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Creator:

Crossfield, A. Scott (Albert Scott), 1921-  Search this

Names:

Eastern Air Lines  Search this

National Advisory Committee for Aeronautics (NACA)  Search this

North American Aviation, Inc.  Search this

Extent:

20.23 Cubic feet (42 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Audiotapes

Correspondence

Manuscripts

Date:

1940 - 2004

Summary:

This collection consists of over nine cubic feet of material documenting Scott Crossfield's aviation career, with emphasis on his involvement with the North American X-15. The following types of material are included: correspondence; reel to reel tapes; papers, manuscripts; newspaper and magazine clippings; aviation manuals; photographs; film; and Crossfield's notes and reports.

Scope and Content note:

This collection encompasses the entirety of Albert Scott "Scotty" Crossfield, Jr.'s career as an engineer, test pilot, airline executive, and speaker and advocate for aerospace education. Records in the collection date from Crossfield's time at college in the 1940s through his death in 2006. Crossfield's papers were donated to the National Air and Space Museum (NASM) Archives by the Crossfield family in 2006 and a second batch of material was received in 2008. The collection was received without any apparent organizational scheme, but some items were received in labeled folders and these folder titles were retained when the collection was processed. One group of material was loaned by the family for copying and these items were photocopied and placed within the appropriate folder in the case of documents, or were scanned and entered into the National Air and Space Museum (NASM) Archives image database in the case of photographs.

After his retirement from North American Aviation, Inc., Crossfield gave his papers to a former secretary, Marion Brown, so that she could organize them for his use in future writing projects. In February 1973, a U.S. Navy Vought A-7E Corsair II crashed into the apartment building where Brown lived and all of Crossfield's papers in her possession were destroyed. Due to this incident, the collection has more material from Crossfield's time with Eastern Air Lines and onwards, although the prior years are still well represented through records that were either retained in Crossfield's possession or copies that were gathered after the fact. There is correspondence from Crossfield relating to the crash in Box 11 of the collection.

The archival materials in this collection are organized into four series. The first series is composed of personal materials and includes school records, correspondence, personal photographs, records relating to various organizations in which Crossfield was active, information relating to the publication of Crossfield's autobiography, Always Another Dawn, other writings by Crossfield, financial records, subject files assembled by Crossfield, philatelic materials (Crossfield was an active collector and was a founding member and officer of The Aviation Historical Foundation, a philatelic organization), and news clippings. The material in this series is largely organized chronologically. Personal photographs and subject files are organized by topic first and chronologically within each folder and organizations are arranged alphabetically by name first and also chronologically within the individual folders.

The second series contains items relating to Crossfield's professional life, organized chronologically by place of employment. This series includes materials relating to Crossfield's work at Boeing, the U.S. Navy, the Kirsten Wind Tunnel at the University of Washington Aeronautical Laboratory, the National Advisory Committee for Aeronautics (NACA), North American Aviation, Inc., Eastern Air Lines, Hawker Siddeley Aviation, Crossfield's work as an Independent Technical Advisor, Crossfield's application for the position of Director of the National Air and Space Museum, Crossfield's time as a member of the United States Organizing Committee, and his work with organizations such as the Scott Crossfield Foundation and The Wright Experience. During the later part of his life, Crossfield toured the country extensively giving speeches, presenting awards, etc. and there is a large amount of material relating to these appearances in this part of the collection. These materials arrived already organized chronologically by individual trip and this organizational scheme was retained. Specifically, the professional life series includes flight reports, manuals, drawings, business correspondence, administrative records, presentations and papers, travel itineraries, notebooks, calendars, speeches delivered by Crossfield, and career related photographs (which are broken out as their own subseries). The professional life series also includes a section of miscellaneous professional items including job seeking correspondence, information on the patent for a power wheel braking or driving unit designed by Crossfield, and a folder of Crossfield's résumés.

The third series consists of audiotapes and is organized first by tape format and then chronologically within each category. Subjects of the audiotapes include speeches, a large number of North American X-15 cockpit recordings and radio communications, tape produced for a television program, and autobiographical notes. A number of the audiotapes include no description. With a total of 65 examples in this series, the most common audiotape format in the collection is, by far, 7 inch reel to reel tapes. Other formats in this series include 5 inch reel to reel tapes, 3.125 by 3.5 inch metal audiotape cartridges, and Dictaphone recording belts. Please note that these audio recordings are unavailable to the researcher at the time of processing due to the format and fragility of the tapes.

The fourth series of this collection is comprised of oversized materials and additional materials including galley proofs, news clippings, drawings, charts, professional records, and photographs. The organization of this series mirrors the folder titles found in the rest of the collection.

The researcher should note that the collection also contains several motion picture films relating to the life and career of Albert Scott "Scotty" Crossfield, Jr. These films are not included in the container list but a NASM Archives staff person can assist you regarding access.

Arrangement:

The A. Scott Crossfield Papers are organized into the following series and subseries:

Series I: Personal Materials

1.1 School Records

1.2 Correspondence

1.3 Personal Photographs

1.4 Organizations

1.5 Information Related to the Publication of Always Another Dawn

1.6 Other Writings by Crossfield

1.7 Financial Records

1.8 Subject Files

1.9 Philatelic Materials

1.10 News Clippings

1.11 Miscellaneous Personal Records

Series II: Professional Life

2.1 Boeing

2.2 U.S. Navy

2.3 Kirsten Wind Tunnel, University of Washington Aeronautical Laboratory

2.4 National Advisory Committee for Aeronautics (NACA)

2.5 North American Aviation, Inc.

2.6 Eastern Air Lines

2.7 Hawker Siddeley Aviation

2.8 Independent Technical Advisor

2.9 Application for NASM Director Position

2.10 United States Organizing Committee

2.11 Scott Crossfield Foundation

2.12 The Wright Experience

2.13 Speaking Engagements and Professional Appearances

2.14 Career Related Photographs

2.14 Miscellaneous Professional Records

Series III: Audiotapes

Series IV: Oversized Materials

Biographical/Historical note:

Albert Scott "Scotty" Crossfield, Jr. was born on October 2, 1921, in California. As a young boy, Crossfield was often confined indoors due to health problems related to pneumonia and rheumatic fever. During this time, he dreamed of becoming a pilot and designed and constructed model airplanes. Crossfield took his first airplane ride in 1927, at six years old, in an Alexander Eaglerock A-1 piloted by family friend Charles "Carl" Lienesch. Lienesch also encouraged Crossfield to become an engineer as well as a pilot. Unbeknownst to Crossfield's parents, he began taking flying lessons at the age of 12 at Wilmington Airport under the tutelage of pilot Vaughn McNulty. The family later moved to Washington State and it was there, at the Chehalis Airport, that Crossfield made his first solo flight in a Curtiss Robin. It was not until the summer of 1941, however, that Crossfield officially soloed and earned his pilot's license under the Civil Aeronautics Authority (CAA), Civilian Pilot Training Program (CPTP).

Crossfield enrolled in the University of Washington in 1940 and worked at the Boeing plant in Seattle, beginning in the fall of 1941, while still pursuing his studies. Crossfield's first assignment at Boeing was as an assembly page clerk. He was later promoted to the position of production expediter and shop salvage engineer. After the bombing of Pearl Harbor in December 1941, Crossfield enlisted in the U.S. Army Air Corps and continued to work at Boeing while he waited for an opening in a cadet class. In February 1942, tired of waiting on the Air Corps and eager to get into combat, Crossfield enlisted in the U.S. Navy instead where he joined the cadet class of May 7, 1942. Crossfield first trained in Seattle, Washington, and later was sent to the Naval Air Training Center in Corpus Christi, Texas, where he earned his Naval Aviator's wings in 1942. During his time in the Navy, Crossfield never fulfilled his ambition to see combat because he was selected instead to remain at Corpus Christi as a flight and gunnery instructor. Crossfield eventually was sent to Hawaii to prepare and train for an invasion of Japan but the war ended before this became necessary. During his time in the U.S. Navy, Crossfield flew the Grumman F6F Hellcat, Vought F4U Corsair, and the North American SNJ Texan, among other aircraft. After he separated from active duty with the Service, Crossfield remained active in the Naval Reserves and was part of an aerobatic team at Sand Point Naval Air Station that flew Goodyear FG-1D Corsairs.

Crossfield returned to his studies at the University of Washington in 1946 and was employed doing tests at the Kirsten Wind Tunnel at the University's Aeronautical Laboratory. Crossfield earned his Bachelor of Science degree in aeronautical engineering in 1949 and his master's degree in aeronautical science in 1950. After obtaining his degrees, Crossfield joined the National Advisory Committee for Aeronautics (NACA) as a research pilot. During his time with NACA, Crossfield flew many aircraft including the Convair XF-92A, Bell X-1, Northrop X-4 Bantam, Douglas D-558-1 Skystreak, Bell X-5, Republic F-84F Thunderstreak, Convair F-102 Delta Dagger, North American F-86 Sabre, and the North American F-100A Super Sabre. Crossfield made history in the Douglas D-558-2 Skyrocket on November 20, 1953, as the first pilot to exceed Mach 2 (twice the speed of sound).

In 1955, Crossfield left NACA and joined North American Aviation, Inc. to work on the X-15 program where he would not only serve as the X-15 Project Pilot but also as a Design Specialist, a role in which he was an integral part of the design of both the aircraft and the pressure suit developed by the David Clark Company for the X-15 program. The suit served as a prototype for the spacesuits later worn by astronauts. Crossfield helped to develop the X-15's cockpit, control, and engine systems; structural design; propulsion system; engineered its escape system; and contributed to its handling quality requirements. He also developed the ground control test methodology that would later become standard on the Mercury, Gemini, and Apollo space programs. Crossfield piloted the North American X-15 on its first captive flight in March 1959, first glide flight in June 1959, and the first powered flight in September 1959, as well as numerous other test flights, before the X-15 was delivered to the U.S. Air Force (USAF) and the National Aeronautics and Space Administration (NASA) in February 1960. Crossfield also served as Chief Engineering Test Pilot at North American from 1955-1961 before moving to the Space and Information Systems Division first as the Director of Systems Test (1961) then as the Division Director of Test and Quality Assurance (1961-1966) where he was responsible for quality control in all North American projects including the Hounddog Missile (AGM-28, GAM-77), Paragliders for the Gemini program, Apollo Command and Service Module, and the Saturn V launch vehicles, second stage. Crossfield's final position with North American was as the Technical Director, Research, Engineering and Test from 1966-1967.

Crossfield joined Eastern Air Lines in Miami, Florida, as Division Vice President, Flight, Research, and Development, Flight Operations in 1967, a position he held until 1971 when he moved to Washington, DC, to serve as Staff Vice President, Transportation Systems Development (1971-1973). From 1974 to 1975, Crossfield served as Senior Vice President at Hawker Siddeley Aviation's U.S. subsidiary branch, an office he helped to establish. After leaving Hawker Siddeley, Crossfield served for many years as an independent technical advisor to the U.S. Congress. Crossfield also served on the United States Organizing Committee to plan the Air and Space Bicentennial. In the later part of his life, Crossfield traveled extensively to give talks, attend events, and make various professional appearances and it was on a return flight home from one such trip in 2006 that Crossfield was killed when the plane he was piloting was caught in a thunderstorm.

Crossfield was active in various organizations including the American Institute of Aeronautics and Astronautics (AIAA), the National Aeronautic Association (NAA), and the Society of Experimental Test Pilots (SETP), a group in which he was a founding member. Crossfield also created the Scott Crossfield Foundation to support aerospace education. Crossfield was the recipient of numerous awards and honors including the Sperry (Lawrence B.) Memorial Award (1954) and Chanute (Octave) Award (AIAA, 1958), Kincheloe Award (SETP, 1960), Harmon Trophy (1960), Collier (Robert J.) Trophy (1961), NASA Distinguished Service Medal (1993), and the National Air and Space Museum (NASM) Trophy for Lifetime Achievement (2000).

Crossfield published his autobiography, Always Another Dawn, in 1960 with Clay Blair, Jr. and is the author of numerous other publications, articles, and technical papers.

Provenance:

Alice Crossfield, Gift, 2006

Restrictions:

No restrictions on access.

Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Topic:

North American X-15  Search this

Air pilots  Search this

Aeronautics  Search this

Aeronautics -- Records  Search this

Genre/Form:

Photographs

Audiotapes

Correspondence

Manuscripts

Citation:

A. Scott Crossfield Papers, Accession number 2006-0041, National Air and Space Museum, Smithsonian Institution.

A. Scott Crossfield Papers, Acc. 2006-0041, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.2006.0041

See more items in:

A. Scott Crossfield Papers

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg28d41031c-4569-4e2e-b114-8a32f81be51e

EDAN-URL:

ead_collection:sova-nasm-2006-0041

Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Names:

Courlander, Harold, 1908-1996  Search this

Guthrie, Woody, 1912-1967  Search this

Jenkins, Ella  Search this

Leadbelly, 1885-1949  Search this

Ramsey, Frederic, 1915-1995  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

841 Cubic feet

Type:

Collection descriptions

Archival materials

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Date:

1926-1986

bulk 1948-1986

Summary:

This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.

Scope and Contents:

The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.

Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.

The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.

Arrangement note:

The collection is arranged in 10 series:

Series 1: Correspondence, 1942-1987

Series 2: Folkways Production, 1946-1987

Series 3: Business Records, 1940-1987

Series 4: Woody Guthrie papers, 1927-1985

Series 5: Early Label Materials, 1940-1949

Series 6: Biographical Materials, 1926-1987

Series 7: Photographs

Series 8: Artwork

Series 9: Audio Recordings

Series 10: Film

At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.

Biographical/Historical note:

The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.

Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.

Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.

Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Provenance:

Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk music  Search this

Folk dance music  Search this

Electronic music  Search this

Oral interpretation of poetry  Search this

Oral interpretation of fiction  Search this

Music -- 20th century  Search this

Music -- 19th century  Search this

Music -- 18th century  Search this

Jazz  Search this

Folk music -- United States  Search this

World music  Search this

Sounds  Search this

Vocal music  Search this

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

Genre/Form:

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH

See more items in:

Moses and Frances Asch Collection

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk533b8a927-559a-44ac-98d2-f32d871058b4

EDAN-URL:

ead_collection:sova-cfch-asch

Collector:

Archives Center, National Museum of American History  Search this

Producer:

National Museum of American History (U.S.). Department of Public Programs  Search this

America's Jazz Heritage  Search this

Smithsonian Institution. Traveling Exhibition Service  Search this

Funder:

Ella Fitzgerald Charitable Foundation  Search this

Lila Wallace-Reader's Digest Fund  Search this

National Endowment for the Arts  Search this

Creator:

Smithsonian Institution  Search this

Interviewee:

Adams, Joe, 1922-  Search this

Aguabella, Francisco, 1925-  Search this

Akiyoshi, Toshiko, 1929-  Search this

Alvarado, Alfredo  Search this

Anderson, Chris, 1926-  Search this

Armenteros, Chocolate, 1928-  Search this

Armstrong, Howard, 1909-2003  Search this

Ashby, Harold  Search this

Atkins, Clarence, 1921-  Search this

Avakian, George, 1919-  Search this

Baker, David, 1931-  Search this

Bank, Danny, 1922-  Search this

Barker, Danny, 1909-  Search this

Barker, Louise, 1913-  Search this

Barron, Kenny  Search this

Bass, Fontella  Search this

Bates, Peg Leg, 1907-  Search this

Bauza, Mario, 1911-  Search this

Belli, Remo  Search this

Bellson, Louis  Search this

Benson, George, 1943-  Search this

Berger, Ed  Search this

Bert, Eddie, 1922-  Search this

Betts, Keter, 1928-  Search this

Bey, Chief (James), 1913-  Search this

Bishop, Walter, 1927-  Search this

Brooks, Cecil  Search this

Brown, Oscar, Jr., 1926-  Search this

Brown, Velzoe, 1910-  Search this

Brubeck, Dave  Search this

Bryant, Ardie, 1929-  Search this

Bryant, Clora  Search this

Bryant, Ray, 1931-  Search this

Bufalino, Brenda, 1937-  Search this

Bunnett, Jane  Search this

Burns, Ralph, 1922-2001  Search this

Burrell, Kenny  Search this

Butts, Jimmy, 1917-  Search this

Byrd, Charlie, 1925-  Search this

Calloway, Cab, 1907-  Search this

Camero, Candido, 1921-  Search this

Carbonell, Luis  Search this

Carrington, Terri Lyne  Search this

Carter, Benny, 1907-2003  Search this

Carter, Ron, 1937-  Search this

Casey, Al, 1915-  Search this

Cheatham, Doc, 1905-1997  Search this

Cheatham, Jeannie, 1917-  Search this

Cheatham, Jimmy, 1924-  Search this

Claxton, William  Search this

Cobb, Jimmy, 1929-  Search this

Cohen, Martin, 1939-  Search this

Collins, John, 1913-  Search this

Columbus, Chris, 1902-  Search this

Conover, Willis, 1920-  Search this

Costello, Diosa  Search this

Cruz, Alfredo  Search this

Cruz, Celia, 1920-  Search this

Cugat, Xavier, 1900-  Search this

D'Rivera, Paquito, 1948-  Search this

De Franco, Buddy, 1923-  Search this

DeJohnette, Jack  Search this

Dejan, Harold, 1909-  Search this

Del Puerto, Carlos, 1951-  Search this

Di Novi, Gene, 1928-  Search this

Diaz Ayala, Cristobal  Search this

Donegan, Dorothy, 1922-  Search this

Driggs, Frank, 1930-  Search this

Dudley, Bessie, 1902-  Search this

Edison, Harry, 1915-  Search this

Egũes, Richard, 1923-2006  Search this

Farmer, Art, 1928-  Search this

Favors, Malachi  Search this

Fernandez, Rosita, 1918-2006  Search this

Fernandez, Ruth  Search this

Finegan, Bill, 1917-  Search this

Flynn, Frank (Marimba player)  Search this

Foster, Frank, 1928-  Search this

Fournier, Vernel, 1928-  Search this

Freeman, Von, 1922-  Search this

Fuller, Curtis, 1934-  Search this

Fuller, Gil, 1920-  Search this

Gensel, John  Search this

Gilbert, Peggy  Search this

Golson, Benny  Search this

Gonzalez, Celina  Search this

Goodson, Sadie, 1904-  Search this

Green, Urbie  Search this

Guerrero, Felix, 1916-2001  Search this

Guines, Tata  Search this

Hamilton, Chico, 1921-  Search this

Hampton, Slide  Search this

Harris, Joe  Search this

Harrison, Nelson  Search this

Haynes, Roy, 1926-  Search this

Heath, Jimmy, 1926-  Search this

Heath, Percy, 1923-2005  Search this

Hemphill, Julius, 1938-  Search this

Henderson, Bill, 1930-  Search this

Henderson, Luther  Search this

Hendricks, Jon, 1921-  Search this

Hentoff, Nat  Search this

Hill, Roger, 1928-  Search this

Hinton, Milt, 1910-2000  Search this

Holman, Bill, 1927-  Search this

Horn, Shirley, 1934-  Search this

Humphries, Roger  Search this

Hutcherson, Bobby  Search this

Jarvis, Jane, 1915-  Search this

Jimenez, Flaco  Search this

Johnson, J.J., 1924-  Search this

Jones, Elvin  Search this

Jones, Hank, 1918-2010  Search this

Jones, Jonah  Search this

Jones, Quincy, 1933-  Search this

Jordan, Kidd, 1935-  Search this

Jordan, Sheila, 1928-  Search this

Keepnews, Orrin, 1923-  Search this

Kimball, Narvin, 1909-  Search this

Klein, Manny, 1908-  Search this

Konitz, Lee  Search this

Lateef, Yusef, 1920-  Search this

Laws, Hubert  Search this

LeGon, Jeni, 1916-  Search this

LeRoy Neiman  Search this

Leonard, Herman, 1923-2010  Search this

Levy, John, 1912-2012  Search this

Lewis, Edna, 1907-  Search this

Lewis, Ramsey  Search this

Liebman, Dave  Search this

Lincoln, Abbey, 1930 -  Search this

Liston, Melba  Search this

Livelli, Vincent  Search this

Longoria, Valerio, 1924-2000  Search this

Lopez, Israel, 1918-  Search this

Lucie, Lawrence, 1907-  Search this

Lutcher, Nellie, 1912-  Search this

Lynton, Charles, 1904-  Search this

Mandel, Johnny  Search this

Manning, Frank, 1914-  Search this

Marsalis, Delfeayo  Search this

Marsalis, Ellis  Search this

Marsalis, Jason  Search this

McGettigan, Betty  Search this

McIntosh, Tom, 1927-  Search this

McKibbon, Al, 1919-  Search this

McKusick, Hal, 1924-  Search this

McPartland, Marian  Search this

Mendoza, Lydia  Search this

Miller, Eric  Search this

Miller, Norma, 1919-  Search this

Mondello, Toots, 1911-  Search this

Moody, James, 1925-  Search this

Morgenstern, Dan  Search this

Murray, Albert, 1916-  Search this

Myers, Amina  Search this

Nicholas, Fayard, 1918-  Search this

Nicholas, Harold, 1924-  Search this

Norvo, Red, 1908-1999  Search this

O'Brien, Peter F.  Search this

O'Farrill, Chico, 1921-2001  Search this

Owens, Jimmy, 1943-  Search this

Palmier, Remo, 1923-  Search this

Peraza, Armando, 1924-  Search this

Perez, Graciela  Search this

Peterson, Oscar, 1925-  Search this

Puente, Tito  Search this

Pullen, Don, 1941-  Search this

Rachell, Yank  Search this

Ray, Carline, 1925-  Search this

Reed, Leonard, 1907-  Search this

Richards, Red, 1912-  Search this

Rivers, Sam  Search this

Robinson, Charles  Search this

Robinson, Les, 1912-  Search this

Rogers, Shorty, 1924-  Search this

Rollins, Sonny  Search this

Ross, Annie, 1930-  Search this

Royal, Marshall, 1912-1995  Search this

Rugolo, Pete, 1915-  Search this

Russell, George, 1923-2009  Search this

Rutherford, Rudy  Search this

Sager, Jane, 1914-  Search this

Santamaria, Mongo, 1917-  Search this

Scott, Jimmy  Search this

Settle, Cucell, 1914-  Search this

Shaw, Artie, 1910-2004  Search this

Slyde, Jimmy, 1927-  Search this

Smith, Hale G.  Search this

Smith, Johnny  Search this

Stoll, Jerrold "Jerry" Keith , 1923-2004  Search this

Taylor, Arthur, 1929-  Search this

Taylor, Billy  Search this

Teagarden, Norma, 1911-  Search this

Terry, Clark  Search this

Thielemans, Toots  Search this

Tinney, Al, 1921-  Search this

Toro, Yomo  Search this

Tucker, Bobby, 1923-2008  Search this

Tyner, McCoy  Search this

Valdes, Bebo, 1918-  Search this

Valdez, Carlos, 1926-  Search this

Valdez, Chucho, 1941-  Search this

Valentin, Val, 1920-  Search this

Valeria, Chuy  Search this

Van Gelder, Rudy  Search this

Van Lake, Turk, 1918-  Search this

Viola, Al, 1919-  Search this

Walton, Cedar, 1934-  Search this

Wein, George  Search this

Wess, Frank, 1922-  Search this

Weston, Randy, 1926-  Search this

White, Andrew, 1942-  Search this

Wilder, Joe, 1922-  Search this

Willcox, Spiegle, 1902-  Search this

Williams, Claude, 1908-2004  Search this

Williams, John, 1905-  Search this

Wilson, Gerald, 1918-  Search this

Wilson, Nancy, 1937-  Search this

Wofford, Mike  Search this

Woods, Phil  Search this

Ybarra, Eva  Search this

Yoshida, George, 1922-  Search this

Young, Al (Saxophinist)  Search this

Young, Lee, 1917-  Search this

Young, Webster, 1932-  Search this

Interviewer:

Baker, Lida  Search this

Bluiett, Hamiett  Search this

Brower, William  Search this

Brown, Anthony  Search this

Burstein, Julie  Search this

Carner, Gary  Search this

Cole, Tom  Search this

Coleman, Steve  Search this

Corporan, Hector  Search this

Crease, Bob  Search this

Dantzler, Russ  Search this

Elie, Lolis  Search this

Fernandez, Raul  Search this

Fochios, Steve  Search this

Frank, Rusty  Search this

Geremia, Paul, 1944-  Search this

Haddix, Chuck  Search this

Harris, Barry  Search this

Holley, Eugene  Search this

Jackson, Reuben  Search this

Jenkins, Willard  Search this

Kimery, Kennith  Search this

Kirchner, Bill  Search this

Levin, Floyd, 1922-2007  Search this

Lopez, Rene  Search this

McDaniel, Ted  Search this

McDonough, John  Search this

Murphy, Molly  Search this

Newton, James  Search this

O'Meally, Bob  Search this

Ouelette, Dan  Search this

Pelote, Vincent  Search this

Placksin, Sally  Search this

Porter, Lewis  Search this

Pullman, Peter  Search this

Ritz, David  Search this

Rodrique, Jessie  Search this

Schoenberg, Loren  Search this

Schwartz, Scott  Search this

Smith, Ernie  Search this

Sneed, Ann  Search this

Stitt, Katea  Search this

Talbot, Bruce  Search this

Tucker, Sherrie  Search this

Watson, Matt  Search this

White, Michael  Search this

Whitfield, Weslia  Search this

Willard, Patricia  Search this

Williams, James  Search this

Wong, Herb  Search this

Yamazaki, Paul  Search this

Zimmerman, James  Search this

Extent:

39 Cubic feet (56 boxes)

Type:

Collection descriptions

Archival materials

Compact discs

Sound recordings

Oral history

Audiotapes

Interviews

Date:

1992-2014

Scope and Contents:

Audiotapes, CDs and digital files: an ongoing project to interview and preserve the memories of people important in the jazz world, including jazz musicians, singers, dancers, producers, arrangers, and others. A list of interviewees and interviewers follows.

The following is a list of the individuals who conducted the interviews.

1. Brown, Anthony

2. Baker, Lida

3. Burstein, Julie

Interviewer

2. Bluiett, Hamiet

Arrangement:

This collection is arranged into six series.

Series 1, DAT and CD Original Interview Recordings, 1992-2012

Series 2, Cassette Reference and Master Interview Tapes, 1992-2012

Series 3, Audio CD Reference Copies, 2000-2012

Series 4, Video/CD, 1994-2012

Series 5, Transcripts and Abstracts, 1992-2014

Series 6, Supplemental Documentation, 1992-2012

Biographical / Historical:

The Smithsonian Jazz Oral History Program, a project of "America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution" initiative was created in 1992. More than 150 in-depth oral history interviews were conducted from 1992 through 2002. The collection was transferred to the Archives Center of the National Museum of American History in 2000. Now part of the National Museum of American History's American Music History Initiatives, the Smithsonian Jazz Oral History Program continues to conduct interviews as funding is available.

The Smithsonian Jazz Oral History Program was established to document significant jazz musicians, performers, producers, and business associates in their own words and voices. Program staff contacted and worked with potential interviewees to arrange for interviews. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews averaged 6 hours in length and covered a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians. The original DAT interview tapes were then dubbed to audiocassettes and CD to create protection and access copies. More recent interviews have been recorded using fully digital technology and the interviews are preserved and made availbel as digital files.

A number of the interviews were conducted as part of the Ella Fitzgerald Oral History Project of the Jazz Oral History Program. Funded by the Ella Fitzgerald Charitable Foundation, these interviews focus on the life and work of Ella Fitzgerald. The National Endowments for the Arts Jazz Masters Oral Histories Program continues to support new interviews with NEA Jazz Masters.

For more information about jazz concerts, education, collections, Jazz Appreciation Month, and the Jazz Master orchestra, visit Smithsonian Jazz.

Provenance:

The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.

Restrictions:

Collection is open for research. Researchers must use reference copies.

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. Release forms exist for most interviews.

Topic:

Dancers  Search this

Music -- 20th century  Search this

Jazz  Search this

Musicians -- United States  Search this

Jazz musicians -- United States  Search this

Genre/Form:

Compact discs

Sound recordings

Oral history -- 1990-2000

Audiotapes -- 1990-2000

Interviews -- 2000-2010

Interviews -- 1990-2000

Citation:

[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.

Sponsor:

The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program and supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.

Identifier:

NMAH.AC.0808

See more items in:

Smithsonian Jazz Oral History Program Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89ce666f6-61ae-465c-b2e7-262c9c4d7bfe

EDAN-URL:

ead_collection:sova-nmah-ac-0808

Interviewee:

Murphy, W.B.  Search this

Norris, Alice  Search this

Norris, E. E.  Search this

Prior, Joseph  Search this

Meehan, Vincenta  Search this

Mercer, Richard  Search this

Meyers, Peter H.  Search this

Mulcahy, Paul  Search this

Welsh, Dick  Search this

White, Richard  Search this

Rindlaub, Jean  Search this

Rombach, Scott  Search this

Shaub, Harold  Search this

Weir, Chris  Search this

Coulson, Zoe  Search this

Gearon, Dan  Search this

Cronin, Betty  Search this

Conill, Alicia  Search this

Conlon, Robert  Search this

Conill, Rafael  Search this

Jordan, James  Search this

McNutt, James  Search this

McGovern, R. Gordon  Search this

Goerke, Donald E.  Search this

Holmes, Martha  Search this

Haber, Bernie  Search this

Jones, Caroline Robinson, 1942-2001 (advertising executive)  Search this

Adams, Anthony  Search this

Baum, Herbert M.  Search this

Bergin, John F.  Search this

Bair, Dean  Search this

Interviewer:

Griffith, Barbara S., Dr.  Search this

Creator:

Archives Center, National Museum of American History  Search this

Campbell Soup Company  Search this

Names:

Batten, Barton, Durstine & Osborn, Inc  Search this

Connill Advertising  Search this

Extent:

12 Cubic feet (25 boxes)

Type:

Collection descriptions

Archival materials

Clippings

Audiotapes

Interviews

Commercials

Ephemera

Videotapes

Oral history

Tear sheets

Date:

1904-2015

bulk 1904-1989

Summary:

This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing, supported in part by a grant from the Campbell Soup Company. Thirty-one oral history interviews were conducted by Dr. Barbara Griffith for the project, and a variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that provides documentation, in print and media, of the history and development of advertising for Campbell's Red and White Soups in the decades following World War II.

Scope and Contents:

This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing campaigns. Oral histories conducted by Smithsonian Institution staff with individuals involved with the Campbell's Soup Corporation and its advertising campaigns form the core of the collection. Also included are clippings and background research files, abstracts of the oral history interviews, television and radio commercials, company publications, and promotional items and packaging.

A 2015 addition to the collection was born digital and consists of materials from the groundbreaking "Real Life Campaign" which featured inter-racial couples as well as a gay couple. These materials include storyboards, scripts, consumer feedback both postive and negative, focus group material, labels, commercials, supporting documentation on the development and implementation of the campaign. These materials are available in the Smithsonian Institution DIgital Asset Management System (DAMS).

Arrangement:

Collection is organized into nine series.

Series 1, Research Files, 1939-1989

Series 2, Interviewee Files, 1989-1990

Series 3, Oral Histories, 1989-1990

Series 4, Television Commercials, 1957-1990

Series 5, Radio Commercials, 1966-1975

Series 6, Print Advertisements, 1905-1989

Series 7, Promotional Items and Packaging, 1968-1991

Series 8, Company Publications, 1983-1988

Series 9, Real Life Campaign, 2015

Biographical / Historical:

The Campbell Soup Company's "Red and White" advertising campaigns are remarkable not only for their longevity, but for the consistency of the advertising message. Since 1898, when the red and white label was incorporated, the packaging and the message have changed only marginally. When Andy Warhol painted his pop art Campbell Soup cans in the early 1960s, he presented an immediately recognizable image with which all of America could identify.

Campbell's condensed soups, first marketed in 1897, have become a staple of the 20th century American household. The Joseph Campbell Preserve Company, a canning concern which grew out of an 1869 business partnership between a fruit merchant and an ice box manufacturer, was well established by the time Arthur Dorrance succeeded Joseph Campbell as president. When Dorrance's nephew, John T. Dorrance, a chemical engineer and organic chemist trained at MIT, developed a process for making condensed soup, the company was faced with the task of successfully marketing the revolutionary new convenience food. The soup won a gold medallion for excellence at the 1900 Paris Exposition, and the company incorporated the image on its labels and in its advertising.

In the developing consumer culture which began to grow during and after the industrial revolution, women were identified as the primary consumers of household goods and services. Homemakers have been the target of Campbell' s Red & White advertising since its inception, and this focus is reflected both in the content and the placement of the advertising. The identification of a predominately female consumer market was also influential in the creation of a widely recognized and long-lived symbol, the Campbell Kids, created in 1904 by Grace Gebbie Drayton. The Kids were meant to convey a sense of wholesomeness and physical well-being associated with eating Campbell Soups.

The advertising of the early teens and twenties most often consisted of black and white or two-color depictions of the can and the product, often accompanied by images of the rosy-cheeked Kids. A large portion of the ad was devoted to narrative description of the soups' healthful properties, suggesting that"Campbell Soups Give Vigor and Strength", "I Couldn't Keep House Without Campbell's Tomato Soup", and "If Every Woman Realized How Much Her Husband Likes Soup - She Would Serve It Everyday".

The advertising of the 1930s tended towards idealized illustrations of women and children; the Kids were less visible during the 1930s and 1940s, deemed too "chucklesome" for the Depression years, and too old-fashioned during World War II. Ad copy continued its appeal to women's sense of responsibility for the well-being of husbands and children, with slogans suggesting "It Takes a Bright and Sparkling Flavor to Attract Children", "When a Man Says It's Good, It's Good", and "Wouldn 't I Be Silly to make It Myself?"

Campbell broadened the scope of its advertising by sponsoring radio programming, beginning in 1931 with the "Hollywood Hotel" program on CBS. Later radio sponsorships included the George Burns and Gracie Allen show, "Campbell Playhouse", "Amos and Andy", the "Jack Carson Show", "Hildegarde", and "Edward R. Murrow with the News", among others . The jingle "M'm M'm Good" was first aired during the radio broadcasts of this period, and was reinforced in the print advertising. Beginning in 1950, Campbell began to sponsor television shows, continuing its focus on women and children as primary purchasers and consumers of suop. Most notable among these sponsorships were "The Donna Reed Show" and "Lassie" . Print ads of the 1950s featuring Johnny Carson, Donna Reed, and the cast of the Lassie Show helped to reinforce the Company's sponsorship of these popular shows.

In 1954, Campbell moved its $10 million dollar condensed soup account from Ward Wheelock Company, the Philadelphia firm which had handled the account since 1910, to Batten, Barton, Durstine & Osborn (BBDO) of New York. By 1966, BBDO account executives urged "selective but not major" use of the Kids and the slogan "M'm M'm Good", choosing instead to employ advertising that stressed health claims and fitness issues rather than the wholesome, comforting associations of hot soup. The Kids became more athletic and less rotund.

Reflecting changes in American social and family structures Campbell' s advertising, began to depict the working wife and the busy schedules of a family "on the go". A 1960 ad declares "Good Things Begin to Happen When Working Girls Have Soup and Crackers" or "Somethings Happened to Supper". In light of the women 's movement, which was gaining momentum during this period, Campbell advertising remained decidedly traditional. In the 1970s, "Give Me the Campbell Life" recognized women 's expanded roles as working mothers, but "They Always Eat Better When You Remember the Soup" and "Get Your Campbells Worth" reveal a more conservative pitch to homemakers responsibilities. Other societal changes are suggested in the advertising, for instance, the "Soup is Good Food" and "Health Insurance" campaigns of the 1980s reflected a new emphasis on health and fitness.

In 1981 the company transferred the soup account to another New York firm, Backer Spielvogel and Bates . The 1980s saw a renewed emphasis on network primetime, strategic radio advertising (where ads for hot soup are tagged to reports of rain or snow, or are aired just before the noon lunch hour), and regional marketing of specialized products or packaging designed to appeal to local tastes and changing nutritional standards. These new products have engendered some changes in Campbell' s time-honored red and white label to emphasize the "new and improved" characteristics of the products

In 2015, Campbells developed the "Real Life" campaign. This campaign was groundbreaking in many ways. The commercials portrayed not only inter-racial couples but also a gay couple, two fathers and their son. This campaign had a product tie in with the 2015 release of the new installment in the motion picture franchise, Star Wars. The campaign received commentary from the public both pro and con. Campbells continued the campaign without revising or pulling any of its commercials. While running in selected markets, the campaign made nationwide headlines and pointed up the continuing change in the make-up of the American family.

Provenance:

Paul N. Mulcahy, V.P. Marketing Services, Campbell Soup Company,1990. Made for the National Museum of American History, Smithsonian Institution by the Center for Advertising History, 1989-1990.

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:

Broadcast advertising  Search this

advertising -- Food  Search this

Soups -- advertising  Search this

Advertising agencies  Search this

Advertising departments  Search this

Advertising campaigns  Search this

Sex role in advertising  Search this

Radio advertising  Search this

Women in advertising  Search this

Television advertising  Search this

Art directors  Search this

Advertising executives  Search this

Genre/Form:

Clippings

Audiotapes -- 1980-1990

Interviews -- 1980-1990

Commercials

Ephemera -- 20th century

Videotapes

Oral history

Tear sheets

Citation:

Campbell Soup Advertising Oral History and Documentation Project, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0367

See more items in:

The Campbell Soup Advertising Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b769193b-0861-4b41-89d1-8b6c8328534b

EDAN-URL:

ead_collection:sova-nmah-ac-0367

Collection Interviewee:

Murphy, W.B.  Search this

Norris, Alice  Search this

Norris, E. E.  Search this

Prior, Joseph  Search this

Meehan, Vincenta  Search this

Mercer, Richard  Search this

Meyers, Peter H.  Search this

Mulcahy, Paul  Search this

Welsh, Dick  Search this

White, Richard  Search this

Rindlaub, Jean  Search this

Rombach, Scott  Search this

Shaub, Harold  Search this

Weir, Chris  Search this

Coulson, Zoe  Search this

Gearon, Dan  Search this

Cronin, Betty  Search this

Conill, Alicia  Search this

Conlon, Robert  Search this

Conill, Rafael  Search this

Jordan, James  Search this

McNutt, James  Search this

McGovern, R. Gordon  Search this

Goerke, Donald E.  Search this

Holmes, Martha  Search this

Haber, Bernie  Search this

Jones, Caroline Robinson, 1942-2001 (advertising executive)  Search this

Adams, Anthony  Search this

Baum, Herbert M.  Search this

Bergin, John F.  Search this

Bair, Dean  Search this

Collection Interviewer:

Griffith, Barbara S., Dr.  Search this

Collection Creator:

Archives Center, National Museum of American History  Search this

Campbell Soup Company  Search this

Type:

Archival materials

Date:

1988-1989

Scope and Contents:

Boxes 14-19 are 1/4" open reel audiotape preservation masters dubbed from the original cassettes. Not for research use.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Campbell Soup Advertising Oral History and Documentation Project, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0367, Subseries 3.3

See more items in:

The Campbell Soup Advertising Collection

The Campbell Soup Advertising Collection / Series 3: Oral Histories

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8eef63ba1-4871-463b-ae53-00570f7a775a

EDAN-URL:

ead_component:sova-nmah-ac-0367-ref117

Interviewer:

Ellsworth, Scott, Dr.  Search this

Creator:

Smithsonian Institution  Search this

Fallon McElligott Advertising Agency  Search this

Federal Express Corporation  Search this

Names:

Ally & Gargano, Inc.  Search this

Collector:

Archives Center, National Museum of American History  Search this

Interviewee:

Ally, Carl  Search this

Altenburg, Nancy  Search this

Burnham, Patrick  Search this

Frazier, Sharon  Search this

Gargano, Amil  Search this

Kelly, Patrick  Search this

Miller, William B.  Search this

Moschitta, John (actor)  Search this

Oliver, Tom  Search this

Presley, Carol  Search this

Sedelmaier, Joe (filmmaker)  Search this

Smith, Fred  Search this

Tesch, Mike  Search this

Williams, Carl  Search this

Extent:

6.6 Cubic feet (20 boxes)

Container:

Map-folder 5

Type:

Collection descriptions

Archival materials

Interviews

Oral history

Commercials

Videotapes

Clippings

Storyboards

Posters

Audiocassettes

Abstracts

Advertisements

Audiotapes

Place:

Memphis (Tenn.)

Minneapolis (Minn.)

Chicago (Ill.)

Hollywood (Los Angeles, Calif.)

Date:

1972-1989

Summary:

Created in 1971, the Federal Express Corporation, an overnight air freight delivery system was an innovative company known for its memorable advertising campaigns. The core of the Federal Express Advertising History Collection is a series of interviews conducted in 1988 by Dr. Scott Ellsworth. Twenty-five individuals associated with Federal Express advertising were interviewed about the company and its award-winning advertising.

Scope and Contents:

The Federal Express Advertising Collection documents the dvelopment of the overnight air freight delivery company with particular emphasis on the innovative advertising campaigns used to introduce and promote the company's services. The oral histories with individuals associated with both Federal Express Corporation and the advertising agencies form the core of the collection. Abstracts that provide biographical information and summaries of the interviews supplement the oral histories. Research files and company publications provide background information. Television commercials and print advertising contain examples, particularly illustrating the campaigns discussed in the interviews.

Arrangement:

The collection is arranged into eight series.

Series 1, Research Files, 1972-1988

Subseries 1.1, Federal Express Clippings Files

Subseries 1.2, Federal Express Research Reports

Subseries 1.3, Research Files

Series 2, Interviewee Files, 1988

Series 3, Oral History Interviews, 1988

Subseries 3.1, Original Interviews

Subseries 3.2, Researcher Copies

Subseries 3.3, Masters

Series 4, Television Advertising, 1973-1989

Subseries 4.1, Television Commercials

Subseries 4.2, Storyboards

Subseries 4.3, Slides and Photographs

Series 5, Print Advertising, 1972-1988

Subseries 5.1, Federal Express Print Advertising

Subseries 5.2, Federal Express Mechanicals

Subseries 5.3, Slides of Mechanicals and International Marketing

Subseries 5.4, Federal Express Posters

Subseries 5.5, Print Reference Materials

Series 6, Public Relations Materials, 1973-1988

Series 7, Company Publications, 1973-1988

Series 8, Miscellaneous, Undated

Biographical / Historical:

In 1971, Fred Smith of Memphis, Tennessee created the Federal Express Corporation, an overnight air freight delivery system. He based his idea for a new approach to the air freight delivery service on the "hub and spoke system." According to Smith's innovative model, a fleet of airplanes would fly packages from cities across the nation each evening to a central "hub" in Memphis, where the parcels would be unloaded, sorted, and re-loaded onto other planes for travel to their final destinations. Smith's objective was two-fold: to expedite delivery of the parcels and to ensure their security in the process.

In 1977, Congress passed the Air Cargo Deregulation Act. This enabled Federal Express to fly much larger planes and to expand its business without substantial capital investment. During its first decade of existence, the corporation achieved remarkable success, enjoying its first billion-dollar revenue in 1981.

Federal Express originally employed two advertising agencies: Ally & Gargano, Inc. of New York City (1974-1987) and Fallon McElligott of Minneapolis (1987 - 1994). In its early years, Federal Express was attracted to Ally & Gargano due to the agency's small size and its entrepreneurial spirit. Fred Smith believed these traits would foster the creativity necessary for original and effective advertising to introduce Federal Express. It was the responsibility of the agency to convince customers not only to abandon such incumbants in the industry as Emery, United Parcel Service and the U.S. Postal Service, but also to trust Federal Express, a newcomer.

Ally & Gargano targeted the professional community and the general public through print advertisements and television commercials. Especially in the latter medium, the agency used humor as its primary marketing technique, emphasizing competitors' "slowness" and "unreliability." In 1981, the agency launched a series of widely acclaimed ads with John Moschitta as the "Fast Talking Man." The slogan "When it absolutely, positively has to be there overnight" seen at the close of most commercials served as a practical reminder of Federal Express' function.

Federal Express moved its account from Ally & Gargano to Fallon McElligott in 1987. Fallon McElligott's first television campaign used the phrase "It's more than just a package -- it's your business" and depicted scenes of different work environments. The campaign stressed the seriousness with which Federal Express handled its customers' parcels. In 1988, Federal Express was a sponsor of the Winter Olympics.

Related Materials:

Materials in the Archives Center

Ally and Gargano, Inc. Print Advertisements (AC0938)

Provenance:

Made by the Smithsonian Institution and donated by the Federal Express Corporation, 1988.

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:

Television advertising  Search this

Advertising campaigns  Search this

advertising -- History  Search this

Broadcast advertising  Search this

Service industries  Search this

Overnight delivery service  Search this

Aeronautics, Commercial -- Freight  Search this

Business -- History  Search this

Genre/Form:

Interviews -- 1970-1990

Oral history

Commercials

Videotapes

Clippings

Storyboards

Posters

Audiocassettes

Abstracts

Advertisements

Audiotapes

Citation:

The Federal Express Advertising History Collection, 1972-1989, Archives Center, National Museum of American History, Smiithsonian Institution.

Identifier:

NMAH.AC.0306

See more items in:

The Federal Express Advertising History Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86973c74c-876d-4304-bf50-71019342f829

EDAN-URL:

ead_collection:sova-nmah-ac-0306

Creator:

Archives Center, National Museum of American History  Search this

Doyle Dane Bernbach.  Search this

Jack Tinker & Associates.  Search this

Manufacturer:

Alka-Seltzer  Search this

Names:

Miles Laboratories, Inc.  Search this

Miles, Franklin, Dr.  Search this

Interviewee:

Beals, Richard  Search this

Case, Eugene  Search this

Chaplin, Charles  Search this

Lawrence, Mary Wells  Search this

Interviewer:

Griffith, Barbara S., Dr.  Search this

Extent:

7 Cubic feet (17 boxes)

Type:

Collection descriptions

Archival materials

Videotapes

Audiocassettes

Publications

Commercials

Motion pictures (visual works)

Audiotapes

Business records

Place:

Elkhart (Ind.) -- 1950-1990

Date:

1953-1987

Summary:

The Alka-Seltzer Oral History and Documentation Project is a result of a one year effort supported, in part, by Miles Laboratories, Incorporated. Twenty-four oral history interviews and a variety of related materials were gathered to document Alka- Seltzer advertising, primarily from the mid-1950s to the 1980s. The project covers "Speedy" Alka-Seltzer, "Oh what a relief it is," "The Blahs," "Alka Seltzer on the rocks," and "I can't believe I ate the whole thing" campaigns

Scope and Contents:

Oral histories with individuals associated with Alka-Seltzer and its advertising campaigns are at the core of the Alka-Seltzer Documenation and Oral History Project. Conducted by Smithsonian Institution staff, the oral histories primarily examine Alka-Seltzer's innovative and memorable print and television commercials. Abstracts exist for each interview.The collection also includes background information, archival materials from Miles Laboratories, Inc., television commercials, storyboards, and company publications.

Arrangement:

The collection is arranged in 8 series.

Series 1: Research Files, circa 1930-1986

Series 2: Interviewee Files, 1986-1987

Series 3: Oral Histories, 1986-1987

Subseries 3.1: Original Interviews

Subseries 3.2: Reference Cassettes

Subseries 3.3: Master Audio Tapes

Series 4: Miles Archives Materials, 1931-1980

Subseries 4.1: Marketing Research and Sales Data

Subseries 4.2: Alka-Seltzer Storyboards and History (Photocopies)

Subseries 4:3: Miles Advertising History and Oral History Program(photocopies)

Series 5: Company Publications, 1960-1986

Series 6: Photographs, circa 1950-1985

Series 7: Alka-Seltzer Posters, 1967-1986

Series 8: Audiovisual Materials

Subseries 8.1: Original Masters

Subseries 8.2: Reference Videos

Biographical / Historical:

The Alka-Seltzer Oral History and Documentation Project is a result of a one year effort supported, in part, by Miles Laboratories, Incorporated Twenty-four oral history interviews and a variety of related materials were gathered to document Alka- Seltzer advertising, primarily from the mid-1950s to the 1980s. The project covers "Speedy" Alka-Seltzer, "Oh what a relief it is," "The Blahs," "Alka Seltzer on the rocks," and "I can't believe I ate the whole thing" campaigns.

Miles Laboratories, Incorporated, the maker of Alka-Seltzer, and Wade Advertising of Chicago established a light-hearted advertising approach with the iconic puppet "Speedy", which had a tablet for a body and a smaller one for a hat. Speedy came to life through stop motion animation, a technique in which each of the puppet's movements was captured on a separate frame of film. The voice of Richard Beals made "Speedy" a distinctive character.

"Speedy" was a mainstay of Alka Seltzer advertising until 1964, when Miles,Incorporated took the account to Jack Tinker & Partners in New York. The agency's work for Alka-Seltzer embodied what came to be called advertising's "creative revolution," replacing the "talking heads" and "hard sell" of earlier advertising with humor, wit, and engaging storylines, even within the limits of a 30 second television spot. In 1969, the Alka Seltzer account went to Doyle, Dane, Bernbach, an agency which changed the look of print advertising during the early years of the "creative revolution." In 1970, Alka-Seltzer moved agencies to Wells, Rich, Greene, where the product's advertising came under the direction of Mary Wells Lawrence. Ms. Lawrence had worked on the Alka Seltzer account while at Tinker and continued Alka Seltzer's reputation for innovative and captivating work. In 1984 they shifted to McCann Erickson.

Provenance:

Collection donated by Miles Laboratories in 1988 and created by the Smithsonian Institution in 1986 and 1987.

Restrictions:

Researchers may use reference copies only. The interview with Charles Chaplin is restricted and may not be copied or quoted until his death.

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:

advertising -- History -- 1950-1990  Search this

Pharmaceutical industry -- 1950-1990  Search this

Television advertising  Search this

Medicine  Search this

Broadcast advertising  Search this

Business -- History  Search this

Genre/Form:

Videotapes

Audiocassettes

Publications -- Business

Commercials

Motion pictures (visual works) -- 20th century

Audiotapes -- 1950-2000

Business records -- 1950-2000

Citation:

Alka-Seltzer Oral History and Documentation Project, 1953-1987, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0184

See more items in:

Alka-Seltzer Documentation and Oral History Project

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e8d1c49b-5195-455a-8b65-8d475f101290

EDAN-URL:

ead_collection:sova-nmah-ac-0184

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Business records

Sound recordings

Negatives

Video recordings

Correspondence

Plans (drawings)

Memorandums

Photographic prints

Videotapes

Notes

Audiocassettes

Contracts

Slides (photographs)

Audiotapes

Digital images

Date:

June 23-July 4, 1995

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1995 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 6 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Cape Verdean Connection

Series 3: The Czech Republic: Tradition and Transformation

Series 4: Heartbeat: The Voices of First Nations Women

Series 5: Russian Roots, American Branches: Music in Two Worlds

Series 6: Special Events

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1995 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

The 1995 Festival featured American Indian women's musical traditions, the heritage of the Czech Republic and Czech Americans, music of Russian and Russian American groups, and the cultural life of the Cape Verdean community. These programs testified to the vitality of the human spirit, and to how people, ideas, and forms of cultural expression increasingly cross boundaries of geography, politics, language, race, and gender. Special events included evening concerts devoted to African immigrant communities in the Washington, D.C. area and a memorial concert for Festival founding director, Ralph Rinzler.

Heartbeat: The Voices of First Nations Women presented the musical culture of American Indian women. The program examined how these women express their identity through the use of a variety of musical forms - from traditional songs of home to contemporary songs of Indian life, from the appropriation of men's music to the fusion of root music with country, folk, blues, and gospel.

The Czech Republic: Tradition and Transformation provided a broad survey of the ways national, regional, ethnic, and local traditions have been defined in a complex state located at the crossroads of Central Europe. The "Velvet Revolution" of 1989 and the separation of the Czech and Slovak Republics in 1993 have prompted further examinations of cultural identity, the relationship between the state and popular expression, creativity and tradition. Czech Americans, too, have looked at these changes and the reestablishment of relationships to their ancestral homeland.

A third program, Russian Roots, American Branches: Music in Two Worlds, explored the musical culture of Old Believers and Molokans, Russian religious communities created in the 17th and 18th centuries. The program united immigrant communities long established in the United States with those from Russia, and brought together people who, although separated by generations and different social environments, have nonetheless faced parallel issues with regard to cultural persistence and adaptation.

All these programs involved complex institutional arrangements, local-level research and documentation, and strong commitment to and pride in Festival representation. The Cape Verdean Connection program well demonstrated these processes. Cape Verde is an independent island nation and former Portuguese colony located off the west coast of Africa. Cape Verdean Americans, now numbering about 400,000, most born and raised here, historically settled in New England during the 18th century, playing instrumental roles in the whaling and cranberry industries. Cape Verdeans had an important story to tell about their role in American life, their immigrant and continuing transnational cultural experience, their multiracial heritage, and their enduring sense of community - a story with much to tell others as well. Cape Verdeans provided the impetus for the Festival program, carried out most of the research in concert with Smithsonian scholars, led the effort to raise funds from governments, foundations, corporations, and individuals through benefit dances, auctions, and other community events, and, as is fitting, joined with the Smithsonian to share their experiences with the American public.

The 1995 Festival took place during two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 10th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured four programs and several special events.

The 1995 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Betty Belanus, Olivia Cadaval, Amy Horowitz, Marjorie Hunt, Diana Baird N'Diaye, Curators, Folklorists, Educational and Cultural Specialists; Carla M. Borden, John W. Franklin, Charlene James-Duguid, Program Managers; Felicia Erickson, Arlene L. Reiniger, Mary Van Meter, Program Specialists; Jeffrey Place, Archivist; Kenneth M. Bilby, Roland Freeman, Ivan Karp, Corrine Kratz, Alan Lomax, Worth Long, Yook Jung Park, Kate Rinzler, Research Associates & Collaborators

Folklife Advisory Council and Folkways Advisory Council

Roger Abrahams, Jacinto Arias, Michael Asch, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt-Gimblett, John Nixdorf, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez

National Park Service

Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1995 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk art  Search this

arts and crafts  Search this

Food habits  Search this

Folk music  Search this

Folklore  Search this

World music  Search this

Folk festivals  Search this

Genre/Form:

Business records

Sound recordings

Negatives

Video recordings

Correspondence

Plans (drawings)

Memorandums

Photographic prints

Videotapes

Notes

Audiocassettes

Contracts

Slides (photographs)

Audiotapes

Digital images

Citation:

Smithsonian Folklife Festival records: 1995 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1995

See more items in:

Smithsonian Folklife Festival records: 1995 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5d0f338f7-ff86-4399-82c5-39d8a73d9b35

EDAN-URL:

ead_collection:sova-cfch-sff-1995

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2012-12-11T14:21:02.000Z

YouTube Category:

Film & Animation  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_PVGl6DoOIVc

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2012-12-03T14:28:39.000Z

YouTube Category:

Film & Animation  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_TWDyH7UgcBY

Extent:

27 cu. ft. (27 record storage boxes)

Type:

Collection descriptions

Archival materials

Brochures

Clippings

Manuscripts

Electronic records

Drawings

Black-and-white photographs

Audiotapes

Date:

circa 1983-1994 and undated

Descriptive Entry:

This accession consists of records that document the planning, development, and installation of American Encounters, a permanent exhibition at the National Museum of American History (NMAH) commemorating the Columbus Quincentenary. The exhibition opened in 1992. The records primarily include the correspondence, memoranda, and research files of NMAH staff involved in the project, namely: Lonn Taylor, Curator/Project Director; Harold A. Closter, Project Manager; Rayna Green, Curator; Richard E. Ahlborn, Curator; Howard Alexander Morrison, Writer; Hank Grasso, Designer; Lisa Falk, Educator; Susan Ostroff, Collections Manager; and Howard Bass, Music Program Coordinator. Also includes exhibition proposals and scripts; meeting minutes; photographs, slides, negatives, and contact sheets of subjects and objects for the exhibition; and audiotape recordings of Native American/Hispanic music. Some materials are in electronic format.

Topic:

Museum exhibits  Search this

Historical museums  Search this

Science museums  Search this

Genre/Form:

Brochures

Clippings

Manuscripts

Electronic records

Drawings

Black-and-white photographs

Audiotapes

Citation:

Smithsonian Institution Archives, Accession 00-002, National Museum of American History, Exhibition Records

Identifier:

Accession 00-002

See more items in:

Exhibition Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa00-002

Container:

Box 25 of 27

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 00-002, National Museum of American History, Exhibition Records

See more items in:

Exhibition Records

Exhibition Records / Box 25

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa00-002-refidd1e13676

Container:

Box 26 of 27

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 00-002, National Museum of American History, Exhibition Records

See more items in:

Exhibition Records

Exhibition Records / Box 26

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa00-002-refidd1e13695

Container:

Box 27 of 27

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 00-002, National Museum of American History, Exhibition Records

See more items in:

Exhibition Records

Exhibition Records / Box 27

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa00-002-refidd1e13714

Creator:

National Museum of American History (U.S.) Division of Culture and the Arts  Search this

Subject:

Fesperman, John T  Search this

Hoover, Cynthia A (Cynthia Adams)  Search this

Sturm, Gary  Search this

Wedderburn, Alexander J  Search this

Ostroff, Eugene  Search this

Griffith, Fuller  Search this

Olmsted, Arthur J  Search this

Kainen, Jacob  Search this

Delaney, Michelle Anne  Search this

Grassick, Mary K  Search this

Perich, Shannon Thomas  Search this

Haberstich, David  Search this

Hasse, John Edward 1948-  Search this

National Museum of American History (U.S.) Division of Music, Sports, and Entertainment  Search this

National Museum of American History (U.S.) Division of Musical History  Search this

National Museum of American History (U.S.) Division of Musical Instruments  Search this

National Museum of History and Technology Division of Musical Instruments  Search this

National Museum of American History (U.S.) Division of Cultural History  Search this

Physical description:

11 cu. ft. processed holdings

23.08 cu. ft. unprocessed holdings

Type:

Manuscripts

Audiotapes

Color photographs

Black-and-white photographs

Color transparencies

Black-and-white transparencies

Brochures

Clippings

Floor plans

Phonograph records

Video recordings

Electronic records

Digital images

Color negatives

Black-and-white negatives

Compact discs

Digital versatile discs

Electronic mail

Date:

1933

1933-2017

Topic:

Musical instruments  Search this

Music--History  Search this

Budget  Search this

Museum curators  Search this

Museums--Collection management  Search this

Photography--History  Search this

Professional associations  Search this

Congresses and conventions  Search this

Speeches, addresses, etc  Search this

Museums--Public relations  Search this

Committees  Search this

Gifts  Search this

Local number:

SIA RS00540

Restrictions & Rights:

Materials less than 15 years old Restricted. Records may contain personally identifiable information (PII) that is permanently restricted. Contact reference staff for details

See more items in:

Curatorial Records 1933-2017 [National Museum of American History (U.S.) Division of Culture and the Arts]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_220023

Type:

Archival materials

Summary:

Audiotapes and Slides

Collection Citation:

Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records

See more items in:

Records

Records / Box 45

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-faru0485-refidd1e19181

Type:

Archival materials

Summary:

The following boxes contain audiotapes of musical performances and special events in which the Division was involved.

Collection Citation:

Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records

See more items in:

Records

Records / Box 46

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-faru0485-refidd1e19364

Extent:

64.08 cu. ft. (49 record storage boxes) (26 tall document boxes)

Type:

Collection descriptions

Archival materials

Audiotapes

Floor plans

Black-and-white negatives

Black-and-white photographs

Black-and-white transparencies

Manuscripts

Brochures

Clippings

Newsletters

Posters

Videotapes

Date:

circa 1954-1994

Descriptive Entry:

This record unit consists of curatorial and staff correspondence and memoranda pertaining to the Tower Concert series, exhibitions at the Hall of Musical Instruments, staff research and publications, organ building, acquisition of musical instruments, and funding for seminars and musical performance recordings. Also included are inquiries from private collectors, musicians, universities, and instrument manufacturers; minutes of meetings; floor plans for the Hall of Musical Instruments; recital announcements; audiotapes of Fesperman's organ performances; contracts with publishing companies; Fesperman's research material for the publications Flentrop in America and Organs in Mexico; exhibition proposals, scripts, loan agreements, and brochures from Contemporary Musical Instrument Makers; funding information, progress reports, photographs, and program booklets from Music at the Smithsonian, as well as the Tower Concert series; audiotapes and cassette recordings of concert performances, interviews with musicians, and music used for exhibitions; administrative records; photographs and slides of American and European chamber organs; correspondence between Fesperman and organ builder F. A. Flentrop; and staff research notes.

Topic:

Museum exhibits  Search this

Museum curators  Search this

Music -- History  Search this

Musical instruments  Search this

Genre/Form:

Audiotapes

Floor plans

Black-and-white negatives

Black-and-white photographs

Black-and-white transparencies

Manuscripts

Brochures

Clippings

Newsletters

Floor plans

Posters

Videotapes

Citation:

Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records

Identifier:

Record Unit 485

See more items in:

Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-faru0485

Container:

Box 37 of 75

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records

See more items in:

Records

Records / Box 37

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-faru0485-refidd1e15199

Container:

Box 37 of 75

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records

See more items in:

Records

Records / Box 37

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-faru0485-refidd1e15210