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National Congress of American Indians Audio and Film Recordings

Creator:
National Congress of American Indians  Search this
Names:
Delacruz, Joseph B.  Search this
Deloria, Vine  Search this
Harjo, Suzan Shown  Search this
Tonasket, Mel  Search this
Trimble, Charles E.  Search this
Extent:
24 Videoreels (1/2 inch)
1 Videocassettes (Hi8)
3 Sound cartridges
1 Sound recording (dictaphone belt)
10 Videocassettes (VHS)
442 Sound tape reels (1/4" open reel)
30 Videocassettes (U-matic)
713 Sound cassettes
Type:
Collection descriptions
Archival materials
Videocassettes (hi8)
Sound cartridges
Sound recordings
Videocassettes (vhs)
Sound tape reels
Videocassettes (u-matic)
Sound cassettes
Audiotapes
Audiovisual materials
Audiocassettes
Date:
1952-1997
Summary:
The National Congress of America Indians (NCAI), which describes itself as the oldest and largest American Indian and Alaskan Native organization in the United States, was founded on November 16, 1944, in Denver, CO and is still active today. NCAI was founded to serve as a link between individual tribal councils and the United States government but also aimed to educate the general public about Indians, preserve Indian cultural values, protect treaty rights with the United States, and promote Indian welfare. This collection of National Congress of America Indians Audio and Film Recordings contains materials created by and for NCAI to maintain a record of organizational proceedings and events between 1952 and 1997. Recorded in various formats, the bulk of this collection is on 1/4" open reel to reel tapes and sound cassettes. The events represented in this collection include annual and mid-year conventions, executive council meetings, congressional hearings, intertribal institutes and a variety of workshops and meetings regarding economic, civil and educational issues facing indian country.
Scope and Contents:
This collection of National Congress of America Indians Audio and Film Recordings contains materials created by and for NCAI to maintain a record of organizational proceedings and events between 1952 and 1997. Recorded in various formats, the bulk of this collection is on 1/4" open reel to reel tapes and sound cassettes. The collection also contains smaller numbers of EIAJ open reel videotapes, U-Matic, VHS and Hi-8 videocassettes and well as dictaphone belts and audio cartridges. The first series in this collection contains audio recordings from NCAI annual and mid-year convetions held in different locations all over the United States. The second series includes events hosted by NCAI or attended by NCAI representatives. These include executive council meetings, congressional hearings, intertribal institutes and a variety of workshops and meetings regarding economic, civil and educational issues facing indian country. Several larger events include the Arizona Intertribal Institute (1955), The National Indian Policy Conference (1974), LEAA Conference (1978), Environmental Protection Hearings and Seminars (1988) and the Senate Indian Affairs Special Investigations Subcommittee meetings (1989). A conference held in 1993 also documents the early history of NCAI with speakers such as Helen Peterson, John Rainer and Erma Hicks Walz.
Arrangement:
This collection is arranged into three series and chronologically within each series. Series 1: Annual and Mid-Year Conventions, 1953-1989, Series 2: Chronological Events, 1952-1997, and Series 3: Commercial Audio/Video, 1972-1989.
Biographical / Historical:
The National Congress of America Indians, which describes itself as the oldest and largest American Indian and Alaskan Native organization in the United States, was founded on November 16, 1944, in Denver, CO. NCAI was intended to serve as a link between individual tribal councils and the United States government, by defining and helping to crystallize Indian thought on the administration of Indian affairs. The Congress also aimed to educate the general public about Indians, preserve Indian cultural values, protect treaty rights with the United States, and promote Indian welfare.

At the first convention, delegates representing fifty tribes ratified the constitution and by-laws, drafted resolutions determining the direction of NCAI policy, and elected the organizations' first officers, with Oklahoma Supreme Court Justice Napoleon B. Johnson (Cherokee) as president. The officers, as well as eight elected council members, formed the Executive Council. The Council chose the Executive Director; Ruth Muskrat Bronson (Cherokee) was the organization's first director, from 1944-1948. "Persons of Indian blood" could join the organization either as individuals or as groups. In 1955, however, the constitution was revised to restrict group membership to recognized tribes, committees, or bands, and to make the Executive Council chosen by tribal representatives. These changes gave control of the organization to governing bodies of organized tribes, rather than individuals. A further amendment that year created a five-member Executive Committee, headed by the president, which had all the powers of the Executive Council between council meetings.

Conventions have been held annually in the fall since the formation of the NCAI in 1944. Since 1977, mid-year conferences have been held in May or June of each year, to allow more frequent and thorough discussion of issues. The resolutions passed at these conventions are the basis for all policy of the Executive Committee and Executive Director between meetings. The conventions are also used for informational sessions and meetings of standing and special committees of NCAI. One or two-day workshops may also be held on special topics or Congressional issues of particular concern.

NCAI created a tax-exempt arm in 1949 to accept charitable contributions and apply for grants, the NCAI Fund, which soon changed its name to ARROW, Inc. By 1957, however, ARROW had split off to become an independent organization, and NCAI started a new arm, again called the NCAI Fund. In the coming decades, the NCAI Fund would obtain grants from sources including the Bureau of Indian Affairs, Department of Veteran Affairs, Indian Health Service, Nuclear Regulatory Commission, Ford Foundation, humanities councils and others, which they used for conferences, workshops, publications, and other projects.

In its early years, NCAI fought for the recognition of land claims of Alaska natives, the enfranchisement of Arizona and New Mexico Indians, the equitable settlement of tribal land claims, and the right of Indians to select their own attorneys. The NCAI lobbied vigorously for an Indian Claims Commission Bill, which became law in August 1946. NCAI's lobbying efforts on behalf of this act set the pattern for the organization's future role in legislative matters: keeping member tribes abreast of proposed legislation and ascertaining their views, and maintaining a presence in Congress through lobbying and testimony.

Beginning in 1954, the threat of termination pushed NCAI into a period of increased activity. Although some tribes were ready to terminate their relationship with the federal government, much of Indian Country felt threatened by the government's new stated policy. NCAI therefore organized an Emergency Conference of American Indians for February 1954 to protest this new termination policy. An agreement was forged at the conference between the NCAI and the Bureau of Indian Affairs to work together toward slowly liquidating the BIA. The termination period of the 1950s and 1960s, while challenging, saw NCAI increase in confidence and political acumen.

During the 1960s, a number of other activist Indian groups sprang up and began to dilute the singular influence which NCAI had commanded. Newer, more militant groups often considered themselves at odds with NCAI, which was increasingly perceived as conservative. As the number of Indian advocacy groups grew in the 1960s and 1970s, however, NCAI actively partnered with other organizations, particularly the National Tribal Chairmen's Association (NTCA) and Native American Rights Fund (NARF), on a variety of projects.

Charles E. "Chuck" Trimble (Oglala Dakota) served as Executive Director of NCAI in 1972 until 1977, when he resigned to lead the United Effort Trust, a project designed to fight white backlash to Indian rights. NCAI spent most of the next two years trying to find another permanent director. In 1979, Ronald P. Andrade (Luiseno-Diegueno) joined NCAI and unfortunately found a group that was demoralized and underfunded. He was able to return the organization to good health but left in 1982. Si Whitman (Nez Perce), his successor, remained at NCAI for less than a year.

Suzan Shown Harjo (Cheyenne-Creek) became director of NCAI on May 1, 1984. Prior to taking this postions, she had served as Congressional Liaison for Indian Affairs at the Department of the Interior during the Carter administration and as legislative liaison for the Native American Rights Fund, as well as working for NCAI during the mid-1970s. Harjo was also an active and published poet, as well as a frequent speaker at events around the country. The National Congress of American Indians was particularly active on Capitol Hill while Harjo was director, advocating for government-to-government status, the Tribal Government Tax Status Act of 1983, repatriation legislation, and economic development programs, among other issues. Harjo was herself very involved in the establishment of the National Museum of the American Indian in Washington, DC.

The NCAI Fund was very successful in receiving grants during this period, although they were chronically short of operating funds. Some of their most active projects during this period were the Indian and Native Veterans Outreach Program (INVOP), Inter-generational Health Promotion and Education Program (IHPEP), Environmental Handbook and related educational seminars, Solar Bank, nuclear waste disposal and transportation information sessions, and voter registration.

For years, NCAI's operating expenses had been funded by the Ford Foundation and the Bureau of Indian Affairs (BIA). In 1985, the director of the Bureau of Indian Affairs, opposing the use of Federal monies to support outside organizations, began to block the payment for services due to the NCAI. This created a financial crisis from which the NCAI did not recover during Harjo's tenure, and it became the major issue for which she was not rehired in October 1989.

Following the 1989 Annual Convention, Wayne Ducheneaux (Cheyenne River Sioux) became President of NCAI and A. Gay Kingman (Cheyenne River Sioux) was appointed Executive Director. Their first efforts were focused on recovering the financial well-being of the organization, which meant that less attention was devoted to issues in Congress. One of the successful projects NCAI pursued during the next two years was organization and presentation of the Indian pre-conference of the White House Conference on Library and Information Science, which was held in early 1991.

The National Congress of American Indians is still active today, continuing its work of lobbying, support for tribal governments, and advocacy for American Indian issues.
Related Materials:
Other collections at the NMAI Archives Center that include information on the National Congress of American Indians include:

National Congress of American Indians records,1933-1990 (NMAI.AC.010)

Arrow, Inc., and the American Indian Tribal Court Judges records, 1949-1999 (NMAI.AC.013) James E. Curry papers, 1935-1955 (NMAI.AC.015) National Tribal Chairmen's Association records, 1971-1978 (NMAI.AC.014) Helen L. Peterson papers, 1944-1992 (NMAI.AC.016) Reuben Snake papers, 1971-1996 (NMAI.AC.012)
Provenance:
The National Congress of American Indians designated the National Anthropological Archives (NAA) as its official repository in 1976. It was transferred from NAA to the National Museum of the American Indian Archive Center in 2006.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Due to its fragile nature, this collection is closed to researchers until it has been digitized.
Rights:
Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Topic:
Indians of North America -- Civil rights  Search this
Indians of North America -- Economic conditions -- 20th century  Search this
Indians of North America -- Government relations  Search this
Indians of North America -- Social conditions -- 20th century  Search this
Congresses and conventions  Search this
Legislative hearings  Search this
Genre/Form:
Audiotapes -- Open reel
Audiovisual materials
Audiocassettes
Citation:
Identification of specific item; Date (if known); National Congress of American Indians Audio and Film Recordings, Box Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.010.001
See more items in:
National Congress of American Indians Audio and Film Recordings
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv418f7d1de-5bd0-4621-8926-1c4a55579201
EDAN-URL:
ead_collection:sova-nmai-ac-010-001

Cook Labs records

Creator:
Cook Labs  Search this
Cook, Emory, 1913-2002  Search this
Names:
Cook Labs  Search this
Extent:
6.3 Cubic feet (Phonograph albums)
63.5 Cubic feet (Open-reel tapes)
8.75 Cubic feet (Business records)
78.55 Cubic feet
Culture:
Afro-Caribbean cults  Search this
10th Naval District Steel Band  Search this
Almerico, Tony, 1905-  Search this
American Indians  Search this
Audio Engineering Society  Search this
Ast, Anita  Search this
Bach, Johann Sebastian, 1685-1750  Search this
Beethoven, Ludwig van, 1770-1827  Search this
Big Shell Band  Search this
Boston Chorale  Search this
Brahms, Johannes, 1833-1897  Search this
Brokenshire, Norman, 1898-1965  Search this
Brundage, Al (Alfred)  Search this
Brute Force Band  Search this
Camp, Red  Search this
Carroll, Jimmy  Search this
Crowley, Daniel J., 1921-  Search this
Type:
Collection descriptions
Archival materials
Audiotapes
Photographic prints
Business records
Artifacts
Contracts
Phonograph records
Correspondence
Christmas music
Place:
Cuba
West Indies -- Lesser Antilles
Caribbean Area
Antigua
Barbuda
Amazon River Region
Benítez (Venezuela)
Baja California (Mexico : Peninsula)
Brazil
Connecticut
Cuba
Haiti
Date:
1908-2002, bulk 1948-1965
Summary:
The Cook Labs records, which date from 1939-2002, document the activities of audio engineer Emory Cook and his label Cook Labs. The contents include business records, materials relating to recording artists, photographs, and production materials, as well as phonograph records, master recordings and unpublished recordings produced by or associated with the Cook Labs label. The collection also contains two interviews conducted with Emory Cook in 1990: one by Jeff Place and one by Anthony Seeger and Nicholas Spitzer. There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.
Scope and Contents note:
There are two primary components of the Cook Labs records: the records, master tapes and other audio recordings, and the related paper files.

The Cook Labs records contains about 150 of the 200 released Cook recordings, and 739 master tapes. In addition, there are 330 unpublished tapes.

The the paper files include acquisition materials; business correspondence; recording reports; various production notes on records produced; news articles both about and by Emory Cook and Cook Labs; copyright, licensing, and trademark materials; photographs, correspondence, contracts, and other materials relating to recording artists; production materials for each Cook Labs release; and other miscellany. Many contracts are signed by both Cook Labs and the artist. Correspondence is primarily between business associates.

Two interviews were done with Emory Cook in 1990: one by Jeff Place and one by Anthony Seeger and Nicholas Spitzer; both interviews are included in the Cook Labs records.

There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.
Arrangement note:
Many of the items in this list have been assigned an accession number, and like materials have been grouped together to create seven series:

Series 1: Business Papers, 1939-1990

Series 2: Recording Artists, 1949-1981, bulk 1950-1959

Series 3: Photographs, undated, 1957

Series 4: Production files, 1948-1995, bulk 1952-1963

Series 5: Objects, undated, 1908-1964

Series 6: Audio Interviews, 1990

Series 7: Audio Recordings
Biographical/Historical note:
Emory Cook (1913-2002) is widely regarded as a highly influencial audio engineer. Born and raised in Albany, New York, he joined the Army Air Corps in 1932. After his discharge in 1934 he obtained his degree from Cornell University and began working for Western Electric in the Audio Engineering Force. During World War II, while still at Western Electric, Cook supervised the creation of a fire-controlled radar "Trainer," for which he received a Commendation from the Service.

In the late 1940's, convinced he could do better than what was on the market, Cook began experimenting with making his own audio equipment. Cook Laboratories was started in 1945 when he developed a new cutting head to be used in record production. Future development of equipment brought about the discovery that he could record frequencies as high as 20,000 hertz, more than any other recording company at the time. He cut a record of piano and organ music to demonstrate this discovery, and took it to the 1949 Audio Fair in New York. When he demonstrated the record with the hopes to sell the recording equipment, he found that people were much more interested in buying the record itself. Shortly after, Sounds of Our Times, later called Cook Records, was born.

Cook Records collected many different sounds and was mostly aimed at the devoted high-fidelity listener. Cook believed that hearing was a sense often overlooked by people, and he wanted listeners of his albums to be able to hear things they might otherwise miss. In a New Yorker profile by Daniel Lang in 1956, Cook claimed that hearing was "always being kicked aside in favor of sight… There's a time and a place for everything, and that includes sound." In order to encourage listening, he put out many albums full of everyday sounds, such as Voice of the Sea, an album of noises of the ocean and Eye of the Storm, recorded during a thunderstorm. One of the most successful albums was Rail Dynamics, an album of steam trains pulling in and out of a station.

Cook Records also produced traditional music albums from its plant in Stamford, Connecticut. The label produced everything from organ music to folk, flamenco guitar, calypso and steel band. Cook had little interest in name musicians and instead searched high and low for anything he thought might be an interesting contribution to his label. He even invited listeners to send in their favorite sounds, some of which he eventually recorded.

Cook had such a large interest in Calypso music that he set up a second pressing plant in Port-of-Spain, Trinidad. There he pressed calypso and steel band music for both a Trinidadian and American audience, and most albums sold well in both countries.

In addition to the wide range of music Cook recorded, he was also an inventor. It was Cook who first came up with the idea of pressing records with powdered, rather than solid, vinyl, a technique he dubbed "microfusion." This technique not only saved money, but cut out many of the traditional crackles and pops associated with records.

He also developed the binaural system of recording and playing records, which he thought was superior to the more commonly used stereo method. Binaural was more precise than stereo, and it required placing two microphones six inches apart, approximately the space between two ears, during the recording. It was then played back with a special two-needle playing arm. Binaural recordings were thought by Cook to best duplicate the original sound.

Emory Cook died at the age of 89 in 2002 after a long hospitalization.
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://doi.org/10.25573/data.21771155.
COOK RECORDINGS - NUMERICAL LISTING:
001 20,000 Cycle Demo (1949) COOK00001

002 Night Rain and Surf COOK00002

003 Specimen Heart Beats COOK00003

004 Katydids, Frogs and Forrest Birds

E101 Grenada Stories and Songs (1957-58) COOK00101

E102 Amazon Sound: Yacu River Tribes (Rituals and Rites) (1954) COOK00102

E103 Music of St. Lucia (1953) COOK00103

E104 Rada (1958) COOK00104

E105 JOSE RAMON FORTUNE AND OLGA MAYNARD Nancy Stories (1956) COOK00105

106 Afro-West Indian Cultural Practices (1957-58) COOK00106

107 ESCOLA DE SAMBA DE BRAZIL The Boli, The Cocolute, and Brazil (1957-58) COOK00107

901 Steelband Jump Up Boys Town, Tropical Harmony, Silvertone COOK00901

904 THE ESSO STEEL BAND Esso Steelband of Bermuda (1958) COOK0904

906 LORD MELODY Lord Melody Sings Calypso (1958-59) COOK00906

911 TOM CHARLES AND HIS SYNCOPATER ORCHESTRA Fete for So! (1959) COOK00911

914 LORD MELODY Again! Lord Melody Sings Calypso (1957-58) COOK00914

916 Calypso Cross Section Young Killer, The Mighty Bomber, Small Island Pride, The Mighty Wrangler (1957-58) COOK00916

920 THE MIGHTY SPARROW King Sparrow's Calypso Carnival (1959) COOK00920

927 LORD MELODY Calypso through the Looking Glass (1959) COOK00927

928 CLARENCE CURVAN His Drums, His Orchestra COOK00928

930 Belly to Belly Clarence Curvan, Johnny Gomez, Tom Charles, Fitz Vaughn Bryan (1960-61) COOK00930

931 LORD MELODY Lord Melody, 1962 COOK0931

1000 TITUS MOODY DDDs of Binaural (1952) COOK01000

1011 The Christmas Music Box (1950) COOK01011

1012 Music Boxes of Long Ago (1950) COOK01012

1013 CHARLIE MAGNANTE Accordion Pops Concert (1954-55) COOK01013

1014 CHARLIE MAGNANTE AND LaVERGNE SMITH His and Hers (1954-55) COOK01014

1020 SAM ESKIN Sam Eskin's Songs of All Time COOK01020

1021 GROUPE MI-O Un Ti Bo (1958) COOK01021

1022 LAVINIA WILLIAMS' GROUPE FOLKLORIQUE Haiti Confidential (1958) COOK01022

1023 The Ramayana (Hindu Ceremony) (1961) COOK01023

1024 GUSTAVO ZEPOLI Concert Guitar (1954) COOK01024

1025 SEAN McGONIGAL AND ST. COLUMCILLE'S UNITED GAELIC PIPE BAND Kilts on Parade (1950) COOK01025

1026 ANITA AST AND THE VIENNA KONZERTSCHRAMMEREIN Inside Vienna (1952) COOK01026

1027 CARLOS MONTOYA AND THE JOSE GRECO TROUPE Fiesta Flamenca (1952) COOK01027

1028 CARLOS MONTOYA Montoya (1952) COOK01028

1030 EDWARD VITO The Harp (1951) COOK01030

1031 EDWARD AND JOSEPH VITO Dual Harp (1951) COOK01031

1032 RUTH WELCOME AND DICK MARTA Zither and Cimbalom (1951) COOK01032

1035 Barrelhouse Piano (1950) COOK01035

1036 FRANK GLAZER Liszt's Paganini Variations (1952) COOK01036

1037 GRETA AND JOSEF DICHLER Two Famous European Pianos (1952) COOK01037

1038 SAMUEL SORIN Piano: The Romantic Fabric (1953) COOK01038

1039 LEONID HAMBRO A Perspective of Beethoven (1953) COOK01039

1040 Steel Band Clash Brute Force Steel Band, Big Shell Band, and Hell Gate Band (1955)

1041 JIMMY CARROLL PERCUSSION EMSEMBLE WITH RED CAMP Speed the Parting Guest (1953) and The Hot Tempered Clavichord (1957) COOK01041

1042 BRUTE FORCE STEEL BAND Brute Force Steel Band of Antigua with Big Shell Band (1955) COOK01042

1043 Three Rituals (1955) COOK01043

1044 The Compleat In Fidelytie: Sounds Natural and Unnatural (1956) COOK01044

1045 Drums of Trinidad (1956) COOK01045

1046 Champion Steel Bands of Trinidad The Highlanders, Southern All Stars, The Katzenjammers, others (1957) COOK01046

1047 THE KATZENJAMMERS The Enchanted Steelband (1957) COOK01047

1048 BRUTE FORCE STEEL BAND Music to Awaken the Ballroom Beast (1957) COOK01048

1049 BRUTE FORCE STEEL BAND Beauty and the Brute Force (1957) COOK01049

1050 MICHAEL CHESHIRE The Pipe Organ, volume 1 (1952) COOK01050

1051 MICHAEL CHESHIRE The Pipe Organ, volume 2 (1952) COOK01051

1052 REGINALD FOORT Percussion and Pedal, volume 3 (1952) COOK01052

1053 REGINALD FOORT Reginald Foort at the Mosque, volume 4 (1952) COOK01053

1054 REGINALD FOORT Organ in Symphony Hall, volume 1 (1954) COOK01054

1055 REGINALD FOORT Organ in Symphony Hall, volume 2 (1954) COOK01055

1056 ALFONSO VEGA NUÑEZ Morelia Cathedral Organ (1954) COOK01056

1057 REGINALD FOORT Foort Pops (1956) COOK01057

1058 REGINALD FOORT Waltz and Ballet: The Mosque Organ (1956) COOK01058

1059 REGINALD FOORT Intermission at the Mosque (1956) COOK01059

1060 NEW ORCHESTRAL SOCIETY OF BOSTON Brahms First Symphony (1954) COOK01060

1061 FESTIVAL CASALS ORCHESTRA Hector Campos Parsi (1958) COOK01061

1062 NEW ORCHESTRAL SOCIETY OF BOSTON Stravinsky, Villa Lobos, and Bach (1955) COOK01062

1063 NEW ORCHESTRAL SOCIETY OF BOSTON Debussy (1955) COOK01063

1064 NEW ORCHESTRAL SOCIETY OF BOSTON Masterpieces of the Dance (1955) COOK01064

1065 NEW ORCHESTRAL SOCIETY OF BOSTON Mozart Symphony No. 40 (1955) COOK01065

1066 NEW ORCHESTRAL SOCIETY OF BOSTON Masterpieces of the Theater (1955) COOK01066

1067 NEW ORCHESTRAL SOCIETY OF BOSTON Beethoven Symphony No. 5 (1955) COOK01067

1068 NEW ORCHESTRAL SOCIETY OF BOSTON New Orchestral Society of Boston (1966) COOK01068

1069 NEW ORCHESTRAL SOCIETY OF BOSTON Haydn Symphony No. 100: Military (1966) COOK01069

1070 Rail Dynamics: Steam Locomotives and Train Sounds (1950-54) COOK01070

1071 Burlesque Uncensored (1954) COOK01071

1072 Jump-up Carnival: Calypso Tent (1956) COOK01072

1073 Holy Week: Malaga (Spain) (1961) COOK01073

1074 Benevolent Society for the Preservation of Ancient Rhymes and Limerix Limerick Party COOK01074

1075 Voices of the Sky: Propellers and Jets (1957) COOK01075

1077 Voice of the Storm (1957-58) COOK01077

1078 A Double Barrel Blast: High Cost of Dying and Computer Conversations (1962) COOK01078

1079 Tour of High Fidelity (1965) COOK01079

1080 TRIO LEONES Trio Leones of Cabrito (1954) COOK01080

1081 LaVERGNE SMITH LaVergne Smith (01014B plus) (1954) COOK01081

1082 Le Jazz Primitif from Trinidad Rupert Clemendore and John Buddy Williams (1961) COOK01082

1083 Jawbone of an Ass: Musica de Cuba (1955) COOK01083

1084 SID DAVILLA AND FREDDIE KOHLMAN'S BAND WITH RED CAMP Blowout at Mardi Gras (1955) COOK01084

1085 TONY ALMERICO'S PARISIAN ROOM BAND Clambake on Bourbon Street (1954-55) COOK01085

1086 WILLIE RODRIGUEZ The Drums of Rodriguez (1953) COOK01086

1087 RED CAMP Camp Inventions: Jazz Piano and Zither Music (1955) COOK01087

1088 RED CAMP Red Camp Horizontal (1954) COOK01088

1089 RED CAMP Red Camp Upright (1954) COOK01089

1090 ARTHUR BILLINGS HUNT Arthur Billings Hunt Sings Hymns (1950) COOK01090

1091 ARTHUR BILLINGS HUNT Hunt Sings Old Favorites (1950) COOK01091

1092 HUFSTADER SINGERS Hufstader Singers (1953) COOK01092

1094 REGINALD FOORT AND THE BOSTON CHORALE The Seven Last Words of Christ (1954) COOK01094

1095 ST. JOHN'S RUSSIAN ORTHODOX CHOIR Russian Christmas (Spring Valley, New York) (1961) COOK01095

1096 ST. JOHN'S RUSSIAN ORTHODOX CHOIR Russian Easter Midnight Service (Spring Valley, New York) (1961) COOK01096

1097 ST. JOHN'S RUSSIAN ORTHODOX CHOIR St. John's Russian Orthodox Choir (1961) COOK01097

1101 THE INVADERS FROM ST. CROIX Steel Band in San Juan (1964) COOK01101

1102 10TH NAVAL DISTRICT STEEL BAND New Paths for Steel Band (1965) COOK01102

1120 BENITEZ-VALENCIA TRIO Ecuador (1958) COOK01120

1121 Island in the Moonlight Trio Los Rubies, Grupo Paquito Lopez Cruz, Las Hermanas Colón, Martita Cuadrado (1958) COOK01121

1122 Hellish Calypso King Fighter, The Mighty Bomber, others (1962) COOK01122

1123 Calypso Atrocities King Fighter, The Mighty Bomber, others COOK01123

1124 HAYWIRE MAC McCook LabsINTOCK Haywire Mac (1951) COOK01124

1125 LORD MYRTLE, CECIL MITCHEL, AND JAMES CONVERY Calypso Jamaica (1960) COOK01125

1126 THE MIGHTY SPARROW Sparrow in Hi-Fi (1963) COOK01126

1127 STEVE CAMACHO Folk and Other Songs (1962) COOK01127

1131 BRUCE PRINCE-JOSEPH The Pedal Harpsichord (1953) COOK01131

1132 SHINCHI YUIZE The Japanese Koto (1955) COOK01132

1133 RED CAMP The New Clavichord (1957) COOK01133

1134 LUIS BONFA Guitar in Brazil (1959) COOK01134

1140 Steelband Promenade Brute Force Steel Band, The Merrymakers, Southern All Stars (1958) COOK01140

1150 BILL FLOYD The King of Organs (1957) COOK01150

1151 REGINALD FOORT The Theatre Organ, volume 2 COOK01151

1152 REGINALD FOORT The Theatre Organ, volume 3 COOK01152

1154 REGINALD FOORT The Theatre Organ, volume 5 COOK01154

1155 REGINALD FOORT The Theatre Organ, volume 6 COOK01155

1156 REGINALD FOORT The Baroque Organ, volume 1 COOK01156

1157 REGINALD FOORT The Baroque Organ, volume 2 COOK01157

1169 NEW ORCHESTRAL SOCIETY OF BOSTON Tchaikovsky: Romeo and Juliet, Serenade for Strings (1962) COOK01169

1180 Dance Calypso Johnny Gomez Band, Small Island Pride, Dictator, others (1956) COOK01180

1181 LIZZIE MILES Lizzie Miles Buglin' Sam DeKemel and the Parisian All Stars (1954-55) COOK01181

1182 LIZZIE MILES Moans and Blues Red Camp and Tony Almerico's All Stars (1956) COOK01182

1183 LIZZIE MILES Hot Songs My Mother Taught Me Red Camp, Tony Almerico's All Stars, Albert French (1956) COOK01183

1184 LIZZIE MILES Torchy Lullabies My Mother Sang Me Red Camp and Tony Almerico's All Stars (1956) COOK01184

1185 Calypso Kings and Pink Gin: Trinidad Carnival Tent Lord Melody, The Might Sparrow, others (1957) COOK01185

1186 ENSEMBLE AUX CALEBASSES Meringue (1958) COOK01186

1187 A Night at the Tropicoro Juan Luis, Oswaldo Seda, and Lito Peña Band (1959) COOK01187

1188 Dirty Jazz from Down South: Trinidadian Instrumentals (1958) COOK01188

1189 Calypso Exposed Lord Melody, Brute Force Steel Band, King Sparrow, The Mighty Cypher, and Skipper (1961) COOK01189

1280 Caribbean Limbo Music Rupert Clemendore Orchestra, Cyril Diaz Orchestra, others COOK01280

1281 Songs from the Garden of Love Jefferson-Jones' Orchestra COOK01281

1282 Italian Moom Jefferson-Jones' Orchestra COOK01282

2004 Tour of Stereo (1958) COOK02004

2066 NEW ORCHESTRAL SOCIETY OF BOSTON Masterpieces of the Dance, volume 3 COOK02066

2070 Aboard a Fast Express / Jet Dynamics COOK02070

4057 REGINALD FOORT The Theater Organ COOK04057

4069 NEW ORCHESTRAL SOCIETY OF BOSTON Hayden Military Symphony COOK04069

5001 American Storytellers, Volume 1 Harry Wass, Master Marriner's Association (1952) COOK05001

5002 K.C. DOUGLAS K.C. Douglas (1952) COOK05002

5003 Caribeana: Hidden Music from the Caribbean (1949) COOK05003

5004 TIRORO Tiroro: Haitian Drummer (1948) COOK05004

5005 RED CAMP Camp Has a Ball (1954) COOK05005

5006 AL BRUNDAGE Square Dance (1951) COOK05006

5007 Mexican Marimba Band (1954) COOK05007

5008 American Storytellers, Volume 2 John Hawley Cook (1954) COOK05008

5009 American Storytellers, Volume 3 Captain Charles A. Chace, Matthew Richards (1954) COOK05009

5010 Calliope, Carousel, and Hand Organ (1953) COOK05010

5011 Voice of the Sea (1954) COOK05011

5012 Earthquake (1953) COOK05012

5013 Ionosphere (1955) COOK05013

5014 Mariachi Music of Mexico (1954) COOK05014

5015 Mexican Firecrackers (1951) COOK05015

5016 Calypso Lore and Legend (1956) COOK05016

5017 Bamboo-tamboo, Bongo, and Belair (1956) COOK05017

5018 East Indian Drums of Tunapuna, Trinidad (1956) COOK05018

5019 ALONZO CRUZ Blind Troubadour of Oaxaca (1956) COOK05019

5020 Epilogue to the String Band Tradition (1956) COOK05020

5022 ABCs of Hi Fi COOK05022

5025 BUCKMINSTER FULLER Buckminster Fuller Speaks His Mind COOK05025

5050 NORMAN BROKENSHIRE Radio Moscow and the Western Hemisphere COOK05050

5051 FRANKLIN D. ROOSEVELT The Four Inaugural Addresses COOK05051

6061 BUCKMINSTER FULLER The Clock Is Stopping COOK06061

8374 BUCKMINSTER FULLER Dymaxion Ditties: Buckminster Fuller Sings COOK08374

10001 Sound Effects, volume 1 COOK10001

10002 Sound Effects, volume 2 COOK10002

10003 Sound Effects, volume 3 COOK10003

10120 Music Boxes, Carousels, and Hand Organs (01012 and 05010) (1950-53) COOK10120

10248 The Voice of Mexico Gustavo Zepoli, Trio Leones (01024 and 01080) (1954) COOK10248

10251 SEAN McGONIGAL AND ST. COLUMCILLE'S UNITED GAELIC PIPE BAND Kilts on Parade (01025 plus solos) (1950-53) COOK10251

10271 CARLOS MONTOYA AND THE JOSE GRECO TROUPE Fiesta Flamenca (selections from 01027 and 01028) (1952) COOK10271

10289 CARLOS MONTOYA Montoya (selections from 01028 plus) (1952) COOK10289

10301 EDWARD AND JOSEPH VITO The Harp (selections from 01030 and 01031 plus) (1951-54) COOK10301

10326 Cafe Continental Ruth Welcome, Dick Marta, and Anita Ast (selections from 01026 and 01032) (1951-52) COOK10326

10350 Nickelodion and Calliope (selections from 01035 and 05010) (1950-53) COOK10350

10500 REGINALD FOORT The Theater Organ COOK10500

10501 MICHAEL CHESHIRE Pipe Organ in the Mosque (selections from 01050 and 01051) (1952) COOK10501

10523 REGINALD FOORT Percussion and Pedal (selections from 01052 and 01053) (1952) COOK10523

10545 REGINALD FOORT The Organ at Symphony Hall (01054 plus) (1954) COOK10545

10579 REGINALD FOORT Foort Pops (selections from 01057 and 01058) (1956) COOK10579

10646 NEW ORCHESTRAL SOCIETY OF BOSTON Tempo Vivace: Symphonic Masterpieces of Dance & Theater (selections from 01064 and 01066) (1955-56) COOK010646

10657 NEW ORCHESTRAL SOCIETY OF BOSTON Two Classical Symphonies: Mozart Symphony No. 40, Beethoven Symphony No. 5 (01065 and 01067) (1955) COOK10657

10659 NEW ORCHESTRAL SOCIETY OF BOSTON Two Classical Symphonies: Mozart Symphony No. 40, Haydn Symphony No. 100 (01065 and 01069) (1955-56) COOK10659

10683 NEW ORCHESTRAL SOCIETY OF BOSTON Modern Orchestral Textures (01068 and 01063) (1955) COOK10683

10850 RUPERT Cook LabsEMENDORE BAND Le Jazz Trinidad COOK10850

10867 Before and After Willie Rodriguez (selections from 01086 and 05007) (1953-54) COOK010867

10889 RED CAMP Horizontal & Upright & Downright & Dunright (01088 and 01089) (1954) COOK10889

10890 The Castiliane Johnny Gomez Band, John Buddy Williams Band, Girl Pat Steel Band, And Grand Curacaye String Orchestra (1956) COOK10890

11312 BRUCE PRINCE-JOSEPH AND HUFSTADER SINGERS The Forgotten Pedal Harpsichord and Hufstader Singers (01131 and 01092) (1953) COOK11312

11815 TONY ALMERICO'S PARISIAN ROOM BAND AND LIZZIE MILES Clambake on Bourbon Street (1954-55) COOK11815

50130 Tour of Cook Labs COOK50130

70889 RED CAMP Popular Piano and Combo COOK70889

80134 LUIZ BONFA Waterfall: Guitar COOK80134

80417 MARIMBA ORCHESTRA Waterfall: Children's Music COOK80417

80680 NEW ORCHESTRAL SOCIETY OF BOSTON Waterfall: Symphonic COOK80680

XX1 Audio Follies Sampler COOK00XX1

XX2 Calypso Jazz Sampler COOK00XX2

Series 10 Cook Series 10 COOK_Series10

Series 30 Cook Series 30 COOK_Series30

Series 60 Cook Series 60 COOK_Series60

Series 70 Cook Series 70 COOK_Series70

Series 80 Cook Series 80 COOK_Series80

Series 90 Cook Series 90 COOK_Series90

Series 100 Cook Series 100 COOK_Series100

Series 300 Cook Series 300 COOK_Series300

Series 301 Cook Series 301 COOK_Series301

Series 302 Cook Series 302 COOK_Series302

Series 303 Cook Series 303 COOK_Series303
Provenance:
The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the Cook Labs Records in 1990, when Emory and Martha Cook donated their company records to the Center for Folklife and Cultural Heritage. Anthony Seeger, then Director of Smithsonian Folkways Records, received a call from Mr. Cook in the summer of 1989 offering to donate the Cook label to the Smithsonian. Dr. Seeger visited him in August of that year to view the contents of the collection, and the Smithsonian received custody of the collection in May 1990. In return for the donation from Mr. Cook, the Center for Folklife and Cultural Heritage agreed to keep the record titles available and to store the papers in the archives.
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:
Popular music -- 20th century -- United States  Search this
Wit and humor  Search this
Calypso (Music)  Search this
Folk music -- Caribbean Area  Search this
Folk music  Search this
Sounds  Search this
Music -- 18th century  Search this
Folk music -- United States  Search this
Jazz -- Louisiana -- New Orleans  Search this
Jazz  Search this
Accordion music  Search this
Airplane sounds  Search this
Animal sounds  Search this
Audio equipment industry  Search this
Blues (Music)  Search this
Bonfá, Luiz  Search this
Calypso (Music)  Search this
Burlesque (Theater)  Search this
Calliope music  Search this
Calypso (Music)--Trinidad and Tobago  Search this
Campos Parsi, Héctor, 1922-  Search this
Catholicism  Search this
Christianity  Search this
Christmas  Search this
Cimbalom and zither music  Search this
Clavichord  Search this
Clemendore, Rupert  Search this
Drum  Search this
Genre/Form:
Audiotapes
Photographic prints
Business records
Artifacts
Contracts
Phonograph records
Correspondence
Christmas music
Citation:
Cook Labs records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.COOK
See more items in:
Cook Labs records
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk50980aef1-30c4-4f77-9de4-97337007b9f0
EDAN-URL:
ead_collection:sova-cfch-cook
Online Media:

Moses and Frances Asch Collection

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://doi.org/10.25573/data.21771155.
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
Online Media:

Parke, Davis Research Laboratory Records.

Author:
Parke, Davis Company  Search this
Collector:
National Museum of American History (U.S.). Division of Medical Sciences  Search this
Names:
Pfizer Inc.  Search this
Warner-Lambert/Parke-Davis  Search this
Warner-Lambert/Parke-Davis. Pharmaceutical Research Division  Search this
Davis, George S.  Search this
Duffield, Samuel P., Dr. (physician, pharmacist)  Search this
Parke, Hervey Coke , 1827-1899  Search this
Extent:
365 Cubic feet (510 boxes, 43 map folders)
Type:
Collection descriptions
Archival materials
Annual reports
Blueprints
Brochures
Catalogs
Correspondence
Employee records
Formulae, chemical
Lantern slides
Newsletters
Newspaper clippings
Notebooks
Price lists
16mm films
Sound recordings
Tracings
Trade literature
Date:
1866-1992
Summary:
The collection documents Parke, Davis and Company, one of the largest and oldest pharmaceutical firms in America.
Scope and Contents:
The collection documents Parke, Davis and Company, one of America's oldest and largest drug makers. Parke, Davis had the first research laboratory in the American pharmaceutical industry. The company played a major role in the development of some of the principle new drugs of the twentieth century and pioneered the field of drug standardization. They were one of the first American firms to produce antitoxins, hormones, and other biologicals. They introduced new and important drugs such as adrenalin, dilantin, chlorenpleniol, and other antibiotics. They also did important research on vitamins, disinfectants, and pencillin.

The collection contains complete documentaion of all the research activities done, including research laboratory notes, correspondence, and published papers. The collection also contains corporate, financial, advertising and sales materials, photographs, and audiovisual materials. The collection is important for those researchers interested in the history of public health, the history of biologicals, pharmaceutical manufacturing and business history.
Arrangement:
Collection is divided into 13 series.

Series 1: Corporate Materials, 1887-1951

Series 2: Financial Materials, 1880-1970

Series 3: Employee/Personnel Materials, 1900-1989

Series 4: Advertising/Sales Materials, 1868-1980

Series 5: Photographs, 1866-1992

Series 6: Notebooks, 1908-1968

Series 7: Control Department Records, 1884-1931

Series 8: Formulas, 1882-1967

Series 9: Equipment Data Files, 1922-1978

Series 10: Publications, 1968-1988

Series 11: Research Materials, 1920-1978

Series 12: Drawings, 1911-1971

Series 13: Addenda, 1867-1970

Series 14: Audio Materials, 1956-1957
Historical:
Parke, Davis and Company traces it's origins to Samuel Pearce Duffield (1833-1916), a physician and pharmacist. Duffield was born in Carlisle, Pennsylvania and his family moved to Detroit when he was an infant. Duffield graduated from the University of Michigan in 1854 and he attended medical school at the University of Pennsylvania, latter leaving for Germany where he studied chemistry and sought treatment for his eyesight. He subsequently earned a Doctor of Philosophy from Ludwig University at Giessen in Germany. Duffield returned to Detroit in 1858 and established a retail drugstore with a strong interest in manufacturing pharmaceuticals. Duffield sought financial partners for his retail and manufacturing venture with A.L. Patrick and Francis C. Conant. Both men retracted their investments and Duffield met Hervey Coke Parke (1927-1899), a native of Bloomfield Hills, Michigan.

Duffield and Parke formed a formal partnership in 1866. George S. Davis, a third partner and traveling salesman previously with Farrand, Sheley and Company, was added 1867. Augustus F. Jennings joined the company as a partner to head manufacturing. The company became known as Duffield, Parke, Davis, & Jennings Company. Duffield withdrew in 1869 and the name Parke, Davis & Company was adopted in 1871. The company incorporated in 1875 and began planning world-wide scientific expeditions to discover new vegetable drugs such as Guarana, Bearsfoot, Eucalyptus Globulus, and Coca. The company first showed a profit in 1876, and the first dividend paid to shareholders in 1878 and dividends paid until mid-1960s. Research was a major activity of the company.

In 1907, Parke, Davis and Company bought 340 acres in northeast Avon Township, Michigan, and called it Parkedale Farm. The farm was dedicated on October 8, 1908, and included sterilization rooms and a vaccine propagating building. By 1909 the farm included 200 horses, 25 to 50 cattle, 150 sheep, and employed 20 men. The horses produced the antitoxin for diphtheria and tetanus, the cattle produced a vaccine for smallpox preventatives, and the sheep made serum. Only the healthiest animals were used and all were well cared for. Exotic plants were also grown on the site and used for drugs. Parke-Davis' chief products were antitoxins and vaccines as well as farm crops for feeding the animals. The farm continued to produce vaccines for diphtheria, scarlet fever, tetanus, smallpox, anthrax, and in the 1950s, the Salk polio vaccine.

Due to a weakening financial position, the company became susceptible to take-over, and was purchased by Warner-Lambert in 1970. Warner Lambert, was then acquired by Pfizer in 2000. In 2007, Pfizer closed its research facilities in Ann Arbor, Michigan.

Source

Rochester Hills Museum at Voon Hoosen Farm (last accessed on September 29, 2021 https://www.rochesterhills.org/Museum/LocalHistory/ParkeDavisFarm.pdf)

Parke, Davis and Company. Parke-Davis At 100...progress in the past...promise for the future. Detroit, Michigan, 1966.
Related Materials:
Materials in the Archives Center, National Museum of American History

Alka-Seltzer Documentation and Oral History Project (NMAH.AC.0184)

N W Ayer Advertising Agency Records (NMAH.AC.0059)

Cover Girl Advertising Oral History Documentation Project (NMAH.AC.0374)

Garfield and Company Records (NMAH.AC.0820)

Albert W. Hampson Commercial Artwork Collection (NMAH.AC.0561)

Ivory Soap Advertising Collection (NMAH.AC.0791)

Kiehl's Pharmacy Records (NMAH.AC.0819)

Alan and Elaine Levitt Advertisement Collection (NMAH.AC.0303)

Medical Sciences Film Collection (NMAH.AC.0222)

Norwich Eaton Pharmaceutical, Inc. Collection (NMAH.AC.0395)

Procter & Gamble Company Product Packaging Collection (NMAH.AC.0836)

Sterling Drug Company Records (NMAH.AC.772)

Syntex Collection of Pharmaceutical Advertising (NMAH.AC.0821)

Warshaw Collection of Business Americana Subject Categories: Medicine (NMAH.AC.0060.S01.01.Medicine)

Warshaw Collection of Business Americana Subject Categories: Patent Medicines (NMAH.AC.0060.S01.01.PatentMedicines)

Materials at the Smithsonian Institution Libraries

Smithsonian Libraries Trade Literature Collection

Trade catalogs related to Parke, Davis & Co.; Warner-Lambert; Pfizer Pharmaceuticals; and Pfizer, Inc.

Materials at Other Organizations

Detroit Public Library, Special Collections

Parke, Davis & Company records, 1892-1959

Scrapbook of clippings, 1929-44; Excursions & Announcements, 1892-1902; and company newsletters.

University of California San Francisco

Drug Industry Documents was created by the University of California San Francisco Library in collaboration with faculty members C. Seth Landefeld, MD and Michael Steinman, MD. Originally established to house documents from an off-label marketing lawsuit against Parke-Davis (United States of America ex rel. David Franklin vs. Parke-Davis), the archive has grown to include documents from additional sources illustrating how the pharmaceutical industry, academic journals and institutions, continuing medical education organizations and regulatory/funding agencies operate in ways that are detrimental to public health.
Separated Materials:
Division of Medicine and Science, National Museum of American History

The division holds objects related to Parke, Davis that primarily include containers (boxes and glass bottles) that held phamrmaceuticals, biologicals (vaccines), crude drugs, and herb packages. See accessions: 1978.0882; 1982.0043; 1982.0043; 1984.0351; 1985.0475; 1988.3152; 1991.0415; 1992.3127; 2001.3066; 2012.0165; and 2018.5001.
Provenance:
The initial collection of approximately 185 cubic feet was donated by the Warner-Lambert Company, through Jerry A. Weisbach, Vice-President and President of the Pharmaceutical Research Division, on February 3, 1982.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
advertising  Search this
Antibiotics  Search this
Architectural Blueprints  Search this
Biologicals  Search this
Chemistry  Search this
Diseases  Search this
Drugs -- 1900-1950  Search this
Drug factories  Search this
Influenza Epidemic, 1918-1919  Search this
Laboratories  Search this
Medical scientists -- 1900-1950  Search this
Patents  Search this
Pharmaceutical industry -- 1900-1950  Search this
Pharmacology -- 1900-1950  Search this
Photographs  Search this
Vaccines  Search this
Genre/Form:
Annual reports -- 20th century
Blueprints -- 20th century
Brochures -- 20th century
Catalogs
Correspondence -- 19th-20th century
Employee records
Formulae, chemical
Lantern slides -- 1900-1950
Newsletters -- 20th century
Newspaper clippings
Notebooks -- 1900-1950
Price lists
16mm films
Sound recordings -- Audiotapes -- Open reel
Tracings
Trade literature
Citation:
Parke, Davis Research Laboratory Records, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0001
See more items in:
Parke, Davis Research Laboratory Records.
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8869c518d-5cbd-42cf-b508-e688de3bf14d
EDAN-URL:
ead_collection:sova-nmah-ac-0001
Online Media:

Ella Fitzgerald Papers

Creator:
Fitzgerald, Ella, 1917-1996  Search this
Producer:
Decca (recording company).  Search this
Verve Records (Firm)  Search this
Granz, Norman  Search this
Performer:
Jazz at the Philharmonic (Musical group)  Search this
Musician:
Betts, Keter, 1928-  Search this
Ellington, Duke, 1899-1974  Search this
Gillespie, Dizzy, 1917-1993  Search this
Pass, Joe, 1929-1994  Search this
Peterson, Oscar, 1925-  Search this
Names:
Goodman, Benny (Benjamin David), 1909-1986  Search this
Arranger:
Riddle, Nelson  Search this
Extent:
50 Cubic feet (92 boxes)
Type:
Collection descriptions
Archival materials
Awards
Videocassettes
Audiotapes
Programs
Sound recordings
Manuscripts
Phonograph records
Photographs
Posters
16mm motion picture film
Clippings
Contracts
Greeting cards
Date:
circa 1935-1996
Summary:
Ella Fitzgerald, often called the "First Lady of Song," was one of the 20th century's most important musical performers. The collection reflects her career and personal life through photographs, audio recordings, and manuscript materials.
Scope and Contents:
The Ella Fitzgerald Papers document the performing and personal life of the "First Lady of Song." The collection contains music manuscripts, sheet music, photographs, scripts, correspondence, clippings, business records, sound recordings and video. The bulk of the materials reflect Fitzgerald's career as a singer and performer. The collection comprises materials found in Ella Fitzgerald's home at the time of her death.
Arrangement:
The collection is organized into 10 series.

Series 1: Music Manuscripts and Sheet Music, 1919-1973

Suberies 1.1: Television Shows

Series 2: Photographs, 1939-1990

Subseries 2.1: Ella Fitzgerald Performing Alone

Subseries 2.2: Ella Fitzgerald Performing With Others

Subseries 2.3: Publicity

Subseries 2.4: Ella Fitzgerald With Family, Colleagues, and Friends

Subseries 2.5: Ella Fitzgerald Candid Photographs

Subseries 2.6: Performing Venues

Subseries 2.7: Photographs From Friends and Fans

Series 3: Scripts, 1957-1981

Series 4: Correspondence, circa 1960-1996

Series 5: Business Records, 1954-1990

Series 6: Honorary Degrees and Awards, 1960-1996

Series 7: Concert Programs and Announcements, 1957-1992, undated

Series 8: Clippings, 1949-1997

Subseries 8.1: Magazine Articles, 1949-1997

Subseries 8.2: Newspapers, circa 19650-circa 1990

Series 9: Emphemera, 1950-1996

Subseries 9.1: Album Jackets

Subseries 9.2: Miscellaneous

Series 10: Audiovisual, 1939-1995

Subseries 10.1: Sound Discs: Test Pressings, Transcription Discs, and Performer Copies, 1939-1979

Subseries 10.2: Commercial Sound Recordings, 1956-1961

Subseries 10.3: Demonstration Sound Discs: Other Artists

Subseries 10.4: Sound Tapes, 1938-1996

Subseries 10.5: Videotapes, 1967-1999

Subseries 10.6: Reference Tape Cassettes (for 1/4" open reel originals)
Biographical / Historical:
Born in Newport News, Virginia on April 25th, 1918, Ella Fitzgerald was sent to an orphanage in Yonkers, New York at the age of six. In 1934, she was discovered as a singer in New York's famed Apollo Theater Amateur Contest. This led to a stint with drummer Chick Webb's Band, with whom she recorded her first big hit, "A -tisket A-tasket" in 1938.

After Webb died in 1939, Fitzgerald took over leadership of the band for three years, during which time they were featured on a live radio series. She then embarked upon a solo career, which included recording for Decca Records, and in 1946, she began a pivotal association with producer Norman Granz's Jazz at the Philharmonic series, which brought her a large international following.

In 1956, Fitzgerald left Decca Records to join Granz's newly formed Verve label. Among her notable Verve recordings were a series of "songbooks" featuring the work of major American composers such as Cole Porter, George Gershwin, and Harold Arlen as well as classic collaborations with Count Basie and Duke Ellington. Fitzgerald's toured and performed extensively and her immense popularity also led to appearances on television, in movies, and in commercials and magazine ads.

Despite increasing health problems, Fitzgerald continued to tour, perform and record into her seventies with musicians such as guitarist Joe Pass, arranger-producer Quincy Jones, and pianist Oscar Peterson. Throughout her life, Fitzgerald was active in charitable work with particular emphasis on the Juvenile Diabetes Foundation and the Ella Fitzgerald and Harriette E. Shields Child Care Centers.

Ella Fitzgerald was admired and honored world-wide. In addition to receiving more than a dozen Grammy awards, she was awarded numerous honorary degrees and many states and cities had commemorative Ella Fitzgerald days. Fitzgerald was a Kennedy Center honoree in 1979 and Harvard University's Hasty Pudding Club named her "Woman of the Year" in 1982.

The "First Lady of Song" died on June 17, 1996, of complications from diabetes.
Related Materials:
Materials at the Archives Center

Benny Carter Collection, 1928-2000 (AC0757)

Charismic Productions Records of Dizzy Gillespie, 1940s-1993 (AC0979)

Smithsonian Jazz Oral History Program Collection, 1992-2012 (AC0808)

Milt Gabler Papers, 1927-2001 (AC0849)

Tad Hershorn Collection, 1956-1991 (AC0680)

Ernie Smith Jazz Film Collection, circa 1910- circa 1970 (AC0491)
Separated Materials:
"The National Museum of American History, Division of Culture and the Arts (now Division of Cultural and Community Life) holds Ella Fitzgerald artifacts including costumes and clothing.

"
Provenance:
The collection was donated by the Fitzgerald 1989 Trust, Richard Rosman, trustee on April 14, 1997. The Ella Fitzgeral Charitable Foundation is the successor to the Fitzgerald 1989 Trust.
Restrictions:
Collection is open for research. Only reference copies of audiovisual materials can be used.
Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz  Search this
Genre/Form:
Awards
Videocassettes
Audiotapes
Programs -- 1930-2000
Sound recordings
Sound recordings -- 1930-1990
Manuscripts -- Music -- 20th century
Phonograph records
Photographs -- 20th century
Posters -- 20th century
16mm motion picture film
Clippings -- 20th century
Contracts
Greeting cards
Citation:
Ella Fitzgerald Papers, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0584
See more items in:
Ella Fitzgerald Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8b30d86b3-2935-49c8-b13c-faf206402d9c
EDAN-URL:
ead_collection:sova-nmah-ac-0584
Online Media:

James Joyce's Ulysses

Author:
Joyce, James, 1882-1941  Search this
Cover designer:
Clyne, Ronald, 1925-2006  Search this
Director:
Bowen, Zack R.  Search this
Producer:
Bowen, Zack R.  Search this
Creator:
Dunn, J. Tyler, director.  Search this
Names:
Joyce, James, 1882-1941 -- Adaptations  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Phonograph record (analog, 33 1/3 rpm, 12 in.)
Type:
Archival materials
Phonograph records
Date:
1964
Track Information:
101 Part One.

201 Part Two.
Local Numbers:
FW-ASCH-LP-09814

Folkways.9814
Publication, Distribution, Etc. (Imprint):
New York : Folkways, 1964.
General:
Notes by Zack Bowen with text of the selection (8 p.) inserted in container.

[Richard Alan Hughes.]

Cover design by Ronald Clyne.

"A dramatic reading produced by Zack R. Bowen ; Directed by Zack R. Bowen and J. Tyler Dunn." -- text from label.

"Pages 87 to 115 in 1961 Mod. Lib." -- text from label.
Related Materials:
Related materials may be found in the Moses and Frances Asch Collection, also held by this repository. Related materials may include correspondence between the studio, producers, and/or performers; original cover art designs; original production materials; and business records. Related materials include one open-reel audiotape from studio production (FW-ASCH-7RR-0832). Possibly related is audiocassette FP-CFP-CT-C-0937.
Restrictions:
Restrictions on access. No duplication allowed. Listening and viewing for research purposes only. Not Available.
Collection 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:
Spoken word  Search this
Oral interpretation of fiction  Search this
Prose literature  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-LP-09814
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5d17b623b-0bb0-44ed-a4bb-bb900e2e8b05
EDAN-URL:
ead_component:sova-cfch-asch-ref24622

Installing "Random Access" - Nam June Paik: Global Visionary - Time-lapse

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

Installing Nam June Paik: Global Visionary - "Random Access" / Time-Lapse

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

Analogue Music Synthesizer Oral History Project

Creator:
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.  Search this
Interviewee:
Krause, Bernie  Search this
Deutsch, Herbert  Search this
Hemsath, Bill  Search this
Pollock, Jay  Search this
Moog, Robert  Search this
Oberheim, Tom  Search this
Sear, Walter  Search this
Preston, Don  Search this
Scott, Jim  Search this
Chowning, Jonathan  Search this
Buchla, Don  Search this
Interviewer:
Pinch, Trevor  Search this
Extent:
1 Cubic foot (8 boxes)
Type:
Collection descriptions
Archival materials
Audiocassettes
Transcripts
Audiotapes
Interviews
Oral history
Oral histories (document genres)
Date:
1996-2000
Summary:
The collection consists of over thirty hours of 7" open reel-to-reel master tapes, compact discs (DVDs), and transcripts for oral histories documenting the invention and development of the analogue music synthesizer.
Scope and Contents:
The collection consists of over thirty hours of 7" open reel-to- reel master tapes, compact discs, and transcripts for the oral histories documenting the invention and development of the analogue music synthesizer. Not all interviews have master tapes, reference copies, or transcripts.
Arrangement:
Collection is arranged into three series.

Series 1: Transcripts, 1996-1998

Series 2: Reference Disks (DVDs), 1996-2000

Series 3: Master Tapes (7"), 1996-1998
Biographical / Historical:
The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation, in cooperation with Trevor Pinch and Frank Trocco of Cornell University, conducted oral histories to document the pioneering engineers and musicians of the electronic music synthesizer from 1960 to 1970. Pinch and Trocco authored in 2002, Analog Days: The Invention and Impact of the Moog Synthesizer by Harvard University Press. This book is based on the oral histories from the Analogue Music Synthesizer Oral History Project.
Provenance:
This collection was created by the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation with National Museum of American History staff member Jim Weaver, Division of Cultural History and Trevor Pinch and Frank Trocco, Department of Science and Technology Studies, Cornell University.
Restrictions:
Collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Inventors -- 20th century  Search this
Piano and synthesizer music  Search this
Electric engineering -- 1980-2000  Search this
Inventions -- 1980-2000  Search this
Synthesizer music  Search this
Music -- Acoustics and physics  Search this
Music -- 20th century  Search this
Genre/Form:
Audiocassettes
Transcripts
Audiotapes
Interviews
Oral history
Oral histories (document genres)
Citation:
Title and date item, Analogue Music Synthesizer Oral History Project, 1996-1998, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0640
See more items in:
Analogue Music Synthesizer Oral History Project
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8ac41714f-e1a6-4462-a98b-baa221827e0c
EDAN-URL:
ead_collection:sova-nmah-ac-0640

Henry Edwards Scott, Jr. papers, 1908-1990

Creator:
Scott, Henry Edwards, 1900-1990  Search this
Type:
Sound recordings -- Audiotapes -- Open reel
Citation:
Henry Edwards Scott, Jr. papers, 1908-1990. Archives of American Art, Smithsonian Institution.
Topic:
World War, 1939-1945  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6034
(DSI-AAA_SIRISBib)238974
AAA_collcode_scothenr
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_238974

Plastic Pioneers Association Interviews

Creator:
Plastics Pioneers Association  Search this
Names:
Albany Billiard Ball Company (Albany, New York)  Search this
Bakelite Corporation  Search this
Celanese Corporation of America  Search this
Dow Chemical Company  Search this
Formica Corporation.  Search this
General Electric Company  Search this
Extent:
0.3 Cubic feet (1 Box)
Type:
Collection descriptions
Archival materials
Date:
1952, 1968
Summary:
Audio recordings of interviews with members of the Plastics Pioneers Association about the plastics industry, its origins, and evolution.
Scope and Contents:
The collection consists of four 1/4 inch open-reel audiotapes produced from 1952-1968.
Biographical / Historical:
The Plastic Pioneers Association (PPA) was formed in the 1940s to provide individuals involved with plastics invention, innovation, and manufacturing an opportunity to meet with colleagues to share stories about the history of plastics. In 1948 the PPA became a formal organization "of individuals who are persons of accomplishment in the Plastics Industry, and who wish to foster the bonds of friendship and fraternalism among them." At the time, in order to be a member an individual had to have made "a contribution to the growth of the industry and worked at least fifteen years plastics. According to the PPA webiste, membership currently "is capped at 250 active members, and the term of service in the industry required is 25 years or more."

The PPA is dedicated to education as well as documenting and preserving the histories of people who contributed to the plastics industry. The Plastic Pioneers Interviews represents part of this effort

http://www.plasticspioneers.org/Home/tabid/52/Default.aspx
Related Materials:
Materials in the Archives Center

Albany Billiard Ball Company Records (NMAH.AC.0011)

Leo H. Baekeland Papers (NMAH.AC.0005)

Celluloid Corporation Records (NMAH.AC.0009)

Earl S. Tupper Papers (NMAH.AC.0470)

Grace Jeffers Collection of Formica Materials (NMAH.AC.0565)
Provenance:
Audio tapes given to the Division of Manufacturing (now Division of Medicine and Science), by J. Harry DuBois, date unknown.
Restrictions:
Collection is open for research.
Rights:
Copyright status unknown. No releases exist. Collecion items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Topic:
Plastics -- 1920-2000  Search this
Laminated plastics  Search this
Celluloid  Search this
Bakelite  Search this
Billiards -- Equipment and supplies  Search this
Styrene  Search this
Plexiglas  Search this
Plastics  Search this
Molding -- Plastics  Search this
Plastics industry and trade  Search this
Citation:
[Plastic Pioneers Association Interviews, September 18-20, 1968], Archives Center, National Museum of American History, Smithsonian Institution, Tape number x.
Identifier:
NMAH.AC.1235
See more items in:
Plastic Pioneers Association Interviews
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep887e4f828-c88b-477a-ab48-dd7057863d82
EDAN-URL:
ead_collection:sova-nmah-ac-1235

Audio Recordings

Collection Inventor:
Wise, Brownie Humphrey, 1913-1991  Search this
Type:
Archival materials
Date:
circa 1953-1957; 1977; undated
Scope and Contents:
Include open reel audiotapes, audio discs (78s and 33 1/3s) and one audio cassette documenting Tupperware home parties meetings, motivational speeches, and songs.
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:
Brownie Wise Papers, 1938-1968, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0509, Series 8
See more items in:
Brownie Wise Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89afc0680-8470-4304-93dc-bd995f805caf
EDAN-URL:
ead_component:sova-nmah-ac-0509-ref392

Rose Humphrey, #1, conference

Collection Inventor:
Wise, Brownie Humphrey, 1913-1991  Search this
Container:
Box 33, Folder 1, Reel OT 509.18
Type:
Archival materials
Audio
Date:
undated
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Brownie Wise Papers, 1938-1968, Archives Center, National Museum of American History
See more items in:
Brownie Wise Papers
Brownie Wise Papers / Series 8: Audio Recordings / 8.1: Half-inch open reel audiotape
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8ae6ca508-0753-452a-a937-028d70dce206
EDAN-URL:
ead_component:sova-nmah-ac-0509-ref395

Humphrey, 4 Thursday, recruiting and booking

Collection Inventor:
Wise, Brownie Humphrey, 1913-1991  Search this
Container:
Box 33, Folder 2, Reel OT 509.19
Type:
Archival materials
Audio
Date:
undated
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Brownie Wise Papers, 1938-1968, Archives Center, National Museum of American History
See more items in:
Brownie Wise Papers
Brownie Wise Papers / Series 8: Audio Recordings / 8.1: Half-inch open reel audiotape
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85f599482-65e4-4730-b3d4-4d1ec93e5bbd
EDAN-URL:
ead_component:sova-nmah-ac-0509-ref396

Humphrey-Saturday, pm

Collection Inventor:
Wise, Brownie Humphrey, 1913-1991  Search this
Container:
Box 33, Folder 11, Reel OT 509.28
Type:
Archival materials
Audio
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:
Brownie Wise Papers, 1938-1968, Archives Center, National Museum of American History
See more items in:
Brownie Wise Papers
Brownie Wise Papers / Series 8: Audio Recordings / 8.1: Half-inch open reel audiotape
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep87d7a1598-0050-4f19-8ba2-0dca9eea04fc
EDAN-URL:
ead_component:sova-nmah-ac-0509-ref405

Ed Dodd (Mark Trail) Collection

Creator:
National Museum of American History (U.S.). Division of Community Life  Search this
Century Recording Studios.  Search this
Dodd, Ed, 1902-1991 (cartoonist)  Search this
Dodd, Rosemary Wood  Search this
Elliott, Tom  Search this
Names:
Roberts, Peter.  Search this
Trail, Mark (fictional character)  Search this
Extent:
0.3 Cubic feet (10 items)
Television program:Videotape cassette.
Master copies:Vinyl sound discs, 10" diam., 33-1/3 r.p.m.
User copies: Audiotapes, open-reel, 7", 7-1/2 ips.
Type:
Collection descriptions
Archival materials
Videotapes
Audiotapes
Phonograph records
Date:
before 1985
Scope and Contents note:
Videotapes: Interview with Dodd, 31:58 running time; and copy of television program, "The Well-Traveled Trail."
6 phonograph recordings, with 4 open-reel audiotape copies made from the discs, plus abstracts of eleven "Outdoors with Ed Dodd" 15-minute radio programs, which aired weekly. They focus on conservation and human interaction with the natural world, and include camping tips. The tone of the program is informal, usually consisting of a brief conversation between the show's host, Peter Roberts, and Ed Dodd, creator of the "Mark Trail" comic strip. Occasionally there are identified guests.
General Note:
Records have label from Century Recording Studios.
Provenance:
Collection donated by Tom Elliott, date unknown; Ed Dodd, July 17, 1985 and Rosemary Wood Dodd, 1985.
Restrictions:
Unrestricted research access to abstracts and audiotapes, on site by appointment. Original phonograph records not available for reference use.
Rights:
Mark Trail copyright held by North American Syndicate.
Topic:
Radio programs  Search this
Wildlife conservation  Search this
Camping -- 20th century  Search this
Comic strips -- 1940-1990  Search this
"Outdoors with Ed Dodd" (radio program)  Search this
Genre/Form:
Videotapes -- 1980-1990
Audiotapes
Phonograph records
Citation:
Ed Dodd (Mark Trail) Collection, Archives Center, National Museum of American History, Washington, DC.
Identifier:
NMAH.AC.0165
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8633b080a-b25a-4394-a2a3-e42ddbb8b4cd
EDAN-URL:
ead_collection:sova-nmah-ac-0165

Moses Moon Civil Rights Movement Audio Collection

Creator:
McNamara, Norris  Search this
Moon, Moses  Search this
Names:
Freedom Singers (SNCC)  Search this
Abernathy, Ralph, 1926-1990  Search this
Anderson, Marian, 1897-1993  Search this
Baez, Joan  Search this
Baker, Ella, 1903-1986  Search this
Baker, Josephine, 1906-1975  Search this
Baldwin, James, 1924-1987  Search this
Barry, Marion, 1936-  Search this
Bikel, Theodore  Search this
Carawan, Guy  Search this
Conyers, John, 1929-  Search this
Donaldson, Ivanhoe  Search this
Dylan, Bob, 1941-  Search this
Ferebee, Dorothy Boulding , 1898?-1980  Search this
Forman, James, 1928-2005  Search this
Gregory, Dick  Search this
Guyot, Lawrence, 1939-  Search this
Hamer, Fannie Lou  Search this
Height , Dorothy I. (Dorothy Irene), 1912-2010  Search this
Horne, Lena  Search this
King, Martin Luther, Jr., 1929-1968  Search this
Lewis, John  Search this
Moses, Robert  Search this
Moses, Robert Parris  Search this
Odetta, 1930-2008  Search this
Parks, Rosa, 1913-2005  Search this
Reagon, Bernice Johnson, 1942-  Search this
Reagon, Cordell  Search this
Robinson , Amelia Boynton, 1911-2015  Search this
Robinson, Jackie  Search this
Rustin, Bayard, 1912-1987  Search this
Seeger, Pete, 1919-2014  Search this
Sherrod, Charles, 1937-  Search this
Shuttlesworth, Fred L., 1922-2011  Search this
Extent:
4 Cubic feet (18 boxes)
Type:
Collection descriptions
Archival materials
Audiotapes
Sound recordings
Date:
1963-1964
Summary:
Recorded by Moses Moon (known at the time as Alan Ribback) and assisted by Norris McNamara during 1963 and 1964, the collection includes audio recordings of interviews with civil rights leaders and participants as well as free-style recordings of mass meetings, voter registration events, and other gatherings organized by Student Nonviolent Coordinating Committee (SNCC). This collection provides a mostly unfiltered documentation of significant moments in the civil rights movement.
Scope and Contents:
This collection consists of 115 reel to reel audio recordings containing interviews, mass meetings, demonstrations, and conversations concerning the civil rights movement, and in particular the voter registration drives organized by SNCC in Alabama and Mississippi in 1963 and 1964. Mass meetings were recorded in Greenwood, Mississippi; Americus, Georgia; Selma, Alabama; Jackson, Mississippi; Danville, Virginia; Washington, D.C.; Hattiesburg, Mississippi; and Indianola, Mississippi. Major demonstrations recorded include the March on Washington in August of 1963, Freedom Day in Selma, Alabama in October of 1963, and Freedom Day in Hattiesburg, Mississippi in January of 1964. Interviews with SNCC workers include Julian Bond, John Lewis, James Forman, Bruce Gordon, Prathia Hall, Ivanhoe Donaldson, Bob Moses, Avery Williams, Willie Peacock, Bruce Boynton and his mother, as well as dozens of others involved in the movement, who are named in the collection inventory. Many of those interviewed were actively involved in strategizing and carrying out SNCC demonstrations and political actions, and many were victims of death threats, beatings, unlawful arrest, police brutality, and torture and abuse in prison. These interviews contain detailed eyewitness accounts and personal testimony regarding these experiences, as well as personal history and thoughts about the movement, the South, and the future.

It is clear from what we know of the dates and locations of these recordings, as well as from documentation of these events in other sources, that many of these recordings are unique documents of important events in American history, which may also contain the commentary of important political and cultural figures who were involved in the movement. For example, an article by Howard Zinn recounts how an unidentified man recorded James Baldwin on October 7, 1963, Freedom Day in Selma, on the steps of the courthouse. Baldwin was furious at the lack of support from nearby federal agents as state troopers advanced on peaceful demonstrators. One of the tapes dated October 7, 1963, originally labeled "courthouse interviews," appears to be this recoding, although Baldwin is not named. The same article (available in The Howard Zinn Reader) recounts the mass meetings which led up to that demonstration, at which actor Dick Gregory gave a rousing sermon as his wife sat in jail for demonstrating in Selma. The Moses Moon Collection may be the only existing audio recording of that sermon as well as many other sermons and speeches.

Moses Moon changed his name after these recordings were made. He is referred to in the finding aid as Alan Ribback because that name is used on the recordings.
Arrangement:
The collection is arranged in two series.Series 1 is in chronological order to the degree recording dates can be determined, and is based on the locations and dates provided by Moon in his description or gleaned from the recordings themselves and other secondary sources. Series 1 contains 17 groups of recordings.

Moon's original numbers are recorded in the column next to the descriptions. Following the first four Greenwood tapes, which are numbered sequentially, Moon's numbering system took the first two letters of the town in which the recordings were made, a one (1), a decimal, and then a tape number. Numbers preceding the town code refer to the recording day. "N" numbers were later assigned by Moon to the 7" reels only, after the original recordings were made, possibly during editing or when the tapes were made available to the Program in African American Culture.

Series 1, Original Tapes

1. Greenwood, Mississippi; Spring 1963; 4 7" reels

2. Chicago, Illinois; August 9, 12, 1963; 2 5" reels

3. Americus, Georgia; August 17, 1963; 5 5" reels, 1 7" reel

4. Atlanta, Georgia; August 21, 1963; 1 5" reel

5. Washington, D.C.; August 26-28, 1963; 6 5", 8 7" reels

6. Atlanta, Georgia; September 8, 1963; 4 5" reels

7. Selma, Alabama; September 29-October 7, 1963; 11 5" reels, 16 7" reels

8. Gadsden, Alabama; October 23, 1963; 2 5" reels

9. Jackson, Mississippi; Fall/Winter 1963; 11 7" reels

10. Greenwood, Mississippi; c. November 3, 1963; 3 5" reels, 4 7" reels

11. Danville, Virginia; 1963; 6 7" reels

12. Washington, D.C.; soon after November 22, 1963; 6 7" reels

13. Washington, D.C.; late 1963, or possibly during MOW; 10 7" reels

14. Hattiesburg, Mississippi; January 1964; 9 7" reels

15. Indianola, Mississippi; Summer 1964; 2 7" reels

16. Monroe County, Mississippi; August 1, 1964; 4 5" reels

17. Milton, Mississippi; August 16, 1964; 3 5" reels

Series 2, Preservation Masters consists of data DVDs for a portion of the collection.
Biographical / Historical:
Moses Moon was born Alan Ribback in 1928. During the 1950s until 1962, Ribback was the proprietor of the Gate of Horn, Chicago's premier folk music club, which featured performers including Bob Gibson, Odetta, Judy Collins, Joan Baez, Jo Mapes, Peter, Paul and Mary, Lenny Bruce, and Shelley Berman. On December 5, 1962, Lenny Bruce was arrested during a performance at the Gate of Horn along with Ribback, George Carlin, and others. As a result of the arrest and Bruce's subsequent conviction for obscenity, the club was closed by the City of Chicago, and Ribback left Chicago with Norris McNamara, an audio technician, to record folk concerts taking place in the South as part of the growing civil rights movement. From the spring of 1963 until the summer of 1964, Ribback and McNamara recorded demonstrations and mass meetings and interviewed civil rights activists, primarily those involved in the Student Nonviolent Coordinating Committee (SNCC). Later, Ribback moved to New York and edited his recordings into an album called Movement Soul. Ribback married Delia Moon in 1971, took her last name and changed his first name to Moses. In 1979, Bernice Reagon Johnson, working with the Program on African American Culture at the Smithsonian, contacted Moon and borrowed the recordings of mass meetings for a 1980 program on the voices of the civil rights movement. In the late 1980s, Moon was stricken with a severe case of Guillain-Barre syndrome, which left him paralyzed. Moon donated the entire collection of original recordings shortly before his death in 1993.
Related Materials:
Materials at Other Organizations

The papers of the Student Nonviolent Coordinating Committee are held by the King Library and Archives in Atlanta, Georgia; archives@thekingcenter.org.
Provenance:
Donated by Moses and Delia Moon in 1995.
Restrictions:
Collection is open for research. Reference copies must be used. Tapes noted in the container list have digital reference copies in the Smithsonian Institution Digital Asset Management System (DAMS).
Rights:
Collection items available for reproduction, but copyright status unknown. Contact Archives Center staff for additional information. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American civil rights workers.  Search this
African American preaching.  Search this
Mississippi Freedom Project  Search this
Civil rights movements  Search this
Student Nonviolent Coordinating Committee (U.S.)  Search this
Civil rights  Search this
Voter registration  Search this
African Americans -- Civil rights  Search this
African American student movements.  Search this
Folk music  Search this
March on Washington for Jobs and Freedom, Washington, D.C., 1963  Search this
Gospel music  Search this
Genre/Form:
Audiotapes -- Open reel
Sound recordings
Audiotapes
Citation:
Moses Moon Civil Rights Movement Audio Collection, 1963-1964, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0556
See more items in:
Moses Moon Civil Rights Movement Audio Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f8d8405e-ab8d-486c-96c7-58c33804c206
EDAN-URL:
ead_collection:sova-nmah-ac-0556

Nike Advertising Oral History and Documentation Collection

Interviewer:
Center for Advertising History, Archives Center  Search this
Ellsworth, Scott, Dr.  Search this
Creator:
Nike, Inc.  Search this
Names:
Adidas  Search this
Asics  Search this
Nike, Inc.  Search this
Wieden & Kennedy  Search this
Interviewee:
Onitsuka  Search this
Bedbury, Scott  Search this
Bowerman, William  Search this
Brown, John A.  Search this
Champ, Janet  Search this
Clarke, Tom  Search this
Clow, Lee  Search this
Conlon, Jerry  Search this
Davenport, Bill  Search this
Dolan, Liz  Search this
Donohue, Richard  Search this
Farris, Nelson  Search this
Hale, Cindy  Search this
Hoffman, Susan  Search this
Jackson, Bo  Search this
Jaqua, John  Search this
Johnson, Jeff  Search this
Kitami, Shoji  Search this
Knight, Phillip  Search this
McConnell, Pam  Search this
Moore, Charlotte  Search this
Moore, Kenny  Search this
Moore, Peter  Search this
Onitsuka, Kimachiro  Search this
Parker, Mark  Search this
Riswold, Jim  Search this
Robinson, Charles  Search this
Sakaguchi, Tokio  Search this
Stobie, Patsy Mest  Search this
Strasser, Robert (marketing executive)  Search this
Thomashow, Mark  Search this
Wieden, Dan  Search this
Extent:
12 Cubic feet (25 boxes)
Type:
Collection descriptions
Archival materials
Oral history
Videotapes
Tear sheets
Clippings
Audiotapes
Fliers (printed matter)
Advertising fliers
Commercials
Interviews
Place:
Beaverton (Or.)
Portland (Oregon)
Date:
1958 - 1992
Summary:
The Nike Advertising Oral History and Documentation Collection is the result of a two-year study of advertising of Nike athletic shoes. The effort was supported in part by a grant from Nike, Inc. Thirty-one oral history interviews were conducted with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy. A variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that documents, in print and electronic media, the history and development of the company and its advertising campaigns.
Scope and Contents:
This collection consists of thirty-one oral history interviews conducted by historian Scott Ellsworth with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy and related materials collected by the Center for Advertising History staff. There are audiocassettes (original and reference), 1/4" open reel audiotape (master), 3/4" videotapes, and VHS videotapes.
Arrangement:
The collection is rganized into seven series.

Series 1, Research Files, 1979-1992

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

Subseries 1.2, Material Compiled by Nike, 1982-1992

Series 2, Interviewee Files, 1990-1992

Series 3, Oral History Interviews, 1990-1992

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

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

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

Series 4, Television Commercials, 1977-1990 and undated

Subseries 4.1, Master Copies, 1977-1990 and undated

Subseries 4.2, Researcher copies, 1977-1990 and undated

Series 5, Print Advertisements, 1985-1993

Subseries 5.1, Ad Slicks, 1985-1993

Subseries 5.2, Slides, 1989 and undated

Series 6, Trade Catalogues and Photographs, 1958-1982

Series 7, Administrative Files, 1982-1990
Biographical / Historical:
The Nike Advertising Oral History and Documentation Collection is the result of a two-year study of advertising of Nike athletic shoes. The effort was supported in part by a grant from Nike, Inc. Thirty-one oral history interviews were conducted with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy. A variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that documents, in print and electronic media, the history and development of the company and its advertising campaigns.

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

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

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

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

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

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

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

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

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

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

Rob and Julie Strasser Collection, 1970-1990 (AC0525)
Provenance:
The collection was donated by Nike, Inc. in 1991 and 1992.
Restrictions:
Collection is open for research but the master (preservation) tapes are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Women in the advertising industry  Search this
Sports for women  Search this
Sports  Search this
Women in advertising  Search this
Television advertising  Search this
Signs and signboards -- 1970-2000  Search this
Slogans  Search this
Marketing  Search this
Music in advertising  Search this
Commercial art  Search this
Endorsements in advertising  Search this
Broadcast advertising  Search this
Business -- History  Search this
Basketball  Search this
advertising -- History  Search this
Track and field  Search this
Copy writers  Search this
Athletes  Search this
Shoes -- 1970-2000  Search this
Motion picture producers and directors  Search this
African American athletes  Search this
Running -- 1970-2000  Search this
Running shoes -- 1970-2000  Search this
Athletic shoes -- 1970-2000  Search this
Shoe industry -- 1970-2000  Search this
Genre/Form:
Oral history
Videotapes
Tear sheets
Clippings
Audiotapes
Fliers (printed matter)
Advertising fliers
Commercials
Interviews -- 1970-1990
Citation:
Nike Advertising Oral History and Documentation Collection, 1958-1992, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0448
See more items in:
Nike Advertising Oral History and Documentation Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82f2adbe0-ae8f-4849-bac5-19e0e1848c55
EDAN-URL:
ead_collection:sova-nmah-ac-0448
Online Media:

Collector Records business records

Musician:
Penn, Larry  Search this
McGee, Bobbie  Search this
Magpie  Search this
Killen, Louis  Search this
Creator:
Collector Records  Search this
Glazer, Joe, 1918-2006  Search this
Extent:
34.28 Cubic feet (3 record boxes of business records; 8 record boxes, including 374 non-master audio reels (10", 7", 5", 4" and 2" reels); 160 10" reels in open stacks; 4 record boxes, including 853 audio cassettes; 1 record box, including 36 video cassettes; and 491 long play records, 45s and compact discs.)
Type:
Collection descriptions
Archival materials
Digital audio tapes
Vhs (videotape format)
Audiocassettes
Audiotapes
Date:
circa 1937-2004
bulk 1960-1990
Summary:
This collection documents the activities of Joe Glazer's record label Collector Records. Materials include the label's original commercial recordings, paper records related to day-to-day business operations and production, field recordings made by Joe Glazer, and Glazer's personal music collection.
Scope and Contents:
The Collector Records business records, measuring 34.28 cubic feet, date from 1937-2004 and contain materials relating to founder Joe Glazer's work with the label, as well as his work as a participant in the labor movement.

The records include papers documenting the promotion, production, and business operations of Collector Records; original audiorecordings used for Collector Records masters; audiorecordings made in the field by Joe Glazer; video recordings of performances by and interviews with Joe Glazer, including performances at labor union events; audiorecordings of interviews with Joe Glazer; Collector Records recordings and releases; and Glazer's personal commercial music collection.
Arrangement:
Records are arranged in 7 series:

Series 1: Promotional, Performance, and Record Planning Materials, 1971-2004

Series 2: Financial and Administrative Records, 1966-2003

Series 3: Open-reel Audiorecordings, 1937-1990

Series 4: Cassette Audiorecordings, 1949-2002

Series 5: Video Recordings, 1984-2004

Series 6: Digital Audio Tape (DAT) Audiorecordings, 1982-1994

Series 7: Published Audiorecordings
Biographical / Historical:
Since the Industrial Revolution, working people have been organizing and campaigning for better treatment from their employers. The labor movement and its unions struggle for fair wages, safe working conditions, and many other benefits. Music is an important tool in the labor movement to motivate workers and help build solidarity. Labor songs detail political issues, glorify martyrs and heroes in the movement, and, most of all, inspire and uplift workers. Joe Glazer (1918-2006), often called "Labor's Troubadour," spent a lifetime as one of America's noted historians of labor song. His booming baritone and exuberant guitar have performed for millions of workers, strikers, and students. He was the author of several significant labor songs, notably "The Mill Was Made of Marble," which is a commentary on the need for cleaner, safer mill conditions for textile workers. In addition to his performing, he was employed by the United Rubber Workers, the Textile Workers Union of America, and the United States Information Agency over the course of his career.

Glazer founded Collector Records in 1970 to distribute his own recordings of labor songs and those of younger and newer performers he had met through his work—many of them through the Labor Heritage Foundation, which he founded in 1978, and its yearly Great Labor Arts Exchange. Some artists, such as Bobbie McGee, went on to become well-known folk singers, but many Collector artists remained at their jobs. Eddie Starr (1956-2003) was a third-generation Illinois steelworker who declined a life on the road as a rock musician, and took a factory job at home to support his family. Kenny Winfree was a textile worker when Glazer heard his bluegrass-style labor songs. He continues to work, now at an aircraft plant in Texas, where he is an active member of UAW Local 848.

Collector Records paints a clear picture of workers' struggles. Songs depict everyday hazards and ailments encountered on the job, allowing workers to express their situation and make audiences aware of their plight. "Cotton Mill Colic" is a classic folk song written in 1926 by David McCarn, a textile mill worker in North Carolina that describes the harsh conditions and low pay of mill-working life. The steelworker in "Corrido Minero" sings about the ever-present danger of working in a mine with outdated equipment. Newer workplace issues are expressed in labor songs as well. The worker in John O'Connor's song suffers from carpal tunnel syndrome, one of the most frequent of modern workplace afflictions, occurring among those who perform a great deal of computer data entry and causing extreme pain in the hands and arms.

Collector Records Business Records is a historic collection presenting music to inspire and motivate working people. The Glazer family donated the label's recordings, along with Glazer's original song and narrative recordings, business records, and personal commercial music collection to the Smithsonian Center for Folklife and Cultural Heritage in 2006.
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://doi.org/10.25573/data.21771155.
Provenance:
The Ralph Rinzler Folklife Archives and Collections acquired the Collector Records business records in 2006 through a donation by the Glazer family.
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:
Protest songs  Search this
Political ballads and songs  Search this
Labor movement -- Songs and music  Search this
Labor unions  Search this
Genre/Form:
Digital audio tapes
VHS (videotape format)
Audiocassettes
Audiotapes -- Open reel
Citation:
Collector Records business records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.COLL
See more items in:
Collector Records business records
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk55b66dd3a-f065-44dc-89b5-2ee37ea8aa4a
EDAN-URL:
ead_collection:sova-cfch-coll
Online Media:

Hills Bros. Coffee Company, Incorporated Records

Creator:
Hills Bros. Coffee, Inc.  Search this
Extent:
65 Cubic feet
Type:
Collection descriptions
Archival materials
Advertising cards
16mm motion picture film
Annual reports
Artwork
Beverage labels
Blueprints
Business ephemera
Bulletins
Business letters
Business records
Catalogs
Color photographs
Color negatives
Commercial art
Correspondence
Direct mail
Ephemera
Exhibit plans
Financial records
Genealogies
Home movies
Ledger drawings
Office files
Office memoranda
Packaging
Photographic prints
Photographs
Price lists
Proof sheets
Promotional literature
Receipts
Sales records
Scrapbooks
Sound recordings
Television programs
Window displays
Date:
1856-1989, undated
Summary:
Printed advertisements, scrapbooks, correspondence, marketing research, radio commercial scripts, photographs, proof sheets, reports, newspaper clippings, magazine articles, television commercial storyboards, blueprints, legal documents, and audiovisual materials primarily documenting the history, business practices, and advertising campaigns of the Hills Bros. Coffee Company, Incorporated. Collection also documents the professional and private lives of the Hills family; insight into the cultivation, production, and selling of coffee; and construction of the San Francisco-Oakland Bay Bridge.
Scope and Contents:
The collection consists of printed advertisements, scrapbooks, correspondence, marketing research, radio commercial scripts, photographs, proof sheets, reports, newspaper clippings, magazine articles, television commercial storyboards, blueprints, legal documents, and audiovisual materials. These materials primarily document the history, business practices, and advertising campaigns of Hills Bros. Coffee Company, Incorporated. Correspondence, genealogies, and home movies reveal a more domestic and social Hills family while company records document business activities outside of the home. Company records also provide insight into the cultivation, production, and selling of coffee, and the company's technological responses to the changes in the coffee trade, and consumer consumption demands. Of interest is the company's participation in social and cultural events including the Panama Pacific International Exposition in 1915, and the Golden Gate International Exposition in 1939. In addition, the collection includes the company's documentation of the construction of the San Francisco-Oakland Bay Bridge in 1936. The collection is arranged into thirteen series.
Arrangement:
The collection is arranged into thirteen series.

Series 1, Hills Family Papers, 1856-1942, undated

Subseries 1.1, Austin Herbert Hills, Sr. Papers, 1856-1875, undated

Subseries 1.2, Austin Herbert Hills, Jr. Papers, 1875-1923

Subseries 1.3, Herbert Gray Hills Correspondence, 1923-1942

Series 2, Background Materials, 1896-1988, undated

Series 3, Coffee Reference Files, 1921-1980, undated

Subseries 3.1, Hills Bros. Coffee Company Literature, 1921-1976, undated

Subseries 3.2, Coffee Industry Literature, 1924-1980, undated

Series 4, Advertising Materials, circa 1890s-1987, undated

Subseries 4.1, Scrapbooks, 1906-1978, undated

Subseries 4.2, Historical Albums, 1911-1967

Subseries 4.3, Ephemera, 1890s-1987

Subseries 4.4, Portfolios, 1919-1985, undated

Subseries 4.5, Proof sheets, 1922-1968

Subseries 4.6, Advertising Forms, 1922-1971, undated

Subseries 4.7, Newspaper and Magazine Advertising, 1926-1971, undated

Subseries 4.8, Sampling Campaigns, 1928-1941

Subseries 4.9, General Files, 1923-1978, undated

Subseries 4.10, NW Ayer Advertising Agency, 1943, 1958

Subseries 4.11, Foote, Cone & Belding Advertising Agency, 1963-1968, undated

Series 5, Photographs, 1882-1973, undated

Subseries 5.1, Employees, 1882-1961, undated

Subseries 5.2, Division Offices, 1924-1931, undated

Subseries 5.3, Facilities and Vehicles, 1927-1973, undated

Subseries 5.4, Advertising, 1925-1959, undated

Subseries 5.5, Sales, circa 1921-1939, undated

Subseries 5.6, Packaging, 1884-1969, undated

Subseries 5.7, Grocery Store Displays, circa, 1901-1935

Subseries 5.8, Store Tests, 1938

Subseries 5.9, Window and Wall Displays, 1928, 1930, 1934

Subseries 5.10, Publicity, 1933-1936, undated

Subseries 5.11, Miscellaneous, 1898-1949, undated

Subseries 5.12, Coffee and Tea Industry, 1900s-1947,. undated

Series 6, Sales and Marketing Records, 1906-1989, undated

Subseries 6.1, Bulletins for Salesmen, 1912-1969

Subseries 6.2, Division Bulletins and General Letters, 1925-1927

Subseries 6.3, Correspondence, 1919-1989

Subseries 6.4, Conventions and Meetings, 1915-1971

Subseries 6.5, Salesmen Materials, 1906-1973, undated

Subseries 6.6, Reports and Studies, 1941-1978

Subseries 6.7, Marketing Research, 1956-1978, undated

Subseries 6.8, Pricing Information, 1949-1965

Series 7, Employee Records, 1934-1966

Series 8, Accounting and Financial Records, 1903-1960, undated

Series 9, Office Files, 1915-1970, undated

Subseries 9.1, General, 1915-1969, undated

Subseries 9.2, T. Carroll Wilson Correspondence, 1941-1970

Series 10, San Francisco-Oakland Bay Bridge Materials, 1933-1986, undated

Subseries 10.1, Background Information, 1933-1986, undated

Subseries 10.2, Photographic Materials, 1933-1936, undated

Series 11, Golden Gate International Exposition Materials, 1915-1940, undated

Subseries 11.1, Coffee Theater, circa 1939

Subseries 11.2, Exposition Attendance, 1915-1940

Subseries 11.3, Correspondence, 1937-1940, undated

Subseries 11.4, Construction, 1937-1940, undated

Subseries 11.5, Blueprints, 1937-1939

Subseries 11.6, Behind the Cup, 1937-1940, undated

Subseries 11.7, Newspaper Cooperation, 1939

Subseries 11.8, Solicitations and Replies, 1938-1940

Subseries 11.9, Miscellaneous, 1938-1940

Series 12, World War II Materials, 1939-1949, undated

Subseries 12.1, Production and Quotas, 1942-1946

Subseries 12.2, Rationing, 1939-1946

Subseries 12.3, Containers and Closures, 1942-1949, undated

Subseries 12.4, Appeals, 1948

Subseries 12.5, Advertising Campaigns, 1942, undated

Subseries 12.6, Machinists' Strike Scrapbooks, 1945-1946

Series 13, Audio Visual Materials, 1930-1984, undated

Subseries 13.1, Moving Images, 1930-1966

Subseries 13.1.1, Television Commercials, 1951-1984

Subseries 13.1.2, Television Programs, 1951-1967

Subseries 13.1.3, Promotional Materials, 1939-1977

Subseries 13.1.4, Hills Bros. Activities, 1930-1962

Subseries 13.1.5, Miscellaneous Film and Video, 1938-1966

Subseries 13.2, Sound Recordings, 1934-1967, undated

Subseries 13.2.1, Radio Commercials, 1941-1967, undated

Subseries 13.2.2, Radio Programs and Other Broadcasts, 1934-1956, undated

Subseries 13.2.3, Cardboard Discs, 1941-1960; undated.
Biographical / Historical:
Reuben Hills, on one occasion, stated regarding his company's growth; ...success in business is fifty per cent judgment and fifty per cent propitious circumstances." The rise of Hills Bros. Coffee Incorporated from a retail dairy stall in San Francisco's old Bay City Public Market reflects the reality of Reuben's statement. Aided by brother Austin's three years of experience in the retail dairy business the early success of the brothers was in Reuben's own words both circumstance and hard work. When Reuben and Austin began to produce roasted coffee there were at least twenty-five other companies already engaged in some form of coffee production and distribution in San Francisco including, of course, the well-known Folger Company started by William Bovee (which began in San Francisco thirty years earlier). Most of these coffee businesses were started by family groups which contributed to the growth of San Francisco.

San Francisco in the nineteenth century was ripe for the importing and roasting of coffee. The foundation for commercial production of coffee dated back to the 1820s when English planters brought coffee to Costa Rica. By the early 1840s German and Belgian planters followed with coffee plantations in Guatemala and El Salvador, two of the several Central American countries where Hills Bros. would obtain its mild coffee beans. During the Gold Rush (1849) San Francisco rapidly expanded and grew. Coffee was imported and sold, after roasting, to restaurants and hotels. Yankee gold miners and others without equipment to roast and brew their own coffee, populated "coffee houses." In 1873 two brothers, Austin Herbert and Reuben Wilmarth Hills arrived in San Francisco from their home in Rockland, Maine with their father Austin who had come to California some years earlier. Five years later in 1878 A. H. and R. W. Hills established a retail stall to sell dairy products in the Bay City Market under the name of their new partnership "Hills Bros." Their small business expanded in less than four years with the acquisition of a retail coffee store titled Arabian Coffee & Spice Mills on Fourth Street in San Francisco. In two more years (1884) still larger quarters were occupied at Sacramento and Sansome Streets. Soon after this they disposed of their retail dairy business but continued as wholesale distributors of some dairy products including butter. Their coffee was labeled "Arabian Roast"' supported by the now famous trademark design of a man in turban and beard with a flowing yellow gown. This was created by a San Francisco artist named Briggs and since then (1897) has remained as the official trademark of Hills Bros. Coffee - a lasting symbol of coffee quality. Hills Bros. dairy division was eliminated in 1908 after company destruction by the San Francisco Earthquake and Fire of 1906. By 1924 all miscellaneous products including tea, had been dropped by the company which from then on referred to itself as "coffee only."

Emphasis on the quality of the finished product has long been a major selling point in the history of Hills Bros. advertising and marketing. The company's desire to keep abreast of technological advances in coffee production is a legacy of Austin and Reuben Hills, and is reflected in the company records, in its advertising and its self-perception. It was probably 1898 when Austin Hills and Thomas Hodge, partners who managed the wholesale dairy product operations were looking for a suitable can for exporting butter that could not be manufactured in San Francisco at that time, decided to consult Norton Brothers, a progressive can manufacture company in Chicago. Whether Austin traveled to Chicago or arranged with his brother Reuben to stop off there in route to New York (where he frequently spent time at the New York Green Coffee Exchange) to present the problem to Norton Brothers, which brother made the actual contact with Norton Brothers is not important today, but the results of that visit were real. Norton Brothers had just received patents on a process for packing foods in vacuum and thought it might solve the butter problem. In short order arrangements were made for shipping cans and machinery from Chicago to San Francisco including agreement for exclusive use on the West Coast for a reasonable period. Thus, Hills Bros. butter became the first known food product to ever be packed in vacuum. Once this started Reuben Hills had the idea that what worked well with butter might also be used for coffee. Experimental vacuum-packing of coffee in butter cans supported the theory that taking the air out of coffee would keep the product fresh for indefinite periods. No time was lost in getting new cans and more machinery and in July 1900 Hills Bros. Coffee as "the original vacuum-pack" was placed on the market. With the advent of this technology Hills Bros. changed the product name from "Arabian Roast" to "Hills Bros. Highest Grade Java and Mocha Coffee" and continued with the new trademark that had been started in 1897. Vacuum-packing extended the shelf life and travel ability of the product, thus new markets, national and international, were opened.

A change in the coffee industry of America was on the way. Hills Bros. remained the pioneer of vacuum-packing for thirteen years until a similar process was adopted by M.J.B., another leading coffee company in San Francisco. Other packers on the West Coast soon followed, but it was not until after World War I that East Coast coffee producers turned to vacuum-packaging.

Production and advertising of coffee continued to change with new technology. In the late 1880s San Francisco coffee importers began to "cup test" coffee beans for quality but the majority still depended on sight and smell. Reuben Hills and a few other coffee personalities in San Francisco are credited with the cup test method of appraising coffee quality. In its new home office and plant opened in San Francisco in 1926, Hills Bros. adopted "controlled roasting" in which coffee was roasted a few pounds at a time, but continuously. Developed in 1923 under the direction of Leslie Hills and Lee Maede, company engineer, "controlled roasting" employed the use of instruments to control the temperature and speed of operations, resulting in perfect roasting control that could not be depended on from batch to batch by even the most experienced coffee roasting expert. In 1914 the partnership known as Hills Bros. was incorporated under the same name. In 1928 a sales organization was formed under the name of Hills Bros. Coffee, Incorporated, but within four to five years the parent company absorbed Hills Bros. Coffee, Incorporated and adopted its name. A second plant was built in Edgewater, New Jersey, completed in 1941 to meet the needs of the increasing growth of areas between Chicago and the East Coast.

During World War II Hills Bros. faced conservation rules restricting use of tin for coffee cans. A timely method of high-speed packing in glass jars by Owens Illinois Glass Company made it possible for Hills Bros. as well as other companies in the industry to continue vacuum-packing during this period. Price control and coffee rationing were other war time necessities to which the industry adjusted.

Hills Bros. Coffee, Incorporated passed out of family ownership in 1976 when the company was purchased by a Brazilian corporation named Copersucar. In 1983 a group of local investors in San Francisco brought ownership back to where it had started and sold the business in 1984 to Nestlé Holdings, Incorporated, (effective January 1, 1985) which handled the acquisition of several companies in the United States for Nestlé S. A. Vevey, Switzerland.

Historical note written by T., Carroll Wilson, company historian and archivist, 1993.
Related Materials:
Archives Center, National Museum of American History

NW Ayer Advertising Agency Records, NMAH.AC0059

Warshaw Collection of Business Americana, NMAH.AC0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC0143

General Merchandise Account Book, NMAH.AC0189

Duke Ellington, NMAH.AC0301

Product Cookbooks Collection, NMAH.AC0396

Charles W. Trigg Papers, NMAH.AC0411

Princeton University Posters Collection, NMAH.AC0433

Landor Design Collection, NMAH.AC0500

Industry on Parade Film Collection, NMAH.AC0507

Sandra and Gary Baden Collection of Celebrity Endorsements in Advertising, NMAH.AC0611

Fletcher and Horace Henderson Collection, NMAH.AC0797

Division of Cultural History Lantern Slides and Stereographs, NMAH.AC0945

Baltimore and Ohio Railroad Records, NMAH.AC1086

Alice Weber Photograph Albums, NMAH.AC1144

Henry "Buddy" Graf and George Cahill Vaudeville and Burlesque Collections, NMAH.AC1484

Division of Cultural History, National Museum of American History

Artifacts include coffee packaging, Golden Gate International Exposition sampling cups and saucers, a bowling shirt, and coffee cans.
Provenance:
These records were donated to the Archives Center, National Museum of American History by Hills Bros. Coffee Company, Incorporated.
Restrictions:
Collection is open for research but the negatives and audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Coffee  Search this
advertising -- 20th century  Search this
advertising -- 1930-1940 -- California  Search this
advertising -- 1980-1990  Search this
Advertising agencies -- 20th century  Search this
advertising -- 1940-1950  Search this
advertising -- 1970-1980  Search this
advertising -- 1980-1990  Search this
advertising -- Audio-visual materials  Search this
advertising -- Beverages -- 1930-1990  Search this
advertising -- Business ephemera  Search this
Advertising campaigns -- 20th century  Search this
Advertising executives  Search this
Advertising, Direct-mail  Search this
Agricultural crops -- Fields  Search this
Genre/Form:
Advertising cards -- 19th century.
16mm motion picture film
Annual reports
Artwork
Beverage labels
Blueprints -- 20th century
Business ephemera
Bulletins
Business letters
Business records -- 20th century
Business records -- 19th century
Catalogs -- 20th century
Color photographs
Color negatives
Commercial art
Correspondence
Correspondence -- 19th-20th century
Direct mail
Ephemera -- 19th century
Ephemera -- 20th century
Exhibit plans
Financial records -- 19th century
Financial records -- 20th century
Genealogies
Home movies
Ledger drawings
Office files
Office memoranda
Packaging -- 20th century
Photographic prints
Photographs -- 19th century
Photographs -- 20th century
Price lists
Proof sheets
Promotional literature
Receipts -- 20th century
Sales records
Scrapbooks -- 20th century
Sound recordings
Sound recordings -- Audiotapes -- Open reel
Television programs
Window displays
Citation:
Hills Bros. Coffee Company, Incorporated Records, 1856-1989, undated, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0395
See more items in:
Hills Bros. Coffee Company, Incorporated Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8de2ab00c-0e83-43df-9a02-26cffe43e069
EDAN-URL:
ead_collection:sova-nmah-ac-0395
Online Media:

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