Collection of Emmett McBain art supervisor and creative consultant for J.W. Thompson and Shoft Sheen Products, co-founder of Burrell McBain Advertising, Chicago, Illinois.
Scope and Contents:
This collection contains examples of advertisements done by McBain for McDonald, Malboro, and a Chicago Arts Festival entitled "Black Folk Us." The nine posters in the collection date from 1971 to 1976.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Emmett McBain has been an art supervisor for the J.W. Thompson advertising agency in Detroit, a creative consultant for Soft Sheen Products, and co-founder of Burrell McBain Advertising in Chicago.
Provenance:
Collection donated by Mr. Emmett McBain in 1985.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
National Museum of American History (U.S.). Division of Sports, Entertainment and Leisure Search this
Extent:
4.5 Cubic feet (12 boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Letters (correspondence)
Programs
Paper dolls
Interviews
Clippings
Awards
Photographs
Magazines (periodicals)
Advertisements
Date:
1910 - 2003
Summary:
Yolande Betbeze was crowned Miss America in September, 1950. During and after her reign she was influential in both the Civil Rights and Feminist movements. Her papers document her reign as Miss America, her life after Miss America, and the Miss America pageant itself.
Scope and Contents:
Scope and Content: This collection documents the life of Yolande Betbeze who reigned as Miss America 1951. Though the collection focuses heavily on the year of her reign from September 1950 to September 1951, it also includes information about her life before winning the Miss America pageant, the Miss Alabama and Miss America pageants of 1950, and her life post-Miss America. Visual imagery in the collection documents life and fashion in the 1950s through 2000. Newspaper articles offer evidence of the culture of the 1950s. This collection contains newspaper clippings, magazine articles, photographs, awards, and memorabilia of Miss America pageants throughout the twentieth century in the form of booklets, brochures, and paper dolls.
Series 1, Miss America Reign, 1950-1951, 1994, undated, includes newspaper articles, magazine articles, and awards from the House of Representatives, programs and brochures relating to Ms. Betbeze's activities as Miss America. All publicity articles—whether promotional or editorial-are included in this series. Betbeze traveled extensively during her reign, and her trips are documented here. Also included in this series are her visits to military installations, promotion of Miss America pageant sponsors, promotion of her own opera career, and most importantly her verbal attacks against the objectification of women in pageants while she wore the Miss America crown.
Subseries 1, Newspaper Clippings and Magazine Articles, 1950-1951, undated,
includes newspaper clippings about Betbeze during her reign as Miss America, documenting nearly every event she attended and delving into her love life and home life. The clippings are arranged by month and year from September 1950 through September 1951. The newspaper articles from Betbeze's reign that are without a date are arranged by topic behind the dated clippings. This subseries also includes several articles published in magazines about Betbeze during her reign. The articles are arranged in chronological order by year behind the newspaper clippings.
Subseries 2, Awards, 1950, includes awards given to Betbeze by the House of Representatives after she was named Miss America in Atlantic City, as well as an award by the town of Chickasaw naming Betbeze an honorary citizen.
Subseries 3, Programs and Brochures, 1950-1951, includes mini-photo books of Betbeze from her reign as Miss America, as well as pageant programs from pageants she attended as Miss America. It also includes programs and brochures of events she attended and participated in as Miss America, such as her Coronation Ball and a Symphony in Fashion runway show. The materials are arranged with the photograph books first, followed by pageant programs, then programs from various events.
Subseries 4, Promotional Advertisements, 1950-1951, includes promotional advertisements for Nash Automobile, the Official Car Company of Miss America, and Everglaze Fabric. These advertisements are arranged in chronological order.
Subseries 5, Materials Related to Miss America Reign, 1950-1951, 1994, includes material relevant to Betbeze's reign as Miss America, such as her schedule book from September 1950 to September 1951 and a 1994 interview regarding her life, her reign, and her beliefs. The materials are arranged in chronological order by year.
Series 2, Post-Miss America Reign, 1951-2001, undated, documents Betbeze's life after her reign as Miss America through newspaper clippings, magazine articles, and Betbeze's copy of pageant judging guidelines for Miss America 1957. It also documents the changing view of women from the 1950s through the turn of the twenty-first century. Betbeze pursued a career in opera after Miss America, but this career ended with her marriage to Matthew Fox. Materials also relate to her marriage to Matthew Fox, her relationship with Cherif Guellal, her life in Georgetown in Washington D.C in the 1960s, and her participation in later Miss America pageants.
Subseries 1, Newspaper Clippings and Magazine Articles, 1952-2001, undated, includes newspaper clippings and magazine articles about Betbeze after her reign as Miss America. They document her relationships, lifestyle, causes, and career. The clippings are arranged chronologically by year. The magazine articles are arranged chronologically by decade behind the newspaper clippings.
Subseries 2, Miss America Activities, 1957, comprises of Betbeze's copy of judging guidelines from the 1957 Miss America Pageant. It includes a schedule of events and the judging criteria for each woman, illustrating the changing perception of women in the United States of America from the 1950s through the twenty-first century.
Series 3, Photographs, 1950-2000, undated, documents Betbeze's life from the 1940s to the turn of the twenty-first century. It includes several photographs from her childhood and teen years. The majority of the series focuses on her reign as Miss America, including photos of her travels, glamour photos, publicity photos, and candid shots. It also includes photographs of Betbeze after her reign. There are negatives for several of the photographs. Photographs are arranged by topic.
Subseries 1, Pre-Miss America Reign, 1949-1950, contains Betbeze's life as a teenager and the Miss Alabama pageant. The photographs are arranged by topic.
Subseries 2, Miss America Reign, 1950-1951, undated, provides visual evidence enhancing the printed materials in the other series. It includes photographs of Betbeze's travels throughout the United States, Europe, Mexico, and the Caribbean. It also includes glamour photographs, candid shots, and publicity events that she attended as Miss America. There are a few photographs of her in a swimsuit. The photographs are arranged by topic.
Subseries 3, Post-Miss America Reign, 1951-2001, includes photographs of Betbeze in later life, especially at Miss America pageants in the 1990s. The photographs are arranged by topic.
Series 4, Materials Related to Miss America Pageants, 1910-2003, undated, documents the institution of the Miss America Pageant and its development throughout the twentieth century and into the twenty-first. It includes memorabilia from Atlantic City, the pageants, and Miss America advertisements. It includes official pageant yearbooks and correspondence to Betbeze regarding the seventy-fifth anniversary of Miss America, including a booklet about the pageant. It also includes Miss America Through the Looking Glass (1985), a book documenting the Miss America Pageant from its inception to the 1980s.
Subseries 1, Official Pageant Yearbooks, 1946-2003, comprises of Official Pageant Yearbooks. They illustrate the changing fashions and culture surrounding the pageant. They are arranged in chronological order by year.
Subseries 2, Miss America Memorabilia, 1910-2001, undated, consists of memorabilia of the Miss America Pageant and Atlantic City. The materials include a package for a hairnet from the 1920s, advertisements using the Miss America label for Lucky Strike cigarettes, sheet music for the Miss America and Miss Alabama official songs, Miss America Through the Looking Glass, various stickers advertising the pageant and Atlantic City, Miss America paper dolls, cards and postcards. The memorabilia is arranged in chronological order by year.
Subseries 3, Seventy-fifth Anniversary of Miss America, 1995, includes correspondence between pageant directors and Betbeze regarding the seventy-fifth Anniversary of the Miss America Pageant, as well as a brochure about the pageant. The materials are arranged by type; first is the correspondence regarding the seventy-fifth anniversary, then the brochure advertising Miss America.
Series 5, Yolande Betbeze Personal Papers, 1949-1999, undated, documents life behind-the-scenes through telegrams and letters from friends and fans, invitations and Betbeze's schedule book as Miss America. It includes magazine articles and newspaper clippings from her pre-Miss America years, and the layout of an interview she gave in 1994.
Subseries 1, Personal Correspondence, 1950-1995, undated, consists of personal letters between Betbeze and her friends, including Lenora Slaughter, the head of the Miss America Pageant when Betbeze was Miss America. It also includes fan-mail and autograph requests. The correspondence is arranged chronologically by year.
Subseries 2, Telegrams, 1950-1951, consists of telegrams that Betbeze received as Miss America. They consist of well wishes for her reign, birthday, and Christmas. The telegrams are arranged chronologically by year.
Subseries 3, Newspaper Clippings and Magazine Articles, 1949-1950, consists of newspaper clippings and magazine articles saved by Betbeze. They include reviews of her performance as Musetta in La Boheme in Mobile in 1949 and articles about Matthew Fox. The clippings are arranged chronologically by month and year. The magazine articles are arranged by year behind the newspaper clippings.
Arrangement:
Tyhe collection is divided into five series.
Series 1: Miss America Reign, 1950-1951, 1994, undated
Subseries 1.1, Newspaper Clippings and Magazine Articles, 1950-1951, undated
Subseries 1.5, Materials Related to Miss America Reign, 1950-1994
Series 2: Post Miss America, 1952-2001, undated
Subseries 1, Newspaper Clippings and Magazine Articles, 1952-2001, undated
Subseries 2, Miss America Activities, 1957
Series 3: Photographs, 1950-2000, undated
Subseries 3.1, Pre-Miss America Reign, 1949-1950
Subseries 3.2, Miss America Reign, 1950-1951, undated
Subseries 3.3, Post Miss America Reign, 1951-2001
Series 4: Materials Related to Miss America Pageants, 1910-2003, undated
Subseries 4.1, Official Pageant Yearbooks, 1946-2003
Subseries 4.2, Miss America Memorabilia, 1910-2001, undated
Subseries 4.3, Seventy-fifth Anniversary of Miss America, 1995
Series 5: Yolande Betbeze Personal Papers, 1949-1999, undated
Subseries 5.1, Personal Correspondence, 1950-1995, undated
Subseries 5.2, Telegrams, 1950-1951
Subseries 5.3, Newspaper Clippings and Magazine Articles, 1949-1950
Biographical / Historical:
Yolande Betbeze, Miss America 1951, was born in 1929 in Mobile, Alabama. Her mother was of Basque ancestry, so Yolande ended up with a foreign sounding name and dark European looks, quite different from the general populace of Mobile. Early on she aspired to become a famous opera singer, and took voice lessons throughout her teenage years. In 1949 she starred as Musetta in Puccini's La Boheme, through the Mobile Opera Guild.
In 1950, Yolande entered the Miss Mobile Beauty Pageant, hoping to win and continue to state and national levels to receive a scholarship to study voice in New York City, or even abroad. When she entered the pageant she gave her age as 21, but at her next birthday in late 1950 (presumably her 22nd) she confessed that she had lied about her age. Really, she was 20 when she entered the Miss America pageant, and this was her 21st birthday.
She was crowned Miss Mobile, then Miss Alabama. In September 1950, she made her way to Atlantic City to compete for the title of Miss America. Newspapers in Alabama raved about her. Even journalists in the north predicted that Yolande would be crowned the next Miss America. In an interview, pageant director Lenora Slaughter says that from the moment she saw her she felt that Yolande would be crowned the next Miss America. During preliminaries, Yolande won first place in the swimsuit competition, while Miss Connecticut won first place in the talent competition. Nonetheless, Yolande wowed them with her singing. When she won the title of Miss America, her schedule quickly filled with singing engagements.
On September 9th, 1950, Yolande Betbeze was crowned Miss America. She became an overnight success due to her grace, poise, beauty, and talent. However, she had received an education at a convent school, and felt a bit squeamish about 'cheesecake poses' in a bathing suit. Every Miss America had done a swimsuit tour, even though it wasn't in their contracts that they must, and Yolande was expected to follow in their footsteps. But she wanted to be an opera star, not a pin-up girl, she declared. After winning Miss America, she refused to pose in a swimsuit unless she was going swimming.
The Catalina Swimwear Company, a sponsor of the Miss America pageant, did not like Yolande's stance on swimsuits. They contended that the Miss America pageant had become less focused on the beauty of the contestant and more on their talents and personality. They wanted to bring beauty back. They pulled their sponsorship and created a new pageant line which now includes Miss Universe, Miss USA, and Miss Teen USA. This pageant focuses only on the physical beauty of a competitor. Even today there is no talent portion, and even the interview portion has been diluted.
Another issue of the Miss America pageant involved the marriage of a Miss America. Though Yolande had no plans to marry, or even a boyfriend, the papers certainly wanted to know the details surrounding her love-life and ability to marry with the title Miss America. Yolande explained that she received an extra $4000 for staying single throughout the year, but if she wanted to marry she could ask permission from the 18 pageant directors. "Wouldn't it be easier to wait a year?" she asked.
Her year as Miss America was an eventful one. She traveled throughout the United States, the Bahamas, Mexico, France, and Italy. She met with Congressmen, foreign leaders, opera stars, and famous fashion designers. According to Lenora Slaughter, Yolande had the fullest schedule of any Miss America to that date. Everyone agreed that she had put class into the Miss America pageant.
After her reign, she was succeeded as Miss America by Colleen Kay Hutchins, originally Miss Utah. The two became friends and Yolande was in Colleen's wedding some years later. Yolande took up philanthropic causes—fighting for racial equality in the pageants, for instance. She also marched in civil rights demonstrations, participated in sit-ins, and marched in a feminist demonstration in Atlantic City. In 1954 she married a motion picture and television producer, Matthew Fox. They had one daughter before his death in 1964. After she was widowed, Yolande moved to Georgetown in the District of Columbia, where she lives to this day.
Related Materials:
Materials in the Archives Center, National Museum of American History
The Miss America 1943 [Jean Bartel] Photographs, 1943-1944 (AC0902)
Separated Materials:
The Division of Work and Industry, Natiuonal Museum of American Historu holds artifacts related to this collection: the Miss America crown, scepter, and sash of 1950-1951, worn by the donor, and the Miss Alabama sash and Miss America ribbon of 1950-1951.
Provenance:
Donated by Yolande Betbeze in 2005.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions. Reproduction restricted due to copyright or trademark.
Scurlock, George H. (Hardison), 1919-2005 Search this
Scurlock, Robert S. (Saunders), 1917-1994 Search this
Extent:
2 Items
Type:
Archival materials
Contact prints
Studio portraits
Photographs
Date:
[ca. 1930-1940.]
Scope and Contents:
Informal portrait in studio, with contact print proof; variant on 618.224486. Negative edge imprint: "Defender Safety Film." Negative marked on edge, "30807 Miss Freddie Washington 25...[?] 5 x 7". Print is marked on verso: "Freddie Washington, actress / starred in movie "Imitation of Life" w/Louise Beavers". Signed in negative, "Scurlock / Wash. D.C.", lower left.
Biographical / Historical:
This portrait session with the actress was one of Robert Scurlock's earliest major photographic projects.
General:
Print in Box 81. Originally in Box A.
Subseries Restrictions:
Collection is open for research.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1940-1950 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
The subject is leaning on the piano, smoking a cigarette while he writes.
Local Numbers:
94-3283 (SI Neg. No.]
AC0445-0000002.tif(AC Scan No.)
General:
From black copy print notebook in reading room.
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Title under image at left, signed at lower right? Print probably made ca. 2000. Dated from an Internet resource.
Local Numbers:
00044508.tif (AC Scan)
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
The collection includes thirty-eight punchboards, all unpunched and in very good to excellent condition, and featuring a range of products and imagery. The collection also includes two punchboard manufacturers' catalogs from the 1940s, which detail the money-making opportunities for jobbers and retailers.
The collection also contains correspondence, employment forms, promotional literature, photographs and sales training literature from Evan "Ding" Rangeloff=s early career as a sales representative and regional sales manager for Liggett & Myers Tobacco Company. Of particular interest are sales training manuals which explore the psychology of selling in the 1950s, manuals which detail sales cigarette marketing strategies at military bases and on Indian reservations, and materials relating to Liggett & Myers sponsorship of Formula One car racing in the 1970s.
Arrangement:
Series 1: Business Records, circa 1954-1991
Series 2: Photographs, circa 1920-1970
Series 3: Sales Training Literature, circa 1955-1957, 1974, 1979
Series 4: Punchboards, circa 1910-1970
Historical:
During and after his employment as a salesman and regional sales manager with Liggett & Myers Tobacco Company in Duluth, Minnesota, Mr. Rangeloff began collecting the gambling and sales promotion devices known as punchboards. In 1999-2000, he donated a large and representative selection of punchboards to the Archives Center. The term "punchboard" (or in some cases "punch board," "push board," "punchcard," or "pushcard") refers to a gambling device popular in the United States from roughly 1910 until 1970. Punchboards could be used for fundraising, sales promotion and gambling--sometimes all at once. Punchboards were typically found in places where men gathered socially, such as bars, pool halls, barber shops, and men's clubs. Punchboards also could be found in beauty parlors, drug stores, and other small retail establishments. With their promise of easy money, punchboards enjoyed great success during the Depression, and continued to enjoy popularity during and after World War II. According to Scarne's Complete Guide to Gambling (New York, N.Y.: Simon and Schuster, 1961), approximately 30 million punchboards were sold between 1910 and 1915. Scarne estimated that 50 million punchboards were sold in 1939 alone, at the peak of their popularity. Punchboard sales declined significantly after WWII, and by the mid-1970s the boards had been outlawed in most states.
Punchboards trace their lineage to 18th century lottery game boards. These handmade boards, with the winning ticket placed by the operator, offered no safeguards against corruption, however, and their misuse may have contributed to the game=s waning popularity. In 1905, C.A. Brewer and C.G. Scannell patented a new version of the traditional game. By 1910, modern manufacturing techniques, including the invention of board stuffing machines and ticket folding machines, contributed to the reinvigoration of the punchboard. The new punchboards were constructed out of cardboard, with a sheet of paper or foil covering both front and back of the board. This covering was intended to prevent the operator from discovering where the winning tickets were or otherwise tampering with the board. Cheap, portable, disposable, and offering a ready vehicle for advertising, punchboards are an exuberant, if ephemeral, expression of 20th century mass culture.
A modern punchboard typically consists of a square or rectangular piece of pressed wood or cardboard (from 2 inch to one inch in thickness) in which hundreds or thousands of holes have been drilled in a regular pattern, then loaded with tiny slips of rolled or folded paper. Each slip of paper had a number or symbol printed on it. Both front and back of the board were covered with a foil or paper seal. The front of the board typically featured some form of attention-getting commercial imagery and a chart listing the winning number or combination of numbers and symbols, along with the prizes or cash amounts to be awarded to the winners. The boards were sold with a metal stylus or "punch" for the players to use.
A player paid the punchboard's operator a set amount of money (typically a nickel, dime, or quarter) for a chance to use a metal stylus to break the seal on the hole of his choice, and punch one of the slips of paper out of the board. If the number or symbols found on the slip of paper matched one of the pre determined winning combinations, the player was awarded the corresponding prize.
Punchboard manufacturers sold the boards blank or preprinted. Blank boards were sold to "jobbers" or salesmen who then added their own imagery or advertisement, and many surviving punchboards feature advertisements for products that were inexpensive and had mass appeal, such as peanuts, candy and cigarettes. Some of these boards offered the advertised product as the prize; these came to be known as prizeboards. Some prizeboards were constructed with a shadow box meant to contain prizes such as rhinestone sunglasses, wristwatches, Bowie knives, or even handguns. Punchboard manufacturers also sold the board pre-printed with various kinds of commercial imagery--sports, gambling, and patriotic imagery were well-represented, as were folk figures, racial and ethnic stereotypes, and the ubiquitous pin-up girls. Most of these boards were played for cash.
Provenance:
Gift of Evan Rangeloff, October 1999.
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Marilyn E. Jackler Memorial Collection of Tobacco Advertisements circa 1890-2013, Archives Center, National Museum of American History.
Black-and-white photograph, apparently retouched. "Lowy Adv. Agency, 41, Park Row, New York" on verso.
Local Numbers:
AC1157-0000010.tif (AC Scan No.)
Collection Restrictions:
The collection is open for research use.
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.
The Marlboro Oral History and Documentation Project is the result of a two-year effort supported in part by a gift from Philip Morris, Inc. Sixty oral history interviews and a variety of television commercials, print advertising, promotional materials, packaging, and industry publications were gathered to document Marlboro cigarette advertising. The bulk of the collection focuses on the period between 1954 and 1986, and examines the "Marlboro man", "Settle Back" and "Marlboro Country" campaigns. The collection is a rich source of information for researchers interested in advertising and marketing history, issues of smoking and health, and the export of both tobacco and American cultural symbols abroad.
The core of the collection is a series of interviews conducted during 1985-1987 by Dr. Scott Ellsworth, an independent scholar and oral historian. The broad range of interviewees included executives of Philip Morris, advertising agency personnel from Leo Burnett, photographers, production staff, sales and marketing personnel, and Marlboro cowboys.
Twenty-seven interviews were conducted overseas, in Argentina, Brazil, the Dominican Republic, Hong Kong, Switzerland, and West Germany. Conducted primarily with Marlboro licensee and affiliate staff, the interviews focus on the marketing and advertising history of Marlboro in the six nations. These interviews and others conducted with executives of Philip Morris International in New York City also address the history of Marlboro advertising in Africa, the Middle East, China, Eastern Europe and elsewhere in Europe and Latin America.
The interviews cover events from the 1930s through the 1980s. They focus on the theory and development of Marlboro advertising, its content and creation, and its modifications over the years. The foreign interviews also discuss the structure of the local cigarette marketplace, marketing and advertising techniques, and the use and modification of Marlboro advertising for different cultures.
Finding aids to the oral histories include abstracts of each interview indicating the major topic discussed, a cumulative index to personal names and topics in the interviews, and brief biographical and scope notes.
Arrangement:
Dthe collection is divided into seven series.
Series 1: Research Files, 1943-1987
Series 2, Interviewee Files, 1986
Series 3; Oral History Interviews, 1986
Series 4: Advertising Materials, 1926-1986
Series 5: Promotional items and packaging, 1926-1986
Series 6: Publications and Research Material, 1960-1988
Series 7: Travel Slides Generated by Project Team, 1926-1986
Biographical / Historical:
The history of Marlboro cigarettes offers insight into one of the great advertising and marketing success stories of the 20th century. Marlboro cigarettes were marketed from the Victorian era through the first half of this century as a women's cigarette, with tag-lines that aimed to appeal to female smokers, such as "Marlboro - Mild As May." In 1955, two transformations occurred which would affect both profitability and brand recognition: the addition of an integrated filter and the re-invention of the market through the debut of the "Marlboro Man" advertising campaign. The original Marlboro Man campaign featured close-up images of all kinds of men using the product -- the cowboy was one, along with lifeguards, sailors, drill sergeants, construction workers, gamblers and other types suggestive of a masculine spirit and rugged independence. By 1963, the "Marlboro Country" campaign began. This campaign focused on the cowboy and his symbolic canon: boots, hats, horses, and western landscapes. By the mid-1980s, Marlboro was the best-selling brand in the United States and the world, and the Marlboro cowboy was among the most widely recognized of American cultural symbols. Sold in over 180 nations, both the cigarettes and the ad campaign had become a global phenomena.
Provenance:
The collection was donated to the Archives Center by Philip Morris, Inc. in 1986.
Restrictions:
The materials in the Marlboro Collection are made available for research according to the established practices and principles of the Archives Center and the National Museum of American History.
Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
1 Item (35mm slide on film in paper mount., 2" x 2".)
Container:
Box 16
Type:
Archival materials
Proofs
Date:
1961
Scope and Contents:
Slide of color proof sheet (reproduction of photograph) of model dressed as a cowboy; photographer unidentified.
Local Numbers:
AC0198-0000006 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
Slide of color proof sheet (reproduction of photograph) of man driving a snowmobile; photographer unidentified. Ad in Spanish for the Argentina market.
Arrangement:
In box 32, folder 4.
Local Numbers:
AC0198-0000001 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
Slide of color proof sheet (reproduction of photograph) nine photographs of Marlboro formula one race car; photographer unidentified. Ad in Spanish for the Argentina market.
Arrangement:
In box 32, folder 4.
Local Numbers:
AC0198-0000002 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
Slide of color proof sheet (reproduction of photograph) image of cowboy smoking a cigarette.
Arrangement:
In box ?, folder ?.
Local Numbers:
AC0198-0000003 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
1 Item (35mm slide on film in paper mount., 2" x 2".)
Container:
Box 17
Type:
Archival materials
Proofs
Date:
1969
Scope and Contents:
Slide of color proof sheet (reproduction of photograph) image of cowboy sitting on horseback, smoking a cigarette.
Local Numbers:
AC0198-0000004 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
1 Item (35mm slide on film in paper mount., 2" x 2".)
Container:
Box 17
Type:
Archival materials
Proofs
Date:
1962
Scope and Contents:
Slide of b & w proof sheet (reproduction of photograph) image of cowboy silhouette against the ocean and setting sun within a US map outline.
Local Numbers:
AC0198-0000005 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
1 Item (35mm slide on film in paper mount., 2" x 2".)
Container:
Box 16
Type:
Archival materials
Proofs
Date:
1961
Scope and Contents:
Slide of color proof sheet (reproduction of photograph) image of reclining man in tuxedo with red carnation smoking a cigarette.
Local Numbers:
AC0198-0000007 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
1 Item (35mm slide on film in paper mount., 2" x 2".)
Container:
Box 16
Type:
Archival materials
Proof sheets
Date:
1958
Scope and Contents:
Slide of color proof sheet (reproduction of photograph) image of man's tattooed hand holding a cigarette. Man in a tuxedo.
Local Numbers:
AC0198-0000008 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
1 Item (35mm slide on film in paper mount., 2" x 2".)
Container:
Box 16
Type:
Archival materials
Proofs
Place:
Tour Eiffel (Paris, France)
Date:
Circa 1960
Scope and Contents:
Slide of color proof sheet (reproduction of photograph) image of man in a suit and cowboy hat holding a cigarette with the Eiffel Tower in the background.
Local Numbers:
AC0198-0000009 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
1 Item (35mm slide on film in paper mount., 2" x 2".)
Container:
Box 16
Type:
Archival materials
Proofs
Date:
Circa 1960
Scope and Contents:
Slide of b & w proof sheet (reproduction of photograph) image of Baltimore Colts football player, Johnny Sample, holding a cigarette pack.
Local Numbers:
AC0198-0000010 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
