic Library, and the Honolulu Academy of Art. Miss Gordon presented a lecture on "shibui" at each of the museum installations.

In appreciation of her work to introduce Americans to the concept of "shibui", the city of Kyoto presented a bolt of especially "shibui" kimono fabric executed by a Living National Treasure textile artist. Miss Gordon eventually tailored the fabric into a dress and jacket. She received the 1961 Trail Blazer Award from the New York Chapter of the National Home Fashions League, Inc. In June, 1987, Miss Gordon was named an honorary member of the American Institute of Architects, with her introduction of the concept of "shibui" and her promotion of an understanding of other culture cited as her major contributions to American architecture.
Provenance:
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
Restrictions:
Collection is open for research.
Rights:
No restrictions on use.
Topic:
Interior decoration -- Periodicals  Search this
Landscape gardening  Search this
Art, Japanese  Search this
Aesthetics, Japanese  Search this
House funishings  Search this
Interior decoration  Search this
Museum exhibits  Search this
Interior decorators  Search this
Gardens -- Japan  Search this
Genre/Form:
Periodicals -- 1940-1970
Photographs
Correspondence
Personal papers -- 1950-2000
Citation:
The Elizabeth Gordon Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Elizabeth Gordon, 1988
Identifier:
FSA.A1988.03
See more items in:
Elizabeth Gordon Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3bd5683e5-f956-4a04-9d0c-4565a6b761b7
EDAN-URL:
ead_collection:sova-fsa-a1988-03
Online Media:

Ann Moore Innovative Lives Presentation

Topic:
Innovative Lives Program (NMAH public program series)
Snguli baby carrier
Weego Baby Carrier
Creator:
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.  Search this
Berger, Sondra  Search this
Moore, Ann, 1940-  Search this
Moore, Mike  Search this
Names:
Auckerman, Lucy  Search this
Extent:
2 Cubic feet (5 boxes , BetaCamSP, 1/2 inch VHS videotapes)
Type:
Collection descriptions
Archival materials
Audio cassettes
Betacam sp (videotape format)
Floppy disks
Interviews
Oral history
Videotapes
Place:
Africa, French-speaking West
Date:
1999-10
Summary:
Ann Moore is the inventor of the Snugli baby carrier and Air Lift oxygen carrier. The collection contains original, master, and reference videos, audiocassette recordings, and transcripts documenting Moore's inventive career.
Scope and Contents:
This collection contains 5.5 hours of original BetaCam SP recordings, 5.5 hours of master video copies, 5.5 hours of reference copies, 5.5 hours of audiocassette recordings, transcripts, and articles documenting the life and work of Ann Moore, inventor of the Snugli baby carrier and Air Lift oxygen carrier. The recordings include a presentation by Ann and Mike Moore for the Lemelson Center's Innovative Lives Program. Audience participants include students from Seven Locks Elementary School in Bethesda, Maryland; Burrville Elementary School in Washington, D.C.; Barrett Elementary School in Arlington, Virginia; and Jefferson Junior High School in Washington, D.C. Ann Moore's interview includes footage of her home in Colorado and discussions with users of the Air Lift oxygen carrier and Weego baby carrier.
Arrangement:
The collection is arranged into five series.

Series 1: Original videos, 1999

Series 2: Master videos, 1999

Series 3: Audiocassettes, 1999

Series 4: Reference videos, 1999

Series 5: Supplemental documentation, 1999
Biographical / Historical:
Ann Moore was born in 1940 in a small Ohio farming community and studied pediatric nursing at the University of Cincinnati. She joined the Peace Corps in 1962 as part of a medical team and was sent to Togo. She met her husband Mike Moore during training. While in Togo, Ann Moore noticed that most women tied their babies onto their backs with a long piece of fabric, which made the babies more content. Back in Colorado, Moore wanted to carry her newborn daughter Mandela in the same way. With the assistance of her mother, Lucy Aukerman, Moore designed the first Snugli baby carrier in 1969 (US Patent 3,481,517). She patented the Snugli in 1984 (US Patent 4,434,920). Snugli, Inc. grew from a small company where each Snugli was handmade by Aukerman and her neighbors to a large company with an international presence and a factory in Colorado. In 1985 Ann and Mike Moore sold Snugli, Inc. to Gerico, a Huffy Company. In 1986 Ann invented Air Lift, a soft mesh backpack oxygen carrier so people on oxygen could be more mobile (US Patent 4,739,913).

Ann and Mike Moore became disappointed in how Gerico had simplified the Snugli design so it could be manufactured less expensively so in 1999 the Moores launched Weego, a soft baby carrier similar to the original Snugli. The Weego has some modern improvements, including an adjustable buckle around the top of the carrier instead of pin tucks. The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation was founded in 1995 at the Smithsonian Institution's National Museum of American History through a generous gift from the Lemelson Foundation. The Center's mission is to document, interpret, and disseminate information about invention and innovation; to encourage inventive creativity in young people; and to foster an appreciation for the central role invention and innovation plays in the history of the United States. The Innovative Lives series brings together Museum visitors and especially school age children, and American inventors to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product. This collection was recorded by the Innovative Lives Program of the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.
Provenance:
This collection was recorded by the Innovative Lives Program of the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation on October 15, 1999.
Restrictions:
The collection is open for research use.
Rights:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: reproduction fees may apply.
Topic:
Infants -- Care  Search this
Inventions -- 1950-2000  Search this
Inventors -- 1950-2000  Search this
Slides  Search this
Women inventors  Search this
Women inventors -- 20th century  Search this
Genre/Form:
Audio cassettes -- 1990-2000
BetaCam SP (videotape format)
Floppy disks
Interviews -- 1980-2000
Oral history -- 1990-2000
Videotapes -- 1990-2000
Citation:
Ann Moore Innovative Lives Presentation and Interview, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0706
See more items in:
Ann Moore Innovative Lives Presentation
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep807245371-e2c3-4d78-b05a-ebd7d0d9b573
EDAN-URL:
ead_collection:sova-nmah-ac-0706
Online Media:

Computer Oral History Collection

Creator:
Blanch, Gertrude  Search this
Bloch, Richard M.  Search this
Bradburn, James  Search this
Brainerd, John G.  Search this
Brown, George W.  Search this
Brown, Gordon S.  Search this
Buchholz, Werner  Search this
Burns, Robert  Search this
Atanasoff, John V.  Search this
Atchison, William  Search this
Auerbach, Issac  Search this
Bartik, Jean  Search this
Bauer, William  Search this
Beek, Allan  Search this
Bernstein, Mort  Search this
Bigelow, Julian  Search this
Coleman  Search this
Cohen, I. Bernhard  Search this
Computer History Forum.  Search this
COT Meeting.  Search this
Coombs, John  Search this
Crawford, Perry O.  Search this
Couret, Lynn  Search this
Campbell, Robert V.  Search this
Campaigne, Howard  Search this
Cannon, Edward  Search this
Canning, R.G.  Search this
Clem, Mary  Search this
Cass, James  Search this
CODASYL Meeting.  Search this
Clippinger, Richard F.  Search this
MIT Club Talks (Brown & Wiener).  Search this
Andrews, Ernest G.  Search this
American Federation of Information Processing Societies  Search this
Alt, Franz  Search this
Alrich, John  Search this
Association for Computing Machinery.  Search this
Association for Computing Machinery.  Search this
Argonne National Laboratories R.  Search this
Allard, Gerry  Search this
Aiken, Howard  Search this
Adams, Charles  Search this
Acton, Forman  Search this
Halstead, Maurice H.  Search this
Harmon, Leon  Search this
Harvey, Samuel  Search this
Hazen, Dean Harold  Search this
Gruenberger, Fred  Search this
Gunning, William  Search this
Hagen, Glenn E.  Search this
Hall, W.  Search this
Greenwald, Irwin  Search this
Greenwarld, Sidney  Search this
Griswold, Ralph E.  Search this
Grosch, Herbert R. J.  Search this
Goheen, Harry E.  Search this
Good, I.J.  Search this
Goteib, C.C.  Search this
Granholm, Jackson  Search this
Israel, David R.  Search this
Huskey, Harry D.  Search this
Kates, Josef  Search this
Juncosa, Mario  Search this
Householder, Alston S.  Search this
Horwitz, Bernhard R.  Search this
Hurd, Cuthbert R.  Search this
Howard, Bernard  Search this
Hopper, Grace Murray, 1906-1992  Search this
Holbrook, Bernard  Search this
Horner, Joseph  Search this
Horn, Robert J.  Search this
Herold, Henry  Search this
Herget, Paul  Search this
Holberton, Betty  Search this
Hertz, Ted  Search this
Elkins, Harold  Search this
Estrin, Gerald  Search this
Edwards, Walt  Search this
Elbourn, Robert  Search this
Eckert, J. Presper (John Presper), 1919-1995  Search this
Eddy, Robert Philip  Search this
Downey, William  Search this
Eckdahl, Donald  Search this
Dodd, Stephen  Search this
Dotts, Richard D.  Search this
Dietzhold, Robert  Search this
Dimsdale, Bernard  Search this
Desch, Joseph  Search this
Dickinson, Arthur H.  Search this
Curtiss, John H.  Search this
Dederick, Louis S.  Search this
Glazer, T.  Search this
Givens, Wallace  Search this
Gill, Stanley  Search this
Geisler, Murray  Search this
Garrison, Ken  Search this
Frankel, Stanley  Search this
Forrester, Jay W.  Search this
Forrest, Cameron B.  Search this
Forbes, George  Search this
Fenaughty, Alfred L.  Search this
Fein, Louis  Search this
Feign, David  Search this
Farrand, William R.  Search this
Fall Joint Computer Conference, 12/6/72.  Search this
Fall Joint Computer Conference, 11/17/71.  Search this
Everett, Robert  Search this
Nelson, Eldred  Search this
Neisius, Vincent  Search this
Northrop, John  Search this
Neovius, G.  Search this
Parker, R.D.  Search this
Palevsky, Max  Search this
Phelps, Byron R.  Search this
Patrick, Robert  Search this
Pickrell, D.  Search this
Phister, Montgomery  Search this
Pollmyer, R.  Search this
Polachek, Harry  Search this
Quady, Emmett  Search this
Postley, John A. R.  Search this
Rajchman, Jan  Search this
Ream, Norman  Search this
Reed, Irving S.  Search this
Rees, Mina  Search this
Rhodes, Ida  Search this
Rice, Rex  Search this
Rochester, Nathaniel  Search this
Rogers, Jim  Search this
Rogers, Stanley  Search this
Rosenberg, Milton  Search this
Rosenthal, Paul R.  Search this
Rubinoff, Morris R.  Search this
Salzer, John M.  Search this
Samuel, Arthur L. R.  Search this
Sarkissian, Harold  Search this
Schuette, Roger  Search this
Serrell, Robert R.  Search this
King, Paul  Search this
Kilpatrick, Lester  Search this
Killian, James  Search this
Kaufold, Leroy R.  Search this
Lanzarotta, Sandy R.  Search this
Kreuder, Norman L.  Search this
Korn, Irving  Search this
Kirsch, Russell  Search this
Lovell, Clarence A.  Search this
Lehmer, Derrick H.  Search this
Legvold, Sam  Search this
Larson, Harry  Search this
Martin, Richard R.  Search this
Marden, Ethel  Search this
Madden, Don R.  Search this
Lowe, John  Search this
McPherson, John C.  Search this
Mendelson, Jerry  Search this
Mason, Daniel R.  Search this
Mauchly, John R.  Search this
Michel, J.G.L. R.  Search this
Miller, Frederick G.  Search this
Menzel, Donald H.  Search this
Metropolis, Nicholas C.  Search this
Mitchell, Joel  Search this
MITRE Meeting.  Search this
Mills, Roger L.  Search this
Morton, Paul  Search this
Mumford, Louis  Search this
Mock, Owen  Search this
Morse, Philip B.  Search this
Wilkinson, James H. R.  Search this
Wilkes, Maurice R.  Search this
Wizenbaum, Joe  Search this
Williams, Charles  Search this
Wieselman, Irving  Search this
Wiener, Robert  Search this
Wild, Arthur  Search this
Wieser, C. Robert  Search this
Wrench, John W. R.  Search this
Woodger, Michael  Search this
Yowell, E.C. R.  Search this
Youtz, Pat  Search this
Woo, Way Dong  Search this
Wolfe, Philip  Search this
Woodbury, William R.  Search this
Wood, Ben D.  Search this
Zemanek, Heinz  Search this
Zuse, Konrad  Search this
Smagorinsky, Joseph  Search this
Slutz, Ralph R.  Search this
Skramstad, Harold R.  Search this
Skillman, Sherwood R.  Search this
SIAM/SIGNUM Meeting.  Search this
SIAM-72.  Search this
SHARE XXXVIII.  Search this
SHARE Meeting for Pioneers.  Search this
Taylor, Norman  Search this
Tanaka, David  Search this
Strong, Jack  Search this
Stibitz, George  Search this
Steele, Floyd G. R.  Search this
Sprague, Richard E.  Search this
Snyder, Samuel  Search this
Smith, Charles V.L.  Search this
TV Program KQED.  Search this
Uncapher, Keith  Search this
Torfeh, Mark  Search this
Travis, Irven  Search this
Todd-Tausskky, Olga  Search this
Tomash, Erwin  Search this
Toben, Gregory  Search this
Todd, John  Search this
Wheeler, R.J.  Search this
Whirlwind Discussion.  Search this
Ware, Willis H.  Search this
Wegstein, Joseph Henry  Search this
Wagner, Frank  Search this
Wang, An R.  Search this
von Hippel, Arthur  Search this
von Neumann, John  Search this
Armer, Paul, 1924- (computer technician)  Search this
Interviewee:
Rabinow, Jacob, 1910-  Search this
Former owner:
National Museum of American History (U.S.). Division of Computers, Information and Society  Search this
Extent:
43.5 Cubic feet (158 boxes)
Type:
Collection descriptions
Archival materials
Audiotapes
Interviews
Oral history
Sound recordings
Transcripts
Videotapes
Date:
1969-1973, 1977
Summary:
The Computer Oral History Collection (1969-1973, 1977), was a cooperative project of the American Federation of Information Processing Societies (AFIPS) and the Smithsonian Institution. This project began in 1967 with the main objective to collect, document, house, and make available for research source material surrounding the development of the computer.
Scope and Contents:
This collection consists of approximately 43.5 cubic feet of material documenting the development of the computer.
ABC -- Atanasoff-Berry Computer

ACE -- Automatic Computing Engine

ACM -- Association for Computing Machinery

ALGOL -- ALGOLrithmic Language

ALWAC -- Axel Wenner-Gren Automatic Computer

ARPA -- Advanced Research Projects Agency

BACAIC -- Boeing Airplane Company Algebraic Interpretative Computing System

BARK -- Binar Automatisk Rela Kalkylator

BINAC -- Binary Automatic Computer

BIZMAC -- Business Machine

BMEW -- Ballistic Missile Early Warning (System)

BUIC -- Back-up Interceptor Control

CADAC -- Cambridge Digital Automatic Computer

CALDIC -- California Digital Computer

CEC -- Consolidated Electrodynamics Corporation

CEIR -- Council for Economic and Industry Research

COBOL -- Common Business-Oriented Language

CODASYL -- Conference on Data Systems Languages

CONAC -- Continental Automatic Command

COMTRAN -- Commercial Translator

CPC -- Card Programmed Calculator

CRC -- Computer Response Corporation

DARPA -- Defense Advanced Research Projects Agency

DINA -- Digital Network Analyzer

DDA -- Digital Differential Analyzer

EDSAC -- Electronic Delay Storage Automatic Calculator

EDVAC -- Electronic Discrete Variable Automatic Computer

EAM -- Electric [or Electronic] Accounting Machines [or Methods]

ENIAC -- Electronic Numerical Integrator and Automatic Computer

ERA -- Engineering Research Associates

ERMA -- Electronic Recording and Machine Accounting

FADAC -- Field Artillery Data Computer

FSQ -- Fixed Special eQuipment

IAS -- Institute for Advanced Study (Princeton University)

ICBM -- Intercontinental Ballistic Missile

ILLIAC -- Illinois Automatic Computer

INTERCOM -- Intercommunication System (Programming Language)

JOHNNIAC -- John [von Neumann's ] Integrator and Automatic Computer

JOSS -- Johnniac [John's Integrator and Automatic Computer] Open Shop System

LARK -- Livermore Atomic Research Computer

LAS -- Laboratories of Applied Science

LGP -- Librascope

MAC -- Magnetic Automatic Calculator/Multiple Access Computer

MADDIDA -- Magnetic Drum Digital Differential Analyzer

MAGIC -- Machine for Automatic Graphics Interface to a Computer

MANIAC -- Mathematical Analyzer, Numerical Integrator, and Computer

MIDAC -- Michigan [University of] Digital Automatic Computer

MIDSAC -- Michigan [University of} Digital Special Automatic Computer

MINAC -- Minimal Automatic Computer

MIT -- Massachusetts Institute of Technology

MITRE -- Massachusetts Institute of Technology Research Establishment

MX -- Missile, Experimental

NATDAN -- North American Digital Anaylzer

NATPAC -- North American Programmed Automatic Computer

NDRC -- National Defense Research Committee [of Office of Scientific Research and Development, World War II]

NELIAC -- Naval Electronics Laboratory International Algebraic Compiler

NORC -- Naval Ordnance Research Calculator [or computer] [Naval Ordnance Proving Ground]

NTDS -- Naval Tactical Data Systems

ONR -- Office of Naval Research

ORACLE -- Oak Ridge Automatic Computer and Logical Engine

ORDVAC -- Ordnance Discrete Variable Automatic Computer [AEC]

OSRD -- Office of Standard Reference Data [National Bureau of Standards]

PACT -- Project for the Advancement of Coding Techniques

QUAC -- Quadratic Arc Computer

RAMAC -- Random Access Memory Accounting Machine

RAYDAC -- Raytheon Digital Automatic Computer

REAC -- Reeves Electronic Analog Computer

RECOMP -- Reliable COMPuter

RESISTOR -- Reusable Surface Insulation Stresses [NASA computer program]

SCERT -- Systems and Computer Evaluation Review Technique

SCM -- Smith Corona Merchant

SEAC -- U.S. Bureau of Standards Eastern Automatic Computer

SHARE -- Society to Help Avoid Redundant Effort

SHOT -- Society for the History of Technology

SIAM -- Society for Industrial and Applied Mathematics

SILLIAC -- Sydney [version of the ] Illiac

SIMSCRIPT -- Simulation Script

SNOBOL -- String-Oriented Symbolic Language

SSEC -- Selective Sequence Electronic Calculator

SUBROC -- Submarine Rocket

SWAC -- U.S. Bureau of Standards Western Automatic Computer

TPM -- Tape Processing Machine

UDEC -- United Digital Electronic Computer

UNIVAC -- Universal Automatic Computer

WEIZAC -- Weizmann Automatic Computer [at Weizmann Institute]

WISC -- Wisconsin Integrally Synchronized Computer
NT=No Transcript

R=Restricted
Arrangement:
The collection is divided into six series.

Series 1: Transcripts, 1967-1973, 1977

Series 2: Supplemental Documentation, 1922-1974

Series 3: Patents, 1940-1973

Series 4: John Vincent Atanasoff's Materials, 1927-1968

Series 5: Audio Tapes, 1967-1974, 1977

Series 6: Video Tapes, 1968-1972
Biographical / Historical:
The Computer Oral History Collection (1969-1973, 1977), was a cooperative project of the American Federation of Information Processing Societies (AFIPS) and the Smithsonian Institution. This project began in 1967 with the main objective to collect, document, house, and make available for research source material surrounding the development of the computer. The project collected taped oral interviews with individuals who figured prominently in developing or advancing the computer field and supplemental written documentation--working papers, reports, drawings, and photographs. The AFIPS provided the "seed" money to support the project and to aid the Smithsonian with its expenditures. Interviews were conducted by I.B. Cohen, A. Dettinger, Bonnie Kaplan, Elizabeth Luebbert, William Luebbert, Robina Mapstone, Richard Mertz, Uta Merzbach, and Henry Tropp. In some instances, the audio tapes and/or transcripts are not "formal" interviews, but rather moderated panel discussions/meetings, or lectures delivered by interviewees.
Related Materials:
The Archives Center contains several "computer" related collections:

American National Standards Institute, 1969-1979

Association for Computing Machinery Collection, 1958-1978 (Washington, D.C., Chapter)

N.W. Ayer Advertsing Agency Records, 1889-1972

Paul Armer Collection, 1949-1970

Robert G. Chamberlain Numerical Control Collection, 1954-1984

J. Childs Numerical Control Collection, 1952-1970

Computer Standards Collection, 1958-1978

Computer World Smithsonian Awards Collection, 1989-2001

Data Processing Digest Collection, 1955-1974

Max Holland Machine Tool Industry Collection, c. 1941-1990

Grace Murray Hopper Collection, 1944-1965

Information Age Exhibition Records, 1979-1990

Institute for Advanced Study Computer Project Records, 1950-1957

Instrument Society of America Collection, 1911-1969

Odex I Walking Robot Collection, 1973-1986

Jacob Rabinow Papers, 1910-1917; 1947-1990

Terry M. Sachs Collection, 1965-1969

Scientists and Inventors Portrait File, c. 1950-1980

Share Numerical Analysis Project Records, 1964-1970

SHARE Records, c. 1954-1984

Cliff Shaw papers, c. 1954-1985

Society for the History of Technology (SHOT) Records, 1956-1992

Warshaw Collection of Business Americana, c. 1754-1965

Whirlwind I Computer Collection, 1945-1959

B.H. Worsley, 1946-1959

Within the National Museum of American History there are other related collections that may be found in the Division of Medicine and Science. These collections contain both artifacts and documents. Artifacts include: digital computing machines, automatic digital computers and electronic calculators, logic devices, card and tape processors, slide rules, integrators and integraphs, harmonic analyzers and synthesizers, differential analyzers, other analog computing devices, space measurement and representation, time measurement, and combination space and time measurement. Documentation includes the Electronic Computers History Collection and the Mathematical Devices History Collection. Photographs and video materials can also be found. The Smithsonian Institution Archives contains administrative documentation regarding the Computer History Project.
Provenance:
The Computer Oral History Collection was a cooperative project of the American Federation of Information Processing Societies (AFIPS) and the Smithsonian Institution. This project began in 1967 and was concluded in 1973. This collection was transferred to the Archives Center in approximately 1986 from the Division of Information, Technology & Society, formerly known as the Division of Electricity.
Restrictions:
Collection is open for research but original audio tapes and videotapes are stored off-site. Reference copies do not exist for all of the audiovisual materials. 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:
Computers  Search this
Engineers  Search this
Mathematics  Search this
Mathematicians  Search this
Physicists  Search this
Scientists  Search this
Genre/Form:
Audiotapes
Interviews -- 1950-2000
Oral history
Sound recordings -- Compact disks
Transcripts
Videotapes
Citation:
Computer Oral History Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0196
See more items in:
Computer Oral History Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8b666ccc2-1644-4513-9a64-89be727d5419
EDAN-URL:
ead_collection:sova-nmah-ac-0196
Online Media:

American Wine Documentation Project

Interviewer:
Edwards, Nanci  Search this
Fleckner, John A., 1941-  Search this
Green, Rayna, 1942- (Curator)  Search this
Johnson, Paula, Curator  Search this
Creator:
National Museum of American History (U.S.)  Search this
Names:
Red, White, and American (symposium, Washington, D.C. 1996).  Search this
Crew, Spencer R., 1949-  Search this
Interviewee:
Abreu, David  Search this
Barrett, James L. , 1926-2013  Search this
Black, Hollis  Search this
Black, Pat  Search this
Black, Tom, 1959-  Search this
Brambila, Gustavo  Search this
Browning, Keith  Search this
DePuy Dickenson, Joanne, 1927-  Search this
Dias Blue, Anthony  Search this
Draper, Paul, 1936-  Search this
Gallagher, Patricia  Search this
Gates, David S.  Search this
Grgich, Mike (Miljenko), 1923  Search this
Herrera, Rolando  Search this
Kinzbrunner, Rick  Search this
Kuhn, Ron  Search this
Mandy, Steven , Dr.  Search this
Orr, James  Search this
Robledo, Reynaldo  Search this
Schuster, Danny  Search this
Spurrier, Steven  Search this
Taber, George  Search this
Winiarski, Warren, 1928-  Search this
Speaker:
Foley, Dennis  Search this
Levenstein, Harvey A., 1938-  Search this
Extent:
3 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Audiotapes
Interviews
Photographs
Print advertising
Programs
Videotapes
Date:
1976-2005
bulk 1996-2001
Scope and Contents:
The collection is divided into six series. It includes mostly printed materials and interviews, and dates from approximately 1976 to 2005. There are wine-related event materials, interview transcripts and audiotapes, printed material and histories from people and institutions representing a wide spectrum of the wine business. Wine-related objects, such vineyard and winery tools, are stored with the Museum's artifact collections; documentary materials are held in the Archives Center. Materials from each special event are organized into separate series, which contain records generated at the events and interviews. Series one contains the "Red, White and American Records," series two the "Collectors Event," and series three the "Wine Writers Event." Interviews conducted independently of these events are included in series four. All of the interviews have been partially transcribed and include an abstract and various forms of audiotapes and discs. Series five is composed of printed materials that relate to both specific individuals in the wine business and to more general American wine topics. Most of this material consists of photocopies of original articles. There are also files with materials by and about specific wine writers, such as Anthony Dias Blue, William Heinz, and Dick Rosano. Series five also contains an original telex of George Taber's article about the 1976 Paris Tasting. Series six consists of visual materials, including two landscape photographs of an vineyard in Oregon and two videotaped documentaries on Napa.
Arrangement:
The collection is arranged into seven series.

Series 1: Red, White, and American : Wine in American History and Culture Records, 1976-1996

Series 2: Collections Event, 2001

Series 3: Reflections: A Day in the Life of a Wine Writer Event, 2002

Series 4: Interviews, 1997-2001

Series 5: Printed Materials, 1997-2001

Series 6: Visual Materials, undated

Series 7; Interviews, 2013
Biographical / Historical:
The American Wine History Project began in 1996 with the intention to document the history of American winemaking, mainly for the post-1950 period. While the project includes winemaking areas around the country, the focus has been on northern and central California. The Project explores the convergence of craft, culture, science, technology, and the environment in modern American winemaking. In conjunction with the project, the Smithsonian held a 2-day symposium, "Red, White and American," with a small accompanying exhibition, entitled, "Doubtless as Good: Jefferson's Dream for American Wine Fulfilled," in 1996 and began gathering objects and other documentation.

Since 1997, National Museum of American History staff members have traveled to California to conduct interviews, take photographs and video footage, and gather materials for the Smithsonian collection from grape growers, winemakers, winery owners, and others important to the business, including wine writers and chefs. Some of the materials were generated from events in Napa, such as the collectors and wine writers events, that were held specifically for the purpose of adding documentation to the Smithsonian project. The documentation project is on-going so materials will continue to be added to the collection.
Provenance:
Some of the materials were generated by the Smithsonian Institution, such as those in series 1 through 3. Others were given by separate donors between 1996 and 2002.
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:
Wine industry  Search this
Wine and wine making  Search this
Genre/Form:
Audiotapes -- 1990-2000
Interviews -- 1980-2000
Photographs -- 1950-2000
Print advertising
Programs -- 1980-2000
Videotapes -- 1990-2000
Citation:
American Wine Documentation Project, 1976-2002, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0817
See more items in:
American Wine Documentation Project
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c0ebfa21-e4c3-4bf2-ab52-27e5f59f9dd8
EDAN-URL:
ead_collection:sova-nmah-ac-0817

William McCloskey Fishing and World Fisheries Photographic Collection

Creator:
McCloskey, William B., 1928-  Search this
Extent:
5.3 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Articles
Photographs
Field notes
Place:
Portugal
Peru
Vietnam
Taiwan
Singapore
Indonesia
India
Malaysia
Japan
Burma
Brazil
Chile
Canada
Alaska
Norway
New England
New Zealand
Date:
1952-2005
Scope and Contents:
The collection consists primarily of photographic slides taken by McCloskey while aboard commerical fishing vessels. The photographs were taken in bodies of water spanning the globe, including those off the coasts of Japan, New Zealand, Alaska, New England, Canada, Norway, Taiwan, Indonesia, Vietnam, Malaysia, Singapore, India, Burma, Chile, Peru, the Caribbean, Portugal and numerous other places. In addition, there are photographs taken aboard fishing boats on rivers, including those in China and in Brazil. Also included in the collection are field notebooks kept by McCloskey, articles and other printed materials, and papers relating to two of McCloskey's books on fishing.
Arrangement:
The collection is divided into three series.

Series 1: Photographs

Series 2: Field notebooks

Series 3: Printed materials
Biographical / Historical:
Author, photographer, and authority on commerical fishing, fisheries and fishing boats.
Provenance:
Donated to the Archives Center by William B. McCloskey in 2010.
Restrictions:
Collection open for research 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:
Sealing  Search this
Rivers -- China  Search this
Rivers -- Brazil  Search this
Rivers  Search this
Whaling  Search this
Trawlers (Vessels)  Search this
Fisheries  Search this
Fisheries -- Equipment and supplies  Search this
Crabbing  Search this
Fur trade  Search this
Ocean  Search this
Fishing  Search this
Fishing boats  Search this
Genre/Form:
Articles
Photographs -- Color transparencies -- 2000-2010
Photographs -- Color transparencies -- 1950-2000
Field notes
Citation:
William McCloskey Fishing and World Fisheries Photographic Collection, 1952-2005, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1192
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83cf1cb77-6a57-4659-b087-64eca4c59286
EDAN-URL:
ead_collection:sova-nmah-ac-1192

Anne Judd Kennedy Collection

Creator:
Kennedy, Anne Judd  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Extent:
4 Cubic feet
Type:
Collection descriptions
Archival materials
Manuscripts
Interviews
Audiotapes
Articles
Correspondence
Date:
1958-1967
bulk 1965-1967
Scope and Contents note:
Twenty audiotapes of interviews Kennedy conducted with Rex Stewart, in addition to documentary material such as correspondence and clippings.
Arrangement:
The collection is divided into seven series.

Series 1: Correspondence

Series 2: Newspaper articles

Series 3: Magazine articles

Series 4: Manuscripts

Series 5: Miscellaneous documents

Series 6: Interviews of Rex Stewart

Series 7: Miscellaneous
Biographical/Historical note:
Kennedy, a free-lance writer, became a close friend to Rex Stewart, and conducted taped interviews with him late in his life, when he was writing his autobiography.
Provenance:
Collection purchased from Anne Judd Kennedy.
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:
Reproduction restricted due to copyright or trademark.Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- 20th century  Search this
Jazz  Search this
Musicians -- 20th century  Search this
Genre/Form:
Manuscripts
Interviews -- 1950-2000
Audiotapes
Articles -- 1950-2000
Correspondence -- 1950-2000
Citation:
Anne Judd Kennedy Collection, 1958-1967, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0506
See more items in:
Anne Judd Kennedy Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85521981a-b31b-4d34-8fe3-f4d83483e3c8
EDAN-URL:
ead_collection:sova-nmah-ac-0506

Claude Williams Papers

Creator:
Williams, Claude, 1908-2004  Search this
Fouse-Williams, Blanche Y.  Search this
Extent:
1 Electronic discs (CD)
13 Cassette tapes
4.66 Cubic feet (14 boxes, 3 map- folders)
Container:
Map-folder 1
Map-folder 3
Type:
Collection descriptions
Archival materials
Electronic discs (cd)
Cassette tapes
Letters (correspondence)
Photographs
Programs
Posters
Scrapbooks
Financial records
Awards
Business records
Audiotapes
Articles
Manuscripts
Date:
1920-2005
Summary:
Business and personal papers, photographs, and audio recordings of Claude "Fiddler" Williams, an award-winning jazz fiddler. Although Williams played music for almost a century the materials in this collection date largely from 1970 to 2005.
Scope and Contents:
This collection documents the later life and career of jazz violinist Claude "Fiddler" Williams. Materials include correspondence, photographs, unpublished writings, awards, business records, financial records, programs and a few music manuscripts. There is one scrapbook and several audio recordings. There are also an autographed poster from 1997 honoring five inductees to the Oklahoma Music Hall of Fame, including Claude Williams, Merle Haggard, Patti Page, Woody Guthrie and Eddie Burris. While there are some materials from Williams's youth, the vast majority of the collection dates from 1970. Williams's second wife, Blanche Y. Fouse-Williams, was vigilant about saving his papers. She also managed his career for the last few years of his life. This accounts for the increased volume of materials documenting his later years. Materials generally are arranged in chronological order within series and subseries.

Series 1, Business Records, 1973-2005, undated, is divided into seven subseries and includes business records, information relating to tours and performances, awards and certificates, business and personal correspondence, financial papers, articles and newspaper clippings, and biographical information.

Subseries 1, Events, 1977-2004, undated, includes contracts, copies of newspaper clippings, performance programs, brochures, ticket stubs, travel itineraries, travel receipts, correspondence, materials regarding his work as a fiddle teacher, advertisements for performances, a certificate of recognition, and napkins saved from a Washington Education Television Association (WETA) performance at the White House in 1998. Materials are arranged in chronological order.

Subseries 2, Itineraries, 1990-2001, includes lists and correspondence detailing locations, musicians, travel and lodging plans, and financial compensation for William's performances. Materials are arranged in chronological order.

Subseries 3, Awards and Certificates, 1978-2002, contains awards and certificates of appreciation from the Steamboat Delta Queen, Annual Black Musicians Conference, Kansas City Chapter of the International Association of Jazz Record Collectors, and the Manhattan School of Music, as well as an invitation to a reception honoring Kansas City Jazz musicians from the Consul General of Japan. Materials are arranged in chronological order.

Subseries 4, Correspondence, 1975-2004, consists of information relating to travel arrangements, tours, remuneration, music recordings, press kits, contracts, public television performances, involvement with the National Endowment for the Arts and the National Endowment for the Humanities, as well as Williams's Smithsonian Folkways recording. Materials are arranged in chronological order.

Subseries 5, Financial Papers, 1990-2005, includes information about travel and payment, hotel bills and receipts, invoices for performances, music recordings sales, royalty statements and copies of checks. Materials are arranged in chronological order.

Subseries 6, Press, 1973--005, undated, includes magazines, newspaper clippings and articles, about Williams's performances and music, appearances and jazz festivals, as well as the Kansas City Jazz scene. Magazine titles include Kansas City Magazine , Missouri Alumnus , The Masters Traditional Arts Apprenticeship Program , Jazz Ambassador Magazine , Kansas City Ambassador to Jazz , The Mississippi Rag , Fiddler Magazine , Jazz News , Jazz Times , Living Blues , Blues Access , and Kansas City . Materials are arranged by type and then in chronological order.

Subseries 7, Music, 1989-1995, undated, contains thirteen audio tape recordings, one CD, sheet music and set lists of music performed by Williams. There is an audio recording of Black and Blue: A Musical Revue , a Folk Master performance at Carnegie Hall. Williams's work with James Chirillo, an appearance on Birdflight , as well as recordings of live and studio performances are also included among these materials. There is a copy of Williams's CD Swingtime in New York and an interview from1992. Materials are arranged in chronological order.

Series 2, Personal Papers, 1978--005, undated, is divided into two subseries and contains letters, cards, postcards, invitations, copies of email, and requests for information and interviews. Most of the correspondence was addressed to Williams but there are materials that were sent to Blanche Williams. The correspondence is generally from fans, friends and family.

Subseries 1, Correspondence, 1978-2005, undated, consists of birthday cards from school age children, postcards, copies of newspaper clippings, White House and other government correspondence, congratulations or birthday wishes, as well as personal correspondence from friends inquiring about Williams's health and well-being. Also included is a draft for a chapter in a book on Claude Williams's contributions to jazz. Requests relating to research about Williams are also included. Materials are arranged in chronological order. Materials are arranged first by type followed by general correspondence in chronological order.

Subseries 2, Miscellaneous, undated, contains ephemera, autographs, affiliates list, well-wishes to Blanche Williams, a funeral program, mailing lists, lists of affiliated organizations, and a Count Bassie autograph.

Series 3, Photographs, 1977-2004, undated, includes personal and professional photographic prints and negatives of Williams. Subjects include performances and festivals, headshots and publicity, images of other musicians, family, friends, and posters with photographs created for his funeral. The majority of these photographs are of performances. Materials are arranged by subject.
Arrangement:
The collection is arranged into three series.

Series 1, Business Records, 1973-2005, undated

Subseries 1.1, Events, 1977-2004, undated

Subseries 1.2, Itineraries, 1990-2001

Subseries 1.3, Awards and Certificates, 1978-2002

Subseries 1.4, Correspondence, 1975-2004

Subseries 1.5, Financial Papers, 1990-2005

Subseries 1.6, Press, 1973-2005, undated

Subseries 1.7, Music; 1989-1995, undated

Series 2, Personal Papers, 1978-2005, undated

Subseries 2.1, Correspondence, 1978-2005, undated

Subseries 2.2, Miscellaneous, undated

Series 3, Photographs, 1977-2004, undated
Biographical / Historical:
Claude "Fiddler" Williams, 1908-2004, was born in Muskogee, Oklahoma, the son of a blacksmith. His musical gifts developed at a very early age, and he quickly became adept at the guitar, banjo, mandolin and cello, learning mostly by ear, without formal training. After hearing the jazz violinist Joe Venuti, the violin became his instrument of choice, and it remained so for the rest of his life. He migrated to Kansas City in 1927 and toured with several territory bands. Additionally Williams toured with the Twelve Clouds of Joy and the Cole Brothers, and in 1936, joined Count Basie's band as the first guitarist. After he was fired from Count Basie's band because John Hammond thought Williams's guitar solos were taking too much attention away from Basie, he went back to the violin (or "fiddle" as he preferred to call it) and focused exclusively on it for the rest of his life. Later he started his own band and toured with several jazz groups working for a short time with the Works Progress Administration (WPA). His band appeared at the Monterey Jazz Festival, the Nice Jazz Festival, and the Smithsonian Institution's Festival of American Folk Life. Williams received numerous honors and awards, including induction into the Oklahoma Jazz Hall of Fame, a proclamation from the city of Kansas City, and a 1998 National Heritage Fellowship which included a $10,000 award. President Bill Clinton invited him to perform at one of the parties celebrating his first inauguration. Williams continued to tour and perform until well into his nineties. He also gave instruction at Mark O'Connor's annual fiddle camp to young violinists. Mr. Williams died in April 2004.
Separated Materials:
Artifacts donated to the Museum's Division of Culture and the Arts (now Division of Cultural and Community Life) include a suit and violin. See accession numbers: 2005.3105 and 2007.3020.
Provenance:
This collection was donated by Claude Williams's widow, Blanche Y. Fouse-Williams, in 2005.
Restrictions:
The collection is open for research use.

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

Technical Access: Do not use original materials when available on reference audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- 20th century -- United States  Search this
Jazz -- 20th century -- United States  Search this
Jazz musicians -- United States  Search this
Violinists  Search this
Musicians -- United States  Search this
Genre/Form:
Letters (correspondence) -- 20th century.
Photographs -- 2000-2010
Programs
Posters -- 1950-2000
Scrapbooks
Financial records
Awards
Business records -- 20th century
Audiotapes
Articles
Photographs -- 20th century
Manuscripts -- Music -- 20th century
Citation:
Claude Williams Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0909
See more items in:
Claude Williams Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82736f8a2-824b-43e6-96c8-6449a163c087
EDAN-URL:
ead_collection:sova-nmah-ac-0909
Online Media:

Mongo Santamaria Papers

Creator:
Santamaria, Mongo, 1917-  Search this
Extent:
2 Cubic feet (4 boxes)
Type:
Collection descriptions
Archival materials
Articles
Passports
Photographs
Manuscripts
Concert programs
Date:
1950s-1996
Summary:
Collection includes music manuscripts, articles and clippings, concert programs, passports, and photographs.
Scope and Contents:
This collection documents, mostly in photographs, the musical career of Mongo Santamaria. Other materials include music manuscripts, magazine and newspaper articles, flyers, posters, and passports.

Series 1, Photographs, circa 1950s–1990s, includes primarily black and white and some color images of Mongo Santamaria. There is a photograph of Santamaria with the first Congo he brought from Cuba to the United States. Of particular interest is Santamaria performing with Tito Puente and Cal Tjada's bands. Some of the earlier photographs document performances at the Palladium Nightclub and Apollo Theatre. There are publicity photographs of Santamaria and his band created by the recording studios. The photographs also include award ceremonies, bar scenes and concert appearances. The materials are arranged in chronological order.

Series 2, Music Manuscripts, 1958-1985; undated, includes music created by Santamaria and music performed by him but written by other composers. Escena Afro-Cubanas composed and arranged by Valerie Capers (1985), Just Say Good-by by Rodgers Grant, Mambo Olga Pachanga by Nicolas Martinez (1961) and Peace by Horace Silver are included among these materials. The materials are arranged in alphabetical order by title.

Series 3, Personal and Background Information, 1945-1996; undated, include a profile of Santamaria and other musicians written in Japanese. There are also magazine articles documenting the development of Santamaria's career and his public appearances. Articles from the Miami Herald and the Chicago Tribune are also included among the materials. Personal items consist of Santamaria's Cuban and American passports. The materials are arranged in alphabetical order by type.

Series 4, Performance Materials, 1977-1996; undated, includes the National Academy of Recording Arts and Sciences Certificate to Mongo Santamaria and his Latin-Jazz Orchestra in recognition of nomination for the Best Tropical Latin Performance for Free Spirit, Espirito Libre, 1985. There are also flyers and an entertainment guide, some in Spanish, advertising public appearances for concert performances. A program in French for a jazz festival in Vienna includes profiles of the performers. There are posters including a black and white drawing of jazz musicians by Robert Leonard (1985) and appearances at the Miami Jazz and Heritage Festival, Apollo Theatre, Oberlin College and the Blue Note. Materials are arranged in alphabetical order by type.
Arrangement:
The collection is divided into 4 series.

Series 1: Photographs, circa 1950s-1990

Series 2, Music Manuscripts, 1958-1985 and undated

Series 3, Personal and Background Information, 1945-1996 and undated

Series 4, Performance Materials, 1977-1996 and undated
Biographical / Historical:
Cuban-born percussionist, composer, arranger, and bandleader.
Related Materials:
The materials in this collection complement the Latino Music Collection, Tito Puente Papers, Chico O'Farrill Papers, Dizzy Gillespie Collection and Paquito d'Rivera Music Manuscripts and Photograph.
Provenance:
Donated to the Archives Center by Mongo Santamaria's daughter, Nancy Anderson.
Restrictions:
Collection is open for research.
Rights:
Fees for commercial reproduction. Reproduction restricted due to copyright or trademark.
Topic:
Music -- 20th century  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Drummers (Musicians)  Search this
Musicians -- United States  Search this
Genre/Form:
Articles
Passports
Photographs -- 1950-2000
Manuscripts -- Music -- 20th century
Concert programs
Citation:
Mongo Santamaria Papers, 1965-2001, Archives Center, National Museum of American History. Gift of Nancy Anderson.
Identifier:
NMAH.AC.0893
See more items in:
Mongo Santamaria Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86da90852-d80c-4f01-b373-10272925814e
EDAN-URL:
ead_collection:sova-nmah-ac-0893
Online Media:

Raymond E. Wilson Covered Bridge Collection

Collector:
Wilson, Raymond E.  Search this
National Museum of American History (U.S.). Division of History of Technology  Search this
National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this
National Museum of American History (U.S.). Division of Work and Industry  Search this
Donor:
Millington, Ruth H.  Search this
Creator:
National Society for the Preservation of Covered Bridges.  Search this
Extent:
3 Cubic feet (9 boxes, 1 map folder )
Type:
Collection descriptions
Archival materials
Blueprints
Books
Clippings
Newsletters
Pamphlets
Photograph albums
Photographs
Slides (photographs)
Date:
1912-1980
Summary:
The collection documents covered bridges in America and Europe.
Scope and Contents:
The collection relates to covered bridges in America and Europe. It includes hundreds of slides (with index) of photographs of covered bridges; an album of prints of photographs of covered bridges in Germany, Switzerland and Austria; books and pamphlets, both national and regional, about covered bridges; newsletters from covered bridge organizations, both national and regional, such as the National Society for the Preservation of Covered Bridges; drawings; notes; copies of patents, an album of photographs entitled Trusses; articles and clippings; correspondence about covered bridges; and blueprints of plans for repair work on bridges.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Mechanical engineer and covered bridge enthusiast.
Provenance:
Donated by Wilson's daughter in 1983 to the Division of Mechanical and Civil Engineering, now called the Division of Work and Industry.
Restrictions:
Collection open for research 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:
Bridges  Search this
Covered bridges  Search this
Covered bridges -- Austria  Search this
Covered bridges -- Germany  Search this
Covered bridges -- Switzerland  Search this
Covered bridges -- United States  Search this
Genre/Form:
Blueprints
Books
Clippings
Newsletters
Pamphlets
Photograph albums -- 20th century
Photographs -- 1950-2000
Slides (photographs) -- 20th century
Citation:
Raymond E. Wilson Covered Bridge Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0999
See more items in:
Raymond E. Wilson Covered Bridge Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8540ade10-141e-4a75-9ac7-ee5ed2bd4401
EDAN-URL:
ead_collection:sova-nmah-ac-0999

Caroline R. Jones Papers

Creator:
Jones, Caroline Robinson, 1942-2001 (advertising executive)  Search this
Names:
Bahamas. Ministry of Tourism  Search this
Denny's, Inc.  Search this
Healthy Start  Search this
Kentucky Fried Chicken (Firm) (restaurants)  Search this
McDonald's Corporation.  Search this
Mingo-Jones Advertising.  Search this
National Campaign for a Drug Free America (U.S.)  Search this
Thompson, J. Walter (advertising agency).  Search this
United Negro College Fund  Search this
Zebra Associates (advertising agency).  Search this
Extent:
15 Sound tape reels
4 Motion picture films
54 Cubic feet (127 boxes; one oversize folder)
129 Video recordings
70 Cassette tapes
Type:
Collection descriptions
Archival materials
Sound tape reels
Motion picture films
Video recordings
Cassette tapes
Date:
1942 - 1996
Summary:
Caroline R. Jones (1942-2001), an African American advertising executive, worked for a number of prominent New York ad agencies and founded her own firm in 1986. She is best known for her work in assisting clients in marketing to minority consumers. The collection includes client files, print advertisements, and radio and television commercials created for a wide range of commercial and public service campaigns.
Scope and Contents:
The collection contains creative presentations, business correspondence, internal memoranda, market research, focus group interviews, production documents, print advertisements, and other documentation for numerous clients at J. Walter Thompson, Kabon Consultants, Zebra Associates, Kenyon & Eckhardt, the Black Creative Group, BBDO, Mingo-Jones Advertising, and Caroline Jones Advertising. The collection has very little documentation of Caroline Jones, Incorporated (1996-2001), but some material exists regarding the shift from Caroline Jones Advertising to Caroline Jones, Incorporated during 1995 and 1996.

Also included are articles and speeches by Jones, including many on the subject of targeted marketing to minority consumers; photographs, awards and publicity; and a small body of personal papers from her childhood in Benton Harbor, Michigan and her experiences at the University of Michigan. The years at Caroline Jones Advertising (1986-1995) are most thoroughly documented and include extensive client files on minority consumer market development for major clients.

The audiovisual materials portion of the collection is substantial and includes radio and television ads created by the agencies at which Jones worked and television programs in which she appeared as a guest and a host.
Arrangement:
The collection is arranged in seven series.

Series 1: Personal Papers, 1953-1986

Series 2: Business papers, 1965-1995

Subseries 2.1: Speeches, 1972, circa 1983-1994

Subseries 2.2: Articles, 1970-1993

Subseries 2.3: Subject Files, 1967-1995

Subseries 2.4: Publicity, 1965-1995

Subseries 2.5: Business Journals and Datebooks, 1969-1995

Subseries 2.6: Business, Civic, and Political Organizations and Activities, 1968-1993

Subseries 2.7: Awards, Committees, Judgeships, Invitations, 1971-1993

Subseries 2.8: Conferences, 1968-1992

Series 3: Agency Records, 1963-1987

Subseries 3.1: J. Walter Thompson, 1963-1969

Subseries 3.2: Zebra Associates, 1970-1975

Subseries 3.3: Kenyon & Eckhardt, 1971-1974

Subseries 3.4: Kabon Consultants, 1969-1975

Subseries 3.5: Black Creative Group, 1969-1975

Subseries 3.6: BBDO, 1975-1977

Subseries 3.7: Mingo, Jones, Guilmenot and Mingo-Jones, 1977-1987

Subseries 3.8: Freelance Work and Miscellaneous, 1964-1985

Series 4: Caroline Jones Advertising Agency Records, 1987-1996

Subseries 4:1: Client Files and Related Research, 1987-1995

Subseries 4.2: Agency Credentials, 1985-1991

Subseries 4.3: New Business, 1987-1994

Subseries 4.4: Correspondence, 1990-1995

Subseries 4.5: Office Materials, 1990-1995

Series 5: Print Ads, 1964-1996

Series 6: Photographs and Slides, 1950s-1995, undated

Subseries 6.1: Slides, undated

Subseries 6.2: Photographs, 1950s-1995

Series 7: Audio Visual Materials, 1970-1997

Subseries 7.1: Audio cassettes, 1984-1994

Subseries 7.2: Open Reel Audio Tapes, 1970-1984

Subseries 7.3 Videotapes, 1987-1997

Subseries 7.3.1: Agency Reels and Compilations, 1989-1994

Subseries 7.3.2: Television Commercials (Brand/Client specific), 1987-1997

Subseries 7.3.3: Director's Show Reels, 1989-1996

Subseries 7.3.4: Television Programs, 1985-1994

Subseries 7.4: Motion Picture Films, 1970s
Biographical / Historical:
Caroline Robinson Jones (1942-2001) was a highly regarded American advertising and public relations executive. Her work recognized the rising economic power and cultural influence of the black middle class after World War II and contributed to a fundamental shift in American advertising, as mainstream national advertisers sought to reach a consumer market that was increasingly recognized as both economically significant and racially and ethnically diverse. The corporate and public service advertising she created to reach minority audiences stands as a record of our nation's continuing dialogue with race and ethnicity, viewed through the dual lenses of consumption and mass culture.

Caroline Marie Robinson was born in Benton Harbor, Michigan, the third of nine children. In 1963, she graduated from the University of Michigan, where she was active in Alpha Kappa Alpha sorority, with a bachelor's degree in English and a minor in Science. She married Edward Jones, a loan officer with the Small Business Administration in 1965, and had a son, Anthony. After college, she was hired by the New York offices of J. Walter Thompson, one of the country's oldest, largest and most respected advertising agencies. Like most women hired by the agency at that time, she began working in the secretarial pool, but she was invited to attend the agency's copywriting school, becoming the first African-American person ever to do so. She remained at Thompson for five years as a junior copywriter on accounts including Ponds, Chun King, Scott Paper, and the American Gas Association.

In 1969, she joined Zebra Associates as Vice President and Creative Director. Zebra, a black owned agency with a racially integrated staff, was among a pioneer group of advertising agencies that specialized in tailoring national ad campaigns to the needs and desires of an urban, black consumer market. She was named one of the Foremost Women in Communications in 1970, and won her first advertising awards in 1971, including one for work on the Southern Voter Registration Drive.

In 1972, Jones went to work as Senior Copywriter at Kenyon & Eckhardt. She later became a partner and Creative Director. While at K&E, she met Kelvin Wall, who recruited her as a senior consultant at Kabon Consulting, another black-owned agency with which she was associated from about 1970 until about 1974. From there she went on to co-found the Black Creative Group. In 1975, she achieved another first by becoming the first woman Vice President of a major agency, Batten, Barton, Durstine and Osborn (BBDO).

Jones remained at BBDO until 1977, when she joined Frank Mingo and Richard Guilmenot as principals in a new agency affiliated with Interpublic. That arrangement offered the firm the financial backing of an international advertising and marketing communications giant. Mingo-Jones specialized in tailoring general market campaigns to a black audience, in creating new campaigns for the black market, and, in some cases, repositioning the product or introducing new products to increase market share. Jones played minor roles advising the Carter-Mondale presidential campaign in 1984 (box 31/folder 13), the Mondale-Ferraro campaign (box 34/folder4), and the David Dinkins New York City mayoral campaigns. She also advised the Jesse Jackson presidential campaign and the PLP party of the Bahamas as part of her public relations work for the country (see,for example, notebooks for September,1984, box 79).

In 1986 Caroline Jones left Mingo-Jones to form her own agency, Caroline Jones Advertising, which she restructured in 1994 as Caroline Jones, Inc. and operated until her death in 2001. Her major clients included the Bahamas Ministry of Tourism, McDonalds, and Anheuser-Busch. Jones also created public service advertising for the United Negro College Fund, Healthy Start (pre-natal care), and the Partnership for a Drug Free America. Caroline Jones received many awards including "Woman of the Year" by the Advertising Women of New York in 1990. She served on the boards of the Advertising Council, Long Island University, the Women's Bank of New York, and on the New York State Banking Board. Beginning in he late 1980s, she produced and moderated "Focus on the Black Woman" for WNYC Radio and hosted "In the Black: Keys to Success" for WOR-TV.

Sources

Stuart Elliott, "Caroline Jones, 59, Founder of Black-Run Ad Companies," The New York Times, July 8, 2001.

Judy Foster Davis, "Caroline Robinson Jones: Advertising Trailblazer, Entrepreneur and Tragic Heroine," in Eric H. Shaw, ed., The romance of marketing history : proceedings of the 11th Conference on Historical Analysis and Research in Marketing (CHARM), Michigan State University, East Lansing, Michigan, May 15-18, 2003 Boca Raton, FL : Association for Historical Research in Marketing, 2003. 210-219.

Judy Foster Davis, "'Aunt Jemima is Alive and Cookin'?' An Advertiser's Dilemma of Competing Collection Memories," Journal of Macroeconomics, Vol. 27, No. 1. March 2007 p. 25-37
Materials in the Archives Center, National Museum of American History:
An oral history interview with Caroline Jones is found in Archives Center Collection (AC0367), The Campbell Soup Advertising Oral History and Documentation Project.
Provenance:
The collection was donated to the Archives Center, National Museum of American History in September 1996 by Caroline Marie Robinson Jones.
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:
Beer -- 1950-2000  Search this
Liquors -- advertising -- 1950-2000  Search this
African American women executives -- 1950-2000  Search this
African Americans in mass media -- 1950-2000  Search this
advertising -- 1950-2000  Search this
Advertising agencies -- 1950-2000  Search this
Minority consumers  Search this
advertising -- Beer -- 1950-2000  Search this
Identifier:
NMAH.AC.0552
See more items in:
Caroline R. Jones Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8d5ff6e4d-7fa0-4339-acee-3ff8076b43b2
EDAN-URL:
ead_collection:sova-nmah-ac-0552
Online Media:

Institute for Advanced Study Electronic Computer Project Drawings

Creator:
Bigelow, Elizabeth Merkelson  Search this
Bigelow, Julian  Search this
Princeton University. Institute for Advanced Study Computer Project  Search this
Extent:
2 Cubic feet (3 boxes, 1 folder)
Type:
Collection descriptions
Archival materials
Correspondence
Reports
Photographs
Drawings
Date:
1949-1961.
Summary:
Correspondence, personal notes, articles, drawings, photographs, and published reports documenting the IAS Electronic Computer Project.
Scope and Contents note:
Collection consists of correspondence, personal notes, articles, drawings, and published reports documenting the Institute for Advanced Study Electronic Computer Project, 1949-1956. The bulk of the documentation dates from 1949 to 1954. The Office of Naval Research contracted with IAS to study and document the operation and engineering improvements on the electronic computer at IAS from July 1, 1952 to June 30, 1953. An earlier report by IAS on a study contracted for by the U.S. Army Ordnance Corps is also included. This study ended July 1, 1952 and the published report is in two volumes. Many of the drawings are in pencil and have no date, but there is one near complete set of blueprints for the Electronic Computer (drawings #1298 to #1072). Drawings range in size from 17" x 22" to 27" x 36". There is one folder of undated, black and white photographs that appear to document certain aspects of the Electronic Computer. The collection is arranged into five series: Series 1: Correspondence, Series 2: Chapter Drafts, Series 3: Notes and Drawings, Series 4: Photographs; and Series 5: Articles and Reports.
Arrangement:
Divided into 5 series: 1) Correspondence; 2) Chapter Drafts; 3) Notes and Drawings; 4) Photographs; 5) Articles and Reports.
Historical:
The Institute for Advanced Study (IAS) in Princeton, New Jersey is an independent, private institution dedicated to the encouragement, support, and patronage of learning through fundamental research and definitive scholarship across a wide range of fields. IAS was founded in 1930 by Louis Bamberger and Caroline Bamberger Fuld as a center for intellectual inquiry. During its existence, the institute has had in residence many of the most highly regarded thinkers of the twentieth century. Julian Bigelow joined the staff of IAS in April 1946 and worked on the Electronic Computer Project. The Electronic Computer Project was initiated in 1946 by John von Neumann, a mathematician who had been working on ballistics computations during World War II. Von Neumann used the first version of the Princeton computer to calculate the results of the thermonuclear reaction of the first H-bomb in 1950. The project was terminated following von Neumannn's death in 1957.
Related Materials:
Materials in the Archives Center

Computer Oral History Collection, 1969-1973, 1977 (NMAH.AC.0196)

Institute for Advanced Study Computer Project Records, 1950-1957 (NMAH.AC.0401)
Provenance:
Collection donated by Elizabeth Merkelson Bigelow and Julian H Bigelow on June 20, 2002.
Restrictions:
Unrestricted research access on site by appointment.
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:
Computers  Search this
Computer science  Search this
Genre/Form:
Correspondence -- 1950-2000
Reports
Photographs -- 20th century
Drawings -- 20th century
Citation:
Institute for Advanced Study Electronic Computer Drawings, 1949-1961, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0815
See more items in:
Institute for Advanced Study Electronic Computer Project Drawings
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep87447d2ca-1122-45c6-a101-ab70f25c7167
EDAN-URL:
ead_collection:sova-nmah-ac-0815

Jean Stapleton Papers

Creator:
Stapleton, Jean, 1923-2013  Search this
Extent:
10 Cubic feet (35 boxes, 4 map-folders)
Type:
Collection descriptions
Archival materials
Correspondence
Date:
1906-2014, undated
Summary:
Collection documents the personal life and professional career of American theatre and film actor Jean Stapleton.
Scope and Contents:
The collection consists of papers documenting Stapleton's long career in film, on stage, and on screen. Contents include correspondence from fans and from VIPs; awards and honorary degrees; scrapbooks and photograph albums; papers relating to her career, such as publicity photographs, scripts, sheet music, audiovisual materials; subject files Stapleton kept on topics relating to her roles; papers relating to Stapleton's mother, Marie Stapleton, an opera singer; articles and clippings, and a 16 mm film.

The collection documents Stapleton's long stage, film, and television career, as well as her philanthropic activities. These materials consist primarily of photographs and photograph albums, scripts, sheet music and scores, costume and set designs, programs and posters, awards and honorary degrees, and subject files Stapleton kept on topics relating to her roles.

The collection is arranged into four series. Series one, Production Materials, contains a substantial amount of materials relating to her acting career and the many roles she played on the stage, in film and on television. Series two consists of materials relating to regional theatres. Series three includes Stapleton's personal papers. Series four contain materials relating to the singing career of Marie Stapleton Murray who was the mother of Jean Stapleton.
Arrangement:
Collection arranged into four series.

Series 1, Production Materials, 1939-2007, undated

Series 2, Regional Theatre, 1941-1989, undated

Series 3, Personal Papers, 1930-2014, undated

Subseries 3.1, Correspondence, 1950-2000, undated

Subseries 3.2, Activism and Awards, 1930-2010, undated

Subseries 3.3, Personal Memorabilia and Photographs, 1952-2014, undated

Subseries 3.4, Publications, 1971-2001

Series 4, Marie Stapleton Murray, 1906-1914, undated
Biographical / Historical:
Jean Stapleton was born on January 19, 1923 in Manhattan, New York, New York, as Jean Murray. Her father was a billboard advertising salesman. Her mother was an opera singer, whose maiden name, Stapleton, she took as her stage name. Stapleton trained as an actor at the American Actors Company and the American Theatre Wing. She was a singer as well as a character actor and in 1949 found success as part of the cast of the national touring company of "Harvey." She would go on to act off-Broadway, on-Broadway, in film, and on television throughout her half-a-century career. Notable roles include Sister in "Damn Yankees," Sue in "Bells are Ringing," and Mrs. Strakosh in "Funny Girl." Her most famous role, however, was in Norman Lear's groundbreaking sitcom "All in the Family" where Stapleton portrayed the "dingbat," big-hearted wife, Edith Bunker. Playing opposite Carroll O'Connor's, Archie Bunker, Stapleton was lauded for her masterful portrayal. She won three Emmys and two Golden Globe awards. "All in the Family" ran from 1971 to 1984 and after the show ended Stapleton continued working on numerous projects. In 1989, she acted in Harold Printer's "The Birthday Party" and "Mountain Language," Lee Hoiby's "Bon Appétit" in 1991, and Horton Foote's "The Carpetbagger's Children" in 2002. She also appeared as guest characters in many television series.

In 1957 Stapleton married William Putch, operator of the Totem Pole Playhouse in Pennsylvania. They were married until his death in 1983. Stapleton never remarried. Jean Stapleton died May 31, 2013 of natural causes and is survived by two children, Pamela and John, and grandchildren.
Related Materials:
Materials at Other Organizations

Carnegie Mellon University Archives

The papers of Jean Stapleton's husband, William Putch, mainly his thirty years of work at the Totem Pole Playhouse, were acquired in July 2017.
Provenance:
The collection was donated to the Archives Center by Pamela Putch in 2017.
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:
Actors  Search this
Topic:
Television  Search this
Theater  Search this
Actresses  Search this
Motion pictures  Search this
Genre/Form:
Correspondence
Citation:
Jean Stapleton Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1424
See more items in:
Jean Stapleton Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84c6144d7-8079-4676-89e1-d6d4904fcf17
EDAN-URL:
ead_collection:sova-nmah-ac-1424
Online Media:

John Marshall Ju/'hoan Bushman film and video collection

Collaborator:
McElwee, Ross  Search this
Blitz, Daniel  Search this
Bishop, John Melville  Search this
Baker, Peter  Search this
Ritchie, Claire  Search this
Young, Robert  Search this
Terry, John  Search this
Galvin, Frank  Search this
Bestall, Clifford  Search this
Gardner, Robert  Search this
Asch, Timothy, 1932-1994  Search this
Marshall, Lorna  Search this
Creator:
Marshall, John, 1932-2005 (ethnographic filmmaker)  Search this
Extent:
2 Boxes (map drawers)
3 Video recordings (published videos or video series)
99 Linear feet (714,405 feet (332 hours) 16mm film, 435 hours video tape, 309 hours audio tape, 21 published film and video titles, 29 unpublished film and video titles, 14 linear feet paper records)
Culture:
San (African people)  Search this
Bushman  Search this
Type:
Collection descriptions
Archival materials
Video recordings
Documentary films
Place:
Namibia
Date:
1950-2000
Summary:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000. This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. The Marshall Collection also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's.
Scope and Contents:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000.

This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. Beginning in 1978, Marshall often conducted lengthy and in depth interviews with many family members, in which they reflect on past, present, and future, and often comment on specific film footage from earlier years which was shown to them during the interviews. The collection is not limited to the /Gautcha family, however; it also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's. The collection also documents changes to the landscape and wildlife of the Nyae Nyae region.
Arrangement:
This collection is arranged in 13 series: (1) Unedited Film and Video Projects, 1950-1978, 1981-2003; (2) Published Films and Videos, 1952-2002; (3) Unpublished Films and Videos, 1959-1962, circa 1965; (4) Audio, 1950s, 1978-1990; (5) Field Notes, Shot Logs, Translations, 1951-2000; (6) Production Files, 1952-2004; (7) Correspondence, 1968-2003 [bulk 1993-2000]; (8) Nyae Nyae Development Foundation & Advocacy Files, 1975-2003 [bulk 1984-2003]; (9) Published and Unpublished Writing, 1957-1958, 1980-1999, 2007; (10) Study Guides, 1974, 1982; (11) Writings by Others & Press, 1952-1953, 1965-2005; (12) Photographs, 1930s, 1946-2003; (13) Maps, 1872, 1879, 1914, 1933-1989.
Biographical / Historical:
John Marshall, filmmaker and activist, was born on November 12, 1932 in Boston, Massachusetts. He grew up in Cambridge, Massachusetts and on his family's farm in Peterborough, New Hampshire. Marshall first picked up a camera in 1950, at the age of 18, during the first of several expeditions to the Kalahari organized by his father, Laurence Marshall, the founding president of the Raytheon Corporation. The whole Marshall family - including John's mother, Lorna, and sister, Elizabeth Marshall Thomas - became engaged in a multi-disciplinary study of the Ju/'hoansi. Marshall's father assigned him the task of making a documentary film record of Ju/'hoan life and culture. Between 1950 and 1958, he shot over 300,000 feet of 16mm film (157 hours).

Marshall formed a close bond with many of his Ju/'hoan subjects, particularly with Toma "Stumpy" Tsamko, leader of the /Gautcha band. Amongst Ju/'hoansi, Marshall was known as Toma Xhosi, Toma "Longface". Probably because of this close relationship, he was forced to leave South West Africa in 1958 after his visa expired, and was not allowed back for twenty years.

During the 1960's and 1970's, Marshall became well-established as a cinema vérité filmmaker. After leaving the Film Study Center at Harvard, which he had co-directed with Robert Gardner, he worked briefly with Robert Drew and D.A. Pennebaker, and later collaborated with Fredrick Wiseman on Titicut Follies (1967). He forged friendships with leading documentary and ethnographic filmmakers, including Timothy Asch, Ricky Leacock, and Jean Rouch.

Throughout these years, Marshall continued to work with his extensive footage of Ju/'hoansi. He completed 15 short films, as well as the award-winning Bitter Melons. In 1968, Marshall partnered with Tim Asch to found Documentary Educational Resources (DER), to distribute and support the creation of ethnographic and educational film.

In 1978 Marshall was allowed to return to Nyae Nyae to shoot N!ai, the Story of a !Kung Woman. Finding his Ju/'hoan friends beset by illness, poverty, and growing social ills, John turned his attentions to development and advocacy work. Virtually abandoning his filmmaking career, Marshall started a foundation to assist Ju/'hoansi and spent most of the 1980's helping them establish water access, subsistence farming, and a local government. He began using film as an advocacy tool, and released several urgent, issuefocused videos to raise awareness of the Ju/'hoan struggle for self-determination.

Marshall continued his documentary record of Ju/'hoansi, directing his final shoot in 2000. A Kalahari Family (2002), his epic six-hour series, tells the story of the Ju/'hoansi from 1950-2000 and charts Marshall 's evolution from filmmaker to activist. He made his final visit to Nyae Nyae in 2004, and continued his advocacy work right up to his final days. John Marshall died due to complications from lung cancer on April 22, 2005.

John Marshall Chronology

1932 -- Born in Boston, Massachusetts

1950-1958 -- Marshall Family expeditions to study the Ju/'hoansi of Nyae Nyae

1957 -- Awarded B.A. in Anthropology from Harvard University The Hunters released

1958-1960 -- Associate Director (with Robert Gardner) of the Film Study Center, Peabody Museum, Harvard University

1960 -- Awarded G.S.A.S. in Anthropology from Yale University

1960-1963 -- Director, Bushmen Film Unit, Harvard University

1962 -- Sha//ge Curing Ceremony (early version of A Curing Ceremony), A Group of Women and Joking Relationship screened at Flaherty Seminar

1964-1965 -- Cameraman for NBC covering civil war in Cyprus

1966 -- Awarded M.A. in Anthropology from Harvard University

1967 -- Cameraman and Co-Director of Fredrick Wiseman's Titicut Follies

1968 -- Founded Documentary Educational Resources (DER) with Timothy Asch (first known as CDA, Center for Documentary Anthropology)

1968-1969 -- Cameraman and Director of film shoots for the Pittsburgh Police series, produced through the Center for Violence Studies at Brandeis University

1970-1974 -- Edited and released numerous short films, from both Ju/'hoan (!Kung) and Pittsburgh Police series

1972 -- Collaborated with Nicholas England (musicologist) on a film project documenting a family of drummers in Ghana (this film was never completed)

1972-1973 -- Travel to Botswana to film National Geographic's Bushmen of the Kalahari, produced by Wolper Productions

1974 -- If It Fits, documentary on failing shoe industry in Haverhill, MA, released

1976 -- Director and cameraman of film shoots for Smithsonian Festival of American Folklife

1978 -- Film shoot in Nyae Nyae for N!ai, The Story of a !Kung Woman

1980 -- N!ai, The Story of a !Kung Woman released and broadcast on PBS as partof the Odyssey series

1980-1982 -- Conducted genealogical survey in Nyae Nyae with Claire Ritchie

1982 -- Founded the Ju/wa Cattle Fund (later known as the Nyae Nyae Development Foundation of Namibia)

1985 -- Pull Ourselves Up or Die Out, Marshall's first "field report" edited on video, released

1989 -- Returns to Boston after Namibian independence

1991 -- To Hold Our Ground, another "field report" is aired on Namibian television shortly before a national Land Rights Conference

1993 -- The Cinema of John Marshall published

1995 -- Awarded Honorary M.F.A. from Rhode Island School of Design

2000 -- Final video shoot in Nyae Nyae

2002 -- A Kalahari Family premieres at the Margaret Mead Film Festival in New York City; released for general distribution in 2003

2004 -- Makes final visit to Nyae Nyae; presents proposal for water point protections

2005 -- Dies in Boston, Massachusetts
Orthography Note:
Ju/'hoansi are the speakers of the Ju/'hoan language. Various cultural descriptors used over the years include !Kung which is a language group containing three dialect groups, one of which is the Ju/'hoansi; San, which is now regarded by the Ju/'hoansi to have negative connotations; and Bushman, which ironically (given the derogatory history of this term) is now preferred by the Ju/'hoansi as a term of dignity. (Orthography information provided by Dr. Polly Wiessner, University of Utah anthropologist and longtime field worker among and researcher of the Ju/'hoansi.)

The orthography of the Ju/'hoan language has changed many times, though an official orthography was agreed upon and accepted by the Namibian government in 1991. The finding aid, cataloging records, and shot logs for the Marshall collection at Human Studies Film Archives continue to use the orthography used by the Marshall family beginning in 1950. These spellings are usually anglicized versions of the official orthography. For example, the name ≠Oma was usually rendered by the Marshalls as Toma; the place name /Aotcha as /Gautcha or Gautscha.

The majority of the footage was shot in a region of Namibia (formerly South West Africa) known as Nyae Nyae. In the 1960's, a portion of the Nyae Nyae area was officially established as a homeland for Ju/'hoansi by the South West African administration. This area, once called Eastern Bushmanland, is now known as Eastern Otjozondjupa, however it is still referred to as Nyae Nyae by Ju/'hoansi and others. The Nyae Nyae Conservancy, which encompasses a large portion of Eastern Otjozondjupa, was established in 1996.
Filmography:
JU/'HOAN BUSHMAN FILM SERIES

1952 -- First Film [also known as !Kung Bushmen of the Kalahari] (by Lorna Marshall)

1957 -- The Hunters

1959 -- A Curing Ceremony

1961 -- A Group Of Women

1962 -- A Joking Relationship

1966 -- !Kung Bushmen Hunting Equipment (directed by Lorna Marshall)

1969 -- N/um Tchai: The Ceremonial Dance of the !Kung Bushmen

1969 -- An Argument About A Marriage

1970 -- The Lion Game

1970 -- The Melon Tossing Game

1971 -- Bitter Melons

1972 -- Debe's Tantrum

1972 -- Men Bathing

1972 -- Playing With Scorpions

1972 -- A Rite of Passage

1972 -- The Wasp Nest

1974 -- Baobab Play

1974 -- Children Throw Toy Assegais

1974 -- The Meat Fight

1974 -- Tug-Of-War

1980 -- N!ai, the Story of a !Kung Woman

1985 -- Pull Ourselves Up Or Die Out

1990 -- To Hold Our Ground: A Field Report

1991 -- Peabody Museum !Kung San Exhibit Video

2002 -- A Kalahari Family

In addition to Marshall's many published films on the Ju/'hoansi, he was also involved in a variety of other film projects. He shot and co-directed Titicut Follies, a film by Fredrick Wiseman. Working in association with the Lemburg Center for Violence Studies at Brandeis University, he shot and directed a series of short films about a police squad in Pittsburgh, PA, known as the Pittsburgh Police series. He also shot and directed If It Fits, a film about the failing shoe industry in Haverhill, MA. Marshall was also the subject of two television programs: Bushmen of the Kalahari, a National Geographic special which aired in the United States, and a Japanese program called Forty Years in the Kalahari, part of the television series, Our Wonderful World. All of these, as well as Marshall's Ju/'hoan films, are included in this filmography.

PITTSBURGH POLICE SERIES

1970 -- Inside/Outside Station 9

1971 -- Three Domestics

1971 -- Vagrant Woman

1972 -- 901/904

1972 -- Investigation of a Hit and Run

1973 -- After the Game

1973 -- The 4th, 5th, & Exclusionary Rule

1973 -- A Forty Dollar Misunderstanding

1973 -- Henry Is Drunk

1973 -- The Informant

1973 -- A Legal Discussion of a Hit and Run

1973 -- Manifold Controversy

1973 -- Nothing Hurt But My Pride

1973 -- Two Brothers

1973 -- $21 or 21 Days

1973 -- Wrong Kid

1973 -- You Wasn't Loitering

OTHER FILMS

1967 -- Titicut Follies (Co-Director, Cinematographer; film by Fredrick Wiseman)

1972 -- Ghana Drumming (uncompleted; collaboration with Nicholas England)

1974 -- Bushmen of the Kalahari (by Wolper Productions for National Geographic)

1975 -- Vermont Kids (series of short films; released in 2007)

1976 -- Festival of American Folklife (uncompleted; shot for Smithsonian Institution)

1978 -- If It Fits

1988 -- Our Wonderful World: Forty Years in the Kalahari (by Nippon A-V Productions)
Related Materials:
The Human Studies Film Archives holds several related collections, including:

• The Nicholas England Collection, which consists of audio recordings from 1951-1961. This collection contains both originals and duplicates of audio tapes recorded during the Marshall Expeditions. (2005.9) • The Journal of Robert Gesteland, kept during the Marshall !Kung Expedition VI, 1957-58. (2007.17) • Master copies of the full film record of Bushmen of the Kalahari (1974), a television program featuring John Marshall's 1973 visit to the /Gwi San of Botswana, produced by Wolper Productions for National Geographic. (2008.12) • Reference copies of the full video record of Our Wonderful World: Forty Years in the Desert, Nippon A-V's 1988 Japanese television program about John Marshall and the Ju/Wa Bushman Development Foundation. (2009.2.1) • Master copies of the videotape "library" kept by John Marshall for reference and stock footage purposes. Compiled from various sources, the videos include news programs, documentaries, and raw footage of Ju/'hoansi and other San peoples from the 1920's --1990's, as well as interviews with John Marshall and his mother, Lorna Marshall. (2009.2) • Additional audio recordings, including interviews with Ju/'hoansi made by John Marshall and others. (2009.3) • Full film record of [Ghana Drumming, 1972], an uncompleted project undertaken by John Marshall and Nicholas England, which documents a family of musicians. (2008.11)

The Papers of Timothy Asch, held at the National Anthropological Archives, contain information on Asch's work with John Marshall at Harvard University from 1959-1963, their collaboration in founding DER, and details on the use of Marshall's Ju/'hoan footage in the development of MACOS (Man, A Course of Study).

There are also several closely related collections held at the Peabody Museum of Archaeology and Ethnology, Harvard University. These collections relate to the 1950's Marshall Expeditions and include: Expeditionary Notebooks and Journals of Lorna and Laurence Marshall; Journal of Elizabeth Marshall Thomas; the Marshall Family Photograph Collection; and the Records of the South West Africa Expeditions, 1950- 1959. The Harvard Film Archive, Harvard University, holds film prints of several of Marshall's published films on the Ju/'hoansi, including The Hunters.
Provenance:
The John Marshall Ju/'hoan Bushman Film and Video Collection was received over several years of accessioning from different parties.
Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Topic:
Anthropology  Search this
Genre/Form:
Documentary films
Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Identifier:
HSFA.1983.11
See more items in:
John Marshall Ju/'hoan Bushman film and video collection
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9837628c2-5993-4cb8-8a98-9d1139f46452
EDAN-URL:
ead_collection:sova-hsfa-1983-11
Online Media:

Louis Finkelstein papers, 1930-2001

Creator:
Finkelstein, Louis, 1923-2000  Search this
Citation:
Louis Finkelstein papers, 1930-2001. Archives of American Art, Smithsonian Institution.
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6341
(DSI-AAA_SIRISBib)227501
AAA_collcode_finkloui
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_227501
Online Media:

Eleanor Munro papers

Creator:
Munro, Eleanor, 1928-  Search this
Names:
Antin, Eleanor  Search this
Blaine, Nell, 1922-1996  Search this
Bontecou, Lee, 1931-  Search this
Chase-Riboud, Barbara  Search this
Frank, Mary, 1933-  Search this
Lin, Maya Ying  Search this
Mitchell, Joan, 1926-1992  Search this
Pepper, Beverly  Search this
Stone, Sylvia, 1928-  Search this
Thomas, Alma  Search this
Extent:
36.7 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Diaries
Sound recordings
Photographs
Transcripts
Date:
circa 1880-2011
bulk 1950-2011
Summary:
The papers of writer and art critic Eleanor Munro measure 36.7 linear feet and 0.001 GB and date from circa 1880-2011, bulk 1950-2011. The collection documents Munro's life, career, and research on women artists, through biographical and family material, correspondence, writing projects, diaries, dream journals and notebooks, subject and research files, printed and digital material, and photographic material.
Scope and Contents:
The papers of writer and art critic Eleanor Munro measure 36.7 linear feet and 0.001 GB and date from circa 1880-2011, bulk 1950-2011. The collection documents Munro's life, career, and research on women artists, through biographical and family material, correspondence, writing projects, diaries, dream journals and notebooks, subject and research files, printed and digital material, and photographic material.

Correspondence is both personal and professional in nature and is with family, friends, colleagues, agents, editors, and others regarding speaking engagements, writings, and other professional projects.

Writing projects make up a significant portion of the collection (10 linear feet) and include non-fiction works as well as fiction and poetry. Files contain drafts, notes, manuscripts, research, correspondence, contracts and agreements, royalty statements, and other business records for articles, books, reviews, talks, lectures, and other writing projects.

Diaries comprise twenty-six volumes of frequent entries that chronicle thoughts and feelings relating to Munro's personal and professional life. Dream journals and notebooks total 210 volumes plus additional loose pages and capture thoughts, reflections, and fragments of remembered dreams.

Subject and research files compiled and organized by Eleanor Munro make up the most substantial portion of the collection (20.6 linear feet) and reflect a wide variety of research interests, work projects, activities, and topics of interest. Types of material in this series are varied and include notes, drafts, printed and digital material, correspondence, proposals, interview transcripts, bibliographies, annotated articles, slides, photographs, original artworks, manuscripts by others, and four sound recordings. Many files relate to Munro's interest in women artists and serve as research for Originals: American Women Artists (1979). Interview transcripts are with women artists Eleanor Antin, Nell Blaine, Lee Bontecou, Barbara Chase-Riboud, Mary Frank, Maya Lin, Joan Mitchell, Beverly Pepper, Sylvia Stone, Alma Thomas, and others.

The remainder of the collection is comprised of biographical and family material, printed material, and photographic material.
Arrangement:
The collection is arranged as 7 series

Missing Title

Series 1: Biographical and Family Material, circa 1880s-2008 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1959-circa 2000s (0.7 linear feet; Box 1-2)

Series 3: Writings Projects, 1921-circa 2000s (10 linear feet; Box 2-12)

Series 4: Diaries, Dream Journals, and Notebooks, circa 1939-2011 (3.8 linear feet; Box 12-15)

Series 5: Subject and Research Files, circa 1950s-2000s (20.6 linear feet; Box 15-36, OV 38-40, 0.001 GB; ER01)

Series 6: Printed Material, circa 1959-circa 2000s (0.6 linear feet; Box 36)

Series 7: Photographic Material, circa 1980s-1990s (0.6 linear feet; Box 36-37)
Biographical / Historical:
Eleanor Munro (1928- ) is a writer and art critic working in New York City and Truro, Massachusetts. She is best known for her groundbreaking work Originals: American Women Artists (1979), one of the first books to argue for the importance of women artists who were generally ignored by the art world. Munro was active in feminist art circles in New York.

Munro's father, Thomas Munro, was an art educator and modernist intellectual. Her mother, Lucile Nadler, was a pianist. She grew up in Cleveland, Ohio, after her father accepted a joint appointment at the Cleveland Museum of Art and Western Reserve University. Munro graduated from Smith College majoring in art history and earned a master's degree in comparative literature from Columbia. She was married to Alfred Frankfurter, editor of ArtNews, from 1955 until his death in 1965. Munro remarried to the writer E. J. Kahn until his death in 1994.

While working on Originals, Munro interviewed forty women artists including Georgia O'Keeffe, Louise Bourgeois, Jennifer Bartlett, Helen Frankenthaler, and Louise Nevelson. Her thesis sought to highlight the relationship between biography and the content of an artist's work. The book serves as an illustration of Munro's idea that the "narrative memory" these artists had constructed for themselves was an important "generative source" of their creativity. Women artists continued to be a prominent interest of Munro's throughout her life.

Munro is also the author of On Glory Roads: a Pilgrim's Book about Pilgrimage (1987), Memoir of a Modernist's Daughter (1988), and other books. In 1988, Munro received the Cleveland Arts Prize for Literature.
Provenance:
Donated by Eleanor Munro's son, David T. M. Frankfurter, in 2015.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- Ohio  Search this
Authors -- Ohio  Search this
Topic:
Dreams  Search this
Women artists  Search this
Genre/Form:
Interviews
Diaries
Sound recordings
Photographs
Transcripts
Citation:
Eleanor Munro papers, circa 1880-2011, bulk 1950-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.munrelea
See more items in:
Eleanor Munro papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a4625a86-8f36-41fa-844c-c186f93ab239
EDAN-URL:
ead_collection:sova-aaa-munrelea
Online Media:

John Gensel Collection of Duke Ellington Materials

Creator:
Gensel, John  Search this
Morgen, Joe  Search this
Ellington, Duke, 1899-1974  Search this
Names:
Ellington, Duke, 1899-1974  Search this
Extent:
1.5 Cubic feet (5 boxes)
Type:
Collection descriptions
Archival materials
Clippings
Photographs
Theater programs
Correspondence
Music
Programs
Press releases
Date:
1950-1979
Summary:
Papers relating to Duke Ellington, once owned by Ellington's publicist Joe Morgen: Morgen's correspondence, much of it relating to appearances by Ellington; photographs; some financial records; some music manuscripts of Ellington's; concert and theater programs; a film of Ellington at the White House in 1969 when he was awarded the Presidential Medal of Freedom by President Nixon; and press releases and newspaper and magazine articles.
Scope and Contents note:
The collection consists of material compiled by Joe Morgen as an employee of Duke Ellington from 1957 to 1979. This includes correspondence, some of Morgen=s personal financial records, photographs, magazine articles, and newspaper clippings about Ellington. In addition there are public relations and biographical sketches about Ellington, a 35mm film of Ellington at the White House when he was awarded the Presidential Medal of Freedom by President Nixon, and an acetate reference recording of AAfro-Bossa.@ There are also materials not related to Ellington that include miscellaneous sheet music from the AJudy Garland Show,@ documents for the 1960s program AYouth Wants to Know,@ some 45 rpm commercial and test sound recordings of Mary Lou Williams performing some of her music, broadsides of various jazz musicians printed on black cloth, and other unidentified documents.
Arrangement:
The collection is organized into eleven series:

Series 1: Joe Morgen Correspondence and Personal Papers

Series 2: Photographs, Slides, and Negatives

Series 3: Judy Garland Show Sheet Music

Series 4: Ellington Materials

Series 5: Sound Recordings

Series 6: Biographical and Press Related Materials

Series 7: Programs, Invitations, and Flyers

Series 8: Publications

Series 9: Magazine and Newspaper Clippings

Series 10: Film Reel, Duke Ellington at the White House

Series 11: Miscellaneous
Biographical/Historical note:
Rev. John Garcia Gensel, a Lutheran minister at St. Peter's church in New York City, 1956-1993, was a close confidant and spiritual presence within the New York jazz community. Conducting evening jazz vespers from 1965 until 1993, Gensel was able to develop close ties with New York's jazz musicians and their families. He believed that jazz was the best music for worship because it spoke to the existential nature of the person playing it. Along with conducting his jazz vespers, Gensel also officiated at weddings, baptisms, and funerals for much of the jazz community, including those of Duke Ellington, Thelonious Monk, John Coltrane, Miles Davis, and Dizzy Gillespie. Duke Ellington, a close friend and confidant, dedicated part of his Second Sacred Concert, The Shepard (Who Watches Over the Night Flock) to Gensel.

Joe Morgen, described as a fast talking Broadway-beat publicist, was hired by Ellington in 1957 to manage his public relations. Although he was disliked by Billy Strayhorn and perceived by others as graceless and aggressive, Ellington nonetheless overlooked Morgen's weaknesses. In his memoir Music Is My Mistress Ellington wrote, "I think he does a great job. He is an extraordinary individual, and I always say he is a man who doesn't have the tiniest facet of the devious in his makeup". Regardless of his reputation, Morgen proved highly adept at regaining media attention for Duke Ellington's music through features published in publications such as Look, the New York Times, and Newsweek. Phoebe Jacobs, head of promotion for the Basin Street Nightclub, said, "Joe Morgen made all of that happen. He sold everybody on Ellington." Morgen remained loyal to Ellington long after his death by working with his foundation to produce a benefit show and tribute to Duke to help raise money for the Ellington Cancer Foundation.

Sources

Fuller Up: The Dead Musicians Directory. Rev. John Gensel, 80, Pastor of Jazz Community' www.geocities.com/SoHo/Lofts/7219/revjohngensel.html.

Ellington, Edward Kennedy Duke. Music is My Mistress. New York: Double Day, 1978. 435. Hajdu, David. Lush Life, A Biography of Billy Strayhorn. New York: Farrar, Strauss,& Giroux, 1996. 166-169.
Provenance:
The collection was donated to the Smithsonian Institution in 1993 by John Gensel. The collection was turned over to the Archives Center in October 2000, with the Deed of Gift being signed in January 2001 by Gensel's widow. It is unknown clear how the materials came into the possession of Father Gensel from Joe Morgen.
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.
Genre/Form:
Clippings
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000
Theater programs -- 1950-1990
Correspondence -- 1950-2000
Music -- Manuscripts
Programs -- Concerts
Programs
Press releases
Citation:
John Gensel Collection of Duke Ellington Materials, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0763
See more items in:
John Gensel Collection of Duke Ellington Materials
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep874f0fa56-d56f-46a8-b1d0-794d1c846228
EDAN-URL:
ead_collection:sova-nmah-ac-0763

Servodyne Corporation Records

Creator:
Servodyne Corporation  Search this
Collector:
National Museum of American History (U.S.). Division of Information, Technology and Society  Search this
Donor:
Gunnarson, John  Search this
Extent:
1 Cubic foot (3 boxes)
Type:
Collection descriptions
Archival materials
Articles
Correspondence
Design drawings
Financial records
Minutes
Date:
1955-1971
Summary:
The Servodyne Company attempted to develop a prototype of the household microwave. The business records cover the operations and meetings of the company, as well as the corporation's financial troubles and liquidation following its bankruptcy in 1968. Also included are design details and photographs of the ovens.
Scope and Contents:
Records of the company that developed an early microwave oven. The business records include documents such as Board of Directors meeting minutes, stockholder meeting minutes, correspondence, legal documents, financial papers, publications, photographs, drawings and specifications, and other business papers. Also included in the collection are newspaper and magazine clippings featuring stories about the safety and use of microwave ovens.
Arrangement:
Collection is arranged into six series.

Series 1: Minutes, 1961-1968

Series 2: Correspondence, 1961-1968

Series 3: Legal Documents, 1965-1966

Series 4: Financial Materials, 1960-1965

Series 5: Publications, 1955-1971

Series 6: Photographs, 1955, 1971
Biographical / Historical:
John Gunnarson, a former employee of Raytheon, formed the Servodyne Company (1960), which made prototypes of the microwave oven. The company sought to bring microwave technology into the home for everyday use in a time when microwaves and their safety were under scrutiny. Developed by Gunnarson, Roger F. French, and Donald R. Lester, this prototype utilized klystrons instead of the magnetrons used by competitors. The company applied for a patent in 1966, but the oven was never successful. Servodyne Company struggled with financial issues and leadership changes, and the business folded in 1968 due to lack of funding. The liquidation process lasted until 1971.
Separated Materials:
A prototype microwave is in the Division of Work and Industry. See Accession 2003.0107.01.
Provenance:
Collection donated by John A. Gunnarson in 2003.
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:
Microwave equipment industry  Search this
Microwave ovens  Search this
Genre/Form:
Articles -- 1950-2000
Correspondence -- 1950-2000
Design drawings -- 1950-2000
Financial records
Minutes
Citation:
Servodyne Corporation Records, 1955-1971, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0839
See more items in:
Servodyne Corporation Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89af4788a-c1f7-4d84-8c8a-b55737a0f1d8
EDAN-URL:
ead_collection:sova-nmah-ac-0839

William "Cat" Anderson Collection

Creator:
Anderson, William "Cat", 1916-1981 (musician)  Search this
Names:
Cat Anderson Quintet  Search this
Duke Ellington Orchestra  Search this
Lionel Hampton Orchestra  Search this
Mingus Quintet  Search this
Bechet, Sidney (musician)  Search this
Calloway, Cab, 1907-  Search this
Carter, Benny, 1907-2003  Search this
Ellington, Duke, 1899-1974  Search this
Fitzgerald, Ella, 1917-1996  Search this
Hampton, Lionel  Search this
Humphrey, Hubert H. (Hubert Horatio), 1911-1978  Search this
Humphrey, Muriel  Search this
Johnson, Lucy Bird  Search this
Johnson, Lyndon B. (Lyndon Baines), 1908-1973  Search this
Tatum, Art, 1910-1956  Search this
Webster, Ben  Search this
Extent:
5 Cubic feet (12 boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Transcripts
Oral histories (document genres)
Oral history
Phonograph records
Photographs
Recordings
Interviews
Clippings
Audiotapes
Awards
Audiocassettes
Articles
Date:
1940-1981
bulk 1963-1977
Scope and Contents note:
Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.
Arrangement:
Collection is divided into four series.

Series 1: Music

Series 2: Original tapes and recordings

Series 3: Photographs

Series 4: Miscellaneous
Biographical/Historical note:
Cat Anderson (Sept 12, 1916 - April 29, 1981) was one of the premier trumpet players of the Duke Ellington Orchestra. Known for his effortless high notes, he was a strong section leader and a great soloist whose style exhibited humor and precision. He grew up in Jenkins= Orphanage in Charleston, SC, received basic music training there, and participated in many of their famous student ensembles. He formed and played with the Cotton Pickers, a group of orphanage teens while still a young man. Before joining Ellington in 1944, he played in several big bands, including Claude Hopkins and Lionel Hampton. Anderson left the Ellington organization from 1947 through 1949 again to lead his own group. From 1959 to1961 and after 1971 Anderson free lanced, working with the Ellington orchestra intermittently. He died in 1981 after receiving honors from the US Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.
Related Archival Materials:
Related artifacts include: awards, plaques, mutes, trumpet mouth pieces, and the Jon Williams/Cat Anderson simulator in the Division of Cultural and Community Life (now Division of Cultural and Community Life). See accession: 1998.3074.
Provenance:
The collection was donated to the National Museum of American History in January 1998, by Dorothy Anderson, Cat Anderson's widow. It was acquired through negotiations with her, her brother, Mr. John Coffey and her nephew, Andrew Brazington. The materials were picked up from Mr. John Coffey of upper N.W. Washington, DC on January 21, 1998.
Restrictions:
Collection is open for research. Master tapes not available to researchers.
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 status of items varies. Signed copies of releases on file.
Occupation:
Composers -- 20th century  Search this
Topic:
Music -- 20th century  Search this
Music -- Acoustics and physics  Search this
Musicians -- 20th century  Search this
Piano and synthesizer music  Search this
Inventions -- 1980-2000  Search this
Synthesizer music  Search this
Electric engineering -- 1980-2000  Search this
Band musicians  Search this
African American musicians  Search this
Jazz musicians -- United States  Search this
Inventors -- 20th century  Search this
Genre/Form:
Manuscripts -- Music -- 20th century
Transcripts
Oral histories (document genres)
Oral history
Phonograph records
Photographs -- 20th century
Recordings
Interviews
Interviews -- 1950-2000
Clippings -- 20th century
Audiotapes -- 1940-1980
Awards
Audiocassettes
Audiotapes
Articles -- 1940-1980
Citation:
William "Cat" Anderson Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0630
See more items in:
William "Cat" Anderson Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep891a9a0e4-7c4f-4956-b81e-6d65c57e1f29
EDAN-URL:
ead_collection:sova-nmah-ac-0630
Online Media:

Marlboro Oral History and Documentation Project

Topic:
Marlboro (cigarette brand)
Creator:
Ellsworth, Scott, Dr.  Search this
Zinn, Manfredo  Search this
Marx, Dick  Search this
Nunez, Raul  Search this
Winfield, Darrel  Search this
Kwan, William  Search this
Kwong, Goddard  Search this
Adams, Hall  Search this
Landry, Jack  Search this
Arguelles, Rafael  Search this
Fockler, Knut  Search this
Philip Morris, Inc.  Search this
Gil, Felipe  Search this
Jarrard, Tom  Search this
Names:
Leo Burnett, Inc.  Search this
Extent:
17.4 Cubic feet (53 boxes, 1 map-folder)
Type:
Collection descriptions
Archival materials
Color slides
Commercials
Audiotapes
Videotapes
Posters
Proofs (printed matter)
Newsletters
Articles
Slides (photographs)
Place:
Brazil -- advertising
Argentina -- advertising
China -- advertising
Hong Kong -- advertising
Switzerland -- advertising
West Germany -- advertising
Dominican Republic -- advertising
Date:
1926-1988
Scope and Contents:
The Marlboro Oral History and Documentation Project is the result of a two-year effort supported in part by a gift from Philip Morris, Inc. Sixty oral history interviews and a variety of television commercials, print advertising, promotional materials, packaging, and industry publications were gathered to document Marlboro cigarette advertising. The bulk of the collection focuses on the period between 1954 and 1986, and examines the "Marlboro man", "Settle Back" and "Marlboro Country" campaigns. The collection is a rich source of information for researchers interested in advertising and marketing history, issues of smoking and health, and the export of both tobacco and American cultural symbols abroad. The core of the collection is a series of interviews conducted during 1985-1987 by Dr. Scott Ellsworth, an independent scholar and oral historian. The broad range of interviewees included executives of Philip Morris, advertising agency personnel from Leo Burnett, photographers, production staff, sales and marketing personnel, and Marlboro cowboys. Twenty-seven interviews were conducted overseas, in Argentina, Brazil, the Dominican Republic, Hong Kong, Switzerland, and West Germany. Conducted primarily with Marlboro licensee and affiliate staff, the interviews focus on the marketing and advertising history of Marlboro in the six nations. These interviews and others conducted with executives of Philip Morris International in New York City also address the history of Marlboro advertising in Africa, the Middle East, China, Eastern Europe and elsewhere in Europe and Latin America. The interviews cover events from the 1930s through the 1980s. They focus on the theory and development of Marlboro advertising, its content and creation, and its modifications over the years. The foreign interviews also discuss the structure of the local cigarette marketplace, marketing and advertising techniques, and the use and modification of Marlboro advertising for different cultures. Finding aids to the oral histories include abstracts of each interview indicating the major topic discussed, a cumulative index to personal names and topics in the interviews, and brief biographical and scope notes.
Arrangement:
Dthe collection is divided into seven series.

Series 1: Research Files, 1943-1987

Series 2, Interviewee Files, 1986

Series 3; Oral History Interviews, 1986

Series 4: Advertising Materials, 1926-1986

Series 5: Promotional items and packaging, 1926-1986

Series 6: Publications and Research Material, 1960-1988

Series 7: Travel Slides Generated by Project Team, 1926-1986
Biographical / Historical:
The history of Marlboro cigarettes offers insight into one of the great advertising and marketing success stories of the 20th century. Marlboro cigarettes were marketed from the Victorian era through the first half of this century as a women's cigarette, with tag-lines that aimed to appeal to female smokers, such as "Marlboro - Mild As May." In 1955, two transformations occurred which would affect both profitability and brand recognition: the addition of an integrated filter and the re-invention of the market through the debut of the "Marlboro Man" advertising campaign. The original Marlboro Man campaign featured close-up images of all kinds of men using the product -- the cowboy was one, along with lifeguards, sailors, drill sergeants, construction workers, gamblers and other types suggestive of a masculine spirit and rugged independence. By 1963, the "Marlboro Country" campaign began. This campaign focused on the cowboy and his symbolic canon: boots, hats, horses, and western landscapes. By the mid-1980s, Marlboro was the best-selling brand in the United States and the world, and the Marlboro cowboy was among the most widely recognized of American cultural symbols. Sold in over 180 nations, both the cigarettes and the ad campaign had become a global phenomena.
Provenance:
The collection was donated to the Archives Center by Philip Morris, Inc. in 1986.
Restrictions:
The materials in the Marlboro Collection are made available for research according to the established practices and principles of the Archives Center and the National Museum of American History.
Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials. In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
Occupation:
Cinematographers  Search this
Topic:
T.V. commercial producers  Search this
Photographers  Search this
Accountants  Search this
advertising -- Cigarettes -- 20th century  Search this
Cowboys -- 20th century  Search this
Advertising, Newspaper -- 20th century  Search this
Smoking -- 1940-1990  Search this
Travel photography -- 1940-1990  Search this
Photography, Advertising -- 20th century  Search this
Advertising photography  Search this
Advertising campaigns -- 20th century  Search this
Cigarette industry -- 20th century  Search this
Cigarettes -- advertising -- 20th century  Search this
Advertising agencies -- 20th century  Search this
Television advertising -- Cigarettes -- 1940-1990  Search this
Advertising, magazine -- 20th century  Search this
Art directors  Search this
Copy writers  Search this
Genre/Form:
Color slides -- 1960-1990
Commercials
Audiotapes -- 1980-1990
Videotapes
Posters
Proofs (printed matter)
Newsletters
Articles
Slides (photographs) -- 1950-2000
Citation:
Marlboro Oral History and Documentation Project, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0198
See more items in:
Marlboro Oral History and Documentation Project
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f7c0f552-962a-4574-bdd1-3955d34fce16
EDAN-URL:
ead_collection:sova-nmah-ac-0198
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