This collection consists of 17 cubic feet of papers relating to the life and career of astronaut Pamela A. Melroy.
Scope and Contents:
The Pamela A. Melroy Papers (acc. no. 2018-0034) reflect Melroy's extensive experience as a pilot, space explorer, Space Shuttle Columbia accident investigator and leader within various governmental/military roles. Her great contributions as an air force officer, astronaut and Space Shuttle commander are quite evident in this collection.
This collection encompasses Melroy's years spent as an officer with the United States Air Force (USAF), test pilot, Gulf War veteran, National Aeronautics and Space Administration (NASA) astronaut and one of the first female Space Shuttle commanders. The material contained in the collection ranges from the 1970s into the 2010s. It is a mixture of the following materials: correspondence, memoranda, notes, reports and briefings, technical manuals (mainly NASA/Space Shuttle-related), notebooks, photographs, presentations and speeches, books, booklets and guidebooks, brochures, pamphlets, journals, magazines, articles, newspaper clippings and miscellaneous materials. Additionally, there are newspapers, photograph albums and scrapbooks.
The processing archivist did discern some original order to these materials. This collection was already in a rough chronological order. The processing archivist did rehouse these materials utilizing archival-friendly file folders and legal-size document cases.
This collection is arranged into three series. The first series is composed of personal materials that include correspondence, photographs, postcards, business cards and transcripts. Each type of archival material is organized chronologically and then alphabetically. The second series consists of professional materials and is by far and away the largest segment of the Pamela A. Melroy Papers. This series is arranged as follows: Melroy's correspondence, memoranda, notes, reports, manuals (mainly Space Shuttle program-related), notes and notebooks, presentations and speeches, books, guidebooks and booklets, brochures, pamphlets and catalogs, newsletters, magazines and journals, articles, newspaper clippings and miscellaneous materials. All the above material is also arranged chronologically and then alphabetically. The third series is composed of oversize materials. This material consists of newspapers (mainly focused on the Space Shuttle Columbia accident of 2003), as well as Melroy's three Space Shuttle flights, (STS-92, STS-112 and STS-120), photograph albums and scrapbooks.
Arrangement:
This collection is arranged into three series. The first series is composed of personal materials that include correspondence, photographs, postcards, business cards and transcripts. Each type of archival material is organized chronologically and then alphabetically. The second series consists of professional materials and is by far and away the largest segment of the Pamela A. Melroy Papers. This series is arranged as follows: Melroy's correspondence, memoranda, notes, reports, manuals (mainly Space Shuttle program-related), notes and notebooks, presentations and speeches, books, guidebooks and booklets, brochures, pamphlets and catalogs, newsletters, magazines and journals, articles, newspaper clippings and miscellaneous materials. All the above material is also arranged chronologically and then alphabetically. The third series is composed of oversize materials. This material consists of newspapers (mainly focused on the Space Shuttle Columbia accident of 2003), as well as Melroy's three Space Shuttle flights, (STS-92, STS-112 and STS-120), photograph albums and scrapbooks.
Biographical / Historical:
Pamela Ann Melroy was born on September 17, 1961, in Palo Alto, California. As a member of a military family, she spent her childhood living in many towns but considers Rochester, New York her hometown. Melroy graduated from Bishop Kearney High School in Rochester in 1979. Four years later, she earned a Bachelor of Arts degree in Physics and Astronomy from Wellesley College and subsequently, a Master of Science degree in Earth and Planetary Sciences from the Massachusetts Institute of Technology (MIT) in 1984.
Melroy was commissioned through the U.S. Air Force (USAF) Reserve Officers' Training Corps (ROTC) program while still attending graduate school. Upon completion of her Master's degree program at MIT, she attended undergraduate pilot training at Reese Air Force Base in Texas. After graduating from this program in 1985, Melroy was sent to Barksdale Air Force Base in Louisiana. While stationed there from 1985 to 1991, she flew the Boeing KC-10 aircraft as a co-pilot, aircraft commander and instructor pilot. Also, she flew combat missions in Iraq during 1990-91 (Operation Desert Shield/Desert Storm). In time, she also graduated from the USAF's exclusive test-pilot school. All told during her 24-year career with the USAF, Melroy logged more than 6,000 hours of flight time in more than 50 different types of aircraft. She reached the rank of Colonel upon her retirement from the service in 2007.
Melroy started her career as an astronaut in late 1994 when she was selected as an astronaut candidate (ASCAN) by the National Aeronautics and Space Administration (NASA). She was initially assigned to various astronaut support roles such as tasks involving Space Shuttle launch and landings. She also performed Capsule Communicator (CAPCOM) duties in Mission Control. In 2003, Melroy served on the ill-fated Space Shuttle Columbia accident reconstruction team as the lead for the crew compartment module and operated as deputy project manager for the Columbia Crew Survival Investigation Team.
Melroy was one of only two women to be in command of a Space Shuttle flight. She was the pilot of two Shuttle missions, STS-92 in 2000 and STS-112 in 2002. She served as mission commander on STS-120 in 2007. All three of her spaceflights involved assembling components on orbit for the International Space Station (ISS). Melroy logged a total of 924 hours in space.
Upon her more than 20 years of service to the USAF and NASA, Melroy assumed leadership roles with several public and private sector entities. This included organizations such as the Federal Aviation Administration (FAA), the Defense Advanced Research Projects Agency (DARPA), Lockheed Martin and Australia's Nova Systems, Ltd. She also worked as an advisor to the Australian Space Agency and as an independent consultant to the National Space Council's Users Advisory Group. In 2021, Melroy was selected as NASA's deputy administrator. In her current role, she assists the administrator in making final agency policies and decisions. Also, she acts for the NASA administrator in his absence by performing all necessary functions to govern agency operations.
Provenance:
Pam Melroy, Gift, 2018, NASM.2018.0034
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Scope and Contents:
The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Administrative files consist of some general correspondence, building lease material and rent payments, insurance policies, board and staff meeting notes, marketing plans, and memberships in various print organizations. Also included are inventory lists, calendar books, and binders on printing techniques.
Financial records consist of appraisals, general budgets for the company, financial statements and reports, and receipts. Also included are general invoices from 1992 to 2013, invoices for advertising, sales, shipping, and some supplies; and invoices for legal and financial services.
Artist files consist of artist statements, correspondence, inventory of works, resumes, and printed materials for artists represented by the publishing company. Some of the represented artists include: Claudia Bernardi, Edward Curtis, Dan Rizzie, Victor Ramirez, and Alberto Rios. Also included are files on James Turrell and his Roden Crater project such as the project journal, proposal and agreement, site studies, and notes.
Exhibition and project files consist of exhibitions featuring artist represented by the publishing company and various art festivals and graphic design conferences that the publishing company participated in. Materials include correspondence, loan agreements, clippings, brochures, and some shipping receipts. Also included are two VHS tapes produced by the Segura Publishing Company. Events include the Art on Paper Fair Los Angeles, International Contemporary Art Fair 1997, Impact conference South Africa, the Arizona International Latina/o Art Festival, and the US Latino Printmaking in the 21st Century Consejo Grafico Conference.
Commission files consist of agreements the Segura Publishing Company made with various organizations and individuals to exhibit and sell prints of artwork for a percentage of the profits. Materials include correspondence, consignment agreements, some invoices and price lists, slides of artwork, and some printed material. Some of the partnered organizations include: George Adams Gallery, Art in Embassies Program, Aldo Castillo Gallery, Jean Efron Art Consultants, Hispanic Research Center, Microsoft, Museum of Latin American Art, Santa Clara University, Walker Art Center, and Yale University Art Gallery.
Printed material consists of clippings, exhibition announcements and catalogs for exhibitions featuring the company's prints, press releases, "Photographic Methods in Lithography During the Nineteenth Century" by Beauvais Lyons, articles related to Albert Rios and articles on the James Turrell Roden Crater project, newsletters produced by the company, and material related to certain organizations such as the Institute for Latino Studies and Scottsdale Museum of Art.
Photographic material consists of photographs of Segura Publishing Company and some of its workers, photographs of Joe Segura and Lisa Sette, photographs and slides of artwork, and photographs of prints on display.
Joe Segura papers consist of documentation on Joe Segura's work outside of the Publishing Company, primarily related to his teaching career at Arizona State University in the 1990s. Materials include correspondence, letters of recommendations, faculty schedules, and materials for courses such as "Photo Processes for Printmaking," "Photogravure," and "Collotype Printing." Also included are a resume, lecture note cards, and a small sketchbook.
Arrangement:
The collection is arranged into eight series.
Series 1: Administrative Files, 1979-2013 (2.2 linear feet; Boxes 1-3)
Series 2: Financial Records, 1988-2013 (1.5 linear feet; Boxes 3-5)
Series 3: Artist Files, 1984-2014 (0.8 linear feet; Boxes 5-6)
Series 4: Exhibition and Project Files, 1994-2008 (0.4 linear feet; Box 6)
Series 5: Commission Files, 1988-2012 (4.0 linear feet; Boxes 6-10)
Series 6: Printed Material, 1981-2009 (0.3 linear feet; Box 10)
Series 7: Photographic Material, circa 1983-2004 (0.2 linear feet; Box 11)
Series 8: Joe Segura papers, 1976-2013 (1.2 linear feet; Boxes 11-12)
Biographical / Historical:
Joe Segura (1946- ) is a printmaker currently residing in South Bend, Indiana. Segura completed his studies at Southern Illinois University earning both a BFA and MFA in Painting and Drawing in 1975 and 1977. Segura, along with Lisa Sette, founded the Segura Publishing Company, Tempe, Arizona, in 1981. The company produced fine-art limited edition prints and monotypes by leading contemporary artists. In addition to his work at Segura Publishing Company, Segura has also taught and served as the studio manager for the print facility at Arizona State University.
Provenance:
Donated in 2018 and 2022 by Joe Segura.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Exhibition and project files consist of exhibitions featuring artist represented by the publishing company and various art festivals and graphic design conferences that the publishing company participated in. Materials include correspondence, loan agreements, clippings, brochures, and some shipping receipts. Also included are two VHS tapes produced by the Segura Publishing Company. Events include the Art on Paper Fair Los Angeles, International Contemporary Art Fair 1997, Impact conference South Africa, the Arizona International Latina/o Art Festival, and the US Latino Printmaking in the 21st Century Consejo Grafico Conference.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Segura Publishing Company records, 1976-2014. Archives of American Art, Smithsonian Institution.
Bil Browning and his husband, Jerame Davis were activists for LGBT issues, locally in Indiana as well as nationally in Washington, D.C.
Scope and Contents:
The Bil Browning and Jerame Davis Papers consist of approximately 3.15 cubic feet documenting their activism on behalf of LGBT rights in Indiana, and includes correspondence, photographs, school papers, a scrapbook from Browning's youth, posters, petitions, handouts, bumper stickers, periodicals, conference and event programs, ID cards, VHS recordings, and printed materials. There are extensive notes from an oral history interview with Browning and Davis conducted by Archives Center intern, Sara Dorfman, in Series 1.
Series 1, Personal Papers, 1972-2015, undated, consists of correspondence between Browning and his friends and family, school-related materials such as yearbooks and report cards, an oral history interview, and a scrapbook from Browning's youth. The scrapbook contains materials pertaining to Browning's work with ACT-UP, along with letters and other personal materials.
Series 2, Activism Records, 1992-2012, undated, contains papers from the Fast Max Sunoco employment discrimination case, papers from the Indiana Stonewall Democrats, conference and event programs, papers from Indiana Equality, papers from the Human Rights Campaign, papers from Pride at Work, a presentation on LGBT youth homelessness from the LGBT Editor/Blogger Convening, an invitation to the inauguration of President Obama, an invitation to LGBT Pride Month from the White House, and papers from the Bilerico LGBT Media Foundation.
Series 3, Legal Records, 1991-2011, undated, contains financial records as well as papers from the Indiana Department of Workforce Development and documents regarding termination of child support paid by Browning's father.
Series 4, Publications, 1981-2014, undated, includes newspaper clippings relating to Browning's youth, LGBT events, and ACT-UP. It also contains pamphlets, hand-outs from conferences, and multiple LGBT periodicals from around the United States, such as the Washington Blade, that claims to be the oldest LGBT newspaper in the country.
Series 5, Photographs, 1972-2006, undated, contains photos from Browning's youth, friends and family of Browning and Davis, Browning's significant others, protests, and drag shows.
Series 6, Audiovisual, 1992-2008, undated, covers Browning's involvement with the organization ACT-UP, interviews with Browning, an open forum led by Jerame Davis in response to a protest against Cummins, a rally staged by the Indiana Action Network, and various clips from news programs covering some of these events.
Arrangement:
This collection is arranged into six series.
Series 1: Personal Papers, 1972-2015, undated
Series 2: Activism Records, 1992-2012, undated
Series 3: Legal Records, 1991-2011, undated
Series 4: Publications, 1981-2014, undated
Series 5: Photographs, 1972-2006, undated
Series 6: Audiovisual, 1992-2008, undated
Biographical / Historical:
Bil Browning (William Dale Browning) was born in Zanesville, Ohio in 1972. Jerame Davis (Jerame Joe Davis) was born in Columbus, Indiana in 1975. After coming out as gay in high school, Browning joined the Clinton presidential election campaign and the organization ACT UP (AIDS Coalition to Unleash Power) in 1992. Davis worked for multiple LGBT organizations, including Indiana Equality, Indiana Fairness Network, Columbus Gay/Straight Alliance, Indiana Stonewall Democrats, and Pride at Work.
In the late 1990s, Browning and Davis were involved in an employment discrimination case against Fast Max Sunoco in Indiana. This case served as a catalyst for them to continue championing LGBT rights. The same case resulted in their organizing the internet's first gay rights grassroots online action against the local company that had fired them. Since then, Browning has won multiple awards for his work as an activist. He is also a board member of the National Lesbian and Gay Journalists Association, and an advisory board member of the Woodhull Sexual Freedom Alliance. Davis has served as the executive director of the National Stonewall Democrats.
Together, Browning and Davis were the co-owners of the Bilerico Project, a group blog that chronicled Indiana politics and LGBT issues for nearly 11 years. On June 30th, 2015, Browning made his last post on the blog, saying that he was taking time off to work on his book. Browning and Davis separated in 2023.
Provenance:
The papers were donated by Bil Browning and Jerame Davis, in 2015.
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.
50 Film reels (50 completed films and 1 film series; 110,600 feet of original film outtakes (51 hours); 412 hours of audiotape; 31 digital books)
22 Linear feet (Papers and photographs)
Type:
Collection descriptions
Archival materials
Film reels
Place:
Patagonia (Argentina and Chile)
Argentina
Date:
1954-circa 2008
Summary:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
Scope and Contents:
This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. Several films focus on natural history and science. There are also a number of experimental and fiction films.
Prelorán formed close friendships with many of the subjects of his films and corresponded with them long after the films were completed. This is reflected in the paper records, as is Prelorán's wide circle of colleagues and collaborators, including anthropologists, musicians, animators, historians, painters, writers, photographers, current and former students at UCLA, and fellow filmmakers. The extensive collection of press clippings, screening notices, and festival catalogs documents Prelorán's influence in Argentina, Europe, and the United States.
In the series of digital books, Prelorán presents the personal stories of individuals involved in creative work. Some books feature subjects profiled in the films, updating or expanding on their stories.
Arrangement:
This collection is arranged in 11 series: (1) Completed Films and Videos, 1954-circa 2008; (2) Film Outtakes, 1960s-1980s; (3) Audio, 1969-2008; (4) Correspondence, 1954-2005 (bulk 1967-1992); (5) Production Files, 1961-1998; (6) Project Files, 1967-1995; (7) UCLA, 1968-2005 (bulk 1980s); (8) Press Clippings, 1960-2005; (9) Photographs, 1961-2000; (10) Books, 1994-1998, undated; (11) Electronic Files, circa 2000-circa 2006
Biographical Note:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." In films such as Hermógenes Cayo (Imaginero) (1970), Los Hijos de Zerda (Zerda's Children) (1974), and Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. Prelorán worked in Latin America and the United States, but primarily in his native country of Argentina. His career spanned from 1954 to 2008, including nearly twenty years as a film professor at the University of California, Los Angeles (UCLA).
Prelorán was born May 28, 1933 in Buenos Aires, Argentina. His father, an engineer, was Argentine and had studied at the Massachusetts Institute of Technology, where he met his wife, an American. Prelorán grew up speaking both Spanish and English. Initially pursuing a career in architecture, he studied at the Universidad Nacional de Buenos Aires. He made his first film, Venganza, with neighborhood friends in Buenos Aires in 1954. The film won the Beginner's Festival of Cine Club Argentina that same year. Prelorán was accepted as an undergraduate at the University of California, Berkeley, and studied architecture there for one year. In 1956 he withdrew from UC Berkeley and was drafted into the US Army. Prelorán served in West Germany until 1958. Upon his return he changed educational plans and began formal study of filmmaking, receiving a Bachelor of Arts in Motion Pictures from UCLA in 1960.
Shortly before the end of his service in the US Army, Prelorán married Elsa Dondi, a former classmate from Buenos Aires. They lived together in Los Angeles until Elsa returned to Argentina for the birth of their daughter, Adriana, in 1961. The couple separated shortly thereafter.
Prelorán's professional career as a filmmaker began in 1961 with a commission from the Tinker Foundation of New York for a series of films on the Argentine gaucho. In the course of shooting for these films, Prelorán traveled extensively throughout Argentina, visiting many locations in Patagonia and in the northwest where he would later return to make many of his films. From 1963-1969, Prelorán was under contract at the Universidad Nacional de Tucumán to produce educational films; he also produced a series of short films on Argentine folklife with support from Fondo Nacional de las Artes and under the mentorship of folklorist Augusto Raúl Cortazar, Ph.D.
In the late 1960s, Prelorán became involved with UCLA's Ethnographic Film Program and in 1970 he returned to UCLA as a lecturer for two semesters. Later that year he was a fellow at Harvard University's Film Study Center, where he produced the English-language version of Imaginero (Hermógenes Cayo). Prelorán was the recipient of two Guggenheim Fellowships, in 1971 and 1975, and used those opportunities to produce quite a number of films, including Damacio Caitruz (Araucanians of Ruca Choroy).
Prelorán remarried in 1972. His wife, Mabel Freddi, became a collaborator on his films. She wrote the screenplay for Mi Tia Nora (My Aunt Nora) (1983) and co-directed Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), among other credited and un-credited roles. After the Argentine military coup of March 1976 and the disappearances of fellow filmmaker Raymundo Gleyzer and Mabel's niece, Haydee, the Preloráns became fearful for their own safety. They fled to the United States, a move that would become permanent. Prelorán accepted a position as associate professor at UCLA's School of Theater, Film and Television. He later joined the faculty as a tenured professor.
During his time at UCLA, Prelorán was twice selected as a Fulbright Scholar, in 1987 and 1994. He continued to produce films, including the Academy Award-nominated documentary short Luther Metke at 94 (1980) and the 7-hour natural history television series Patagonia (1992). After retiring in 1994, Prelorán continued to mentor film students as Professor Emeritus; he also began work in a new medium, creating a series of digital books, "Nos = Otros" ("Sages Amongst Us") (unpublished), featuring individuals engaged in creative and educational pursuits.
Prelorán died at his home in Culver City, CA at the age of 75 on March 28, 2009.
Sources Consulted
UCLA, School of Theater, Film and Television. "Jorge Prelorán 1933 - 2009." Obituary. Last modified March 31, 2009. Accessed April 1, 2009. http://tft.ucla.edu/news/obituary
Jorge Prelorán Collection. Human Studies Film Archives, Smithsonian Institution.
Rivera, Fermín. Huellas Y Memoria de Jorge Prelorán. Documentary film. 2010.
Woo, Elaine."Jorge Prelorán dies at 75; Argentine filmmaker and former UCLA professor." Los Angeles Times, April 5, 2009. Web. 29 Apr 2009.
1933 -- Born May 28 in Buenos Aires, Argentina
1952-1954 -- Studies at the College of Architecture, Universidad Nacional de Buenos Aires, Argentina
1954 -- Completes first film, Venganza, a fictional short
1955 -- Studies at the College of Architecture, University of California at Berkeley
1956-1958 -- Drafted into United States Army, stationed in Schwetzingen, West Germany
1959-1960 -- Earns Bachelor of Arts in Motion Pictures from UCLA
1961-1963 -- Produces films on the Argentine gaucho for the Tinker Foundation, New York
1963-1969 -- Produces films at the Universidad Nacional de Tucumán, Argentina
1968 -- Attends the First International Colloquium on Ethnographic Film at UCLA
1969 -- Shoots film for The Warao People in Venezuela, under a grant from the Ford Foundation to the Ethnographic Film Program at UCLA
1970 -- Lecturer at UCLA School of Theater, Film, and Television Fellow at the Film Study Center, Harvard University
1971 -- Receives first Guggenheim Fellowship; completes several film projects in Argentina
1975 -- Receives second Guggenheim Fellowship; continues filming in Argentina
1976 -- Moves to United States Associate professor at UCLA School of Theater, Film, and Television
1978 -- Guest of Honor at the 2nd Margaret Mead Ethnographic Film Festival at the American Museum of Natural History, New York
1980 -- Academy Award nominee for Luther Metke at 94
1985 -- Guest at the White House for a State Dinner in honor of Argentine President Raul Alfonsin
1986 -- Naturalized as a United States citizen
1987 -- First selection as Fulbright Scholar; begins production of the series Patagonia, en Busca de su Remoto Pasado
1994 -- Second selection as Fulbright Scholar; completes pre-production for the narrative feature film "Vairoletto: The Last Gaucho Outlaw" Retires from UCLA as professor emeritus
2009 -- Dies on March 28 in Culver City, California
Related Materials:
The Human Studies Film Archives holds a copy of Fermín Rivera's edited biographical documentary film, Huellas y Memoria de Jorge Prelorán (HSFA 2015.1.27), as well as transcripts of interviews conducted with Jorge and Mabel Prelorán for the film (in Spanish).
The Harry Ransom Center, University of Texas at Austin, holds the original film for four titles Prelorán produced for the Tinker Foundation (New York, NY). These are: The Llanero; The Gaucho of Corrientes; The Gaucho of the Pampas; and The Gaucho of Salta. The Ransom Center has both English and Spanish versions of these titles. These four films were preserved in 2010 and 2011 with funding from the Tinker Foundation. HSFA holds high quality video masters of all four titles. A fifth film produced for the Tinker Foundation, El Gaucho Argentino, Hoy (The Argentine Gaucho, Today), is held at the HSFA in its Spanish version only.
The Arthur Hall Collection at Temple University, Phildadelphia, Pennsylvania and Ile Ife Films in Belfast, Maine hold a copy of The Unvictorious One that differs from the two versions held at the HSFA.
Provenance:
This collection was donated to the Human Studies Film Archives in two accessions. The first accession, 2007-10, contains the edited films, outtakes, audio recordings, papers, and photographs and was donated by Jorge Prelorán. Materials had been stored at Prelorán's home office and home editing suite before they were packed by the processing archivist and sent to the HSFA. The second accession, 2011-07, contains the digital books and some additional photographs. This accession was donated by Mabel Prelorán. These materials had also been stored at Prelorán's home office and were sent to the HSFA by Mabel Prelorán.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books.
Access to the Jorge Prelorán collection requires an appointment.
Papers of Leonard P. Hirsch, founder of Federal GLOBE, the Gay, Lesbian, Bisexual, and Transgender employee advocacy group for the federal government. Hirsch was also the founder of the Smithsonian Institution's chapter of Federal GLOBE. Papers include organizational material as well as newsletters, educational, and lobbying materials. There is a small amount of personal material for Hirsch and his husband Kristian Fauchald.
Scope and Contents:
The Leonard P. Hirsch Federal GLOBE Records, 1985-2015, undated, contains materials related to Federal GLOBE and chapters of Federal GLOBE. The papers include correspondence, e-mail, publications, financial records, newsletters, photographs, two cassette tapes, one video tape, and computer floppy discs. The papers also include material from individuals and groups that opposed expanded rights for LGBT persons within the federal government and society. The papers also contain one of Hirsch's day books and memorial service memorabilia for Hirsch and his partner Fauchald. These papers include very little to no personal material or material relating to Hirsch's work with the Smithsonian Institution's Office of International Relations and no material relating to Fauchald's work with the Smithsonian's National Museum of Natural History.
The collection is organized in six series.
Series 1: Organizational Records, 1985-2014, undated, includes correspondence, e-mail, election ballots and materials, founding documents and related materials, financial and fundraising materials, papers related to individual cases of discrimination, copies of legal documents relating to LGBT related cases, National Coming Out Day advertisements and solicitations, newsletters, by-laws, tax-exempt applications, lobbying documents, awards, copies of executive orders and proclamations, informational papers and pamphlets.
Series 2: Chapters, 1991-1996, undated, includes material related to Federal GLOBE chapters in various agencies of the federal government. Folders may include newsletters, correspondence, e-mail, advertising for gatherings and fundraisers, and election materials.
Series 3: Subject Files, Conferences, and Other Organizations, 1993-2011, undated include materials and informational packets for conferences attended by Federal GLOBE members and materials from conferences co-sponsored by Federal GLOBE. This series also includes materials from organizations and individuals that opposed expanded rights for LGBT persons within the federal government and society such as Jerry Falwell, Family Research Council, and others.
Series 4: Publications, 1990-2000, undated, includes a variety of publications related to LGBT issues.
Series 5: Hirsch, Leonard P., 1991-2015, undated, contains one day book, and memorial service memorabilia and tributes. It also contains a program for Kristian Fauchald's memorial service.
Series 6: Photographs, Slides, and Audio-Visual Materials, 1993-2009, undated, includes photographs of GLOBE participation in Pride parades and other marches. There are photographs from an unidentified costume event. It also includes two casette tapes from LGBT related talks, one VHS video tape, and computer floppy discs most likely containing documents related to Federal GLOBE.
Arrangement:
The collection is arranged in six series.
Series 1: Organizational Records, 1985-2014, undated
Series 2: Chapters, 1991-1996, undated
Series 3: Subject Files, Conferences, and Other Organizations, 1993-2011, undated
Series 4: Publications, 1990-2000, undated
Series 5: Hirsch, Leonard P., 1991-2015, undated
Series 6: Photographs, Slides, and Audio-Visual Materials, 1993-2009, undated
Biographical / Historical:
Leonard P. Hirsch (1955-2015) was born in Queens, New York. He graduated from Benjamin Cardozo High School in Bayside, Queens and from Pomona College with a B.A. degree in International Relations (1976). He received his M.A. (1978) and a Ph.D (1980) in political science from Northwestern University. He accepted a teaching position at the University of South Florida and while there assisted in the founding of the LGBT faculty organization. He also helped organize the first meeting of the American Political Science Association's Lesbian, Gay, Bisexual, and Transgender Caucus. In 1983, Hirsch met Kristian Fauchald, a marine biologist with the Smithsonian's National Museum of Natural History. In 1985 Hirsch moved to Washington, D.C. to join Fauchald, whom he later married.
After moving to Washington, D.C., Hirsch worked for a data management firm. He founded a company that produced a personal computer. At the Prince George's County Community College he conducted research under a grant from the U.S. Department of Education. Hirsch, "accepted what was originally a one-year appointment in the Smithsonian Institution's Office of International Relations in 1988, beginning more than two decades of service to the arts and humanities and science communities with a special emphasis on environmental issues--biodiversity, global change, carbon tracking, and ecological systems." At the Smithsonian, Hirsch, "--was a senior policy representatitve for supporting the Smithsonian's international scientific work." He was a member of the U.S. Global Change Research Program and co-chaired the U.S. Group on Earth Observations. He was the USGEO representative to the Forest Carbon Tracking Task Force. He participated in the Subcommittee on Ecological Systems, the U.N. Convention on Biological Diversity (as part of the U.S. delegation); the coordination processes of the Conventions on Combating Desertification and Climate Change; and the U.N. Commission on Sustainable Development. He represented the Smithsonian on the U.S. Interagency Process for CITES, the Convention on Trade of Endangered Species." Hirsch was also, "the Smithsonian member of the White House Office of Science and Technology Policy, Committee on Environment and Natural Resources and responsbile for matching opportunities for scientific and cultural work and exchanges for Smithsonian researchers." Hirsch believed emerging technologies could be used to make museum information and programs relevant to the broader society and pursued that goal in all facets of his work.
Hirsch was the founder and head of both Federal GLOBE and the Smithsonian GLOBE chapter. In February 1988, he organized the first gathering of what would develop into Federal GLOBE. He served as GLOBE's first president and was elected to that post over the course of the next ten years. It was the mission of GLOBE--and Hirsch personally--to eliminate discrimination in the federal government based on sexual orientation. GLOBE's accomplishments were many, including an executive order on non-discrimination issued during the Clinton administration and later the Obama administration's memorandum extending certain federal employee benefits to same-sex couples. GLOBE worked for the repeal of the Department of Defense's "Don't Ask, Don't Tell" policy. GLOBE was an advocate for federal LGBT persons not only in Washington, D.C. but elsewhere in the nation through its many chapters. GLOBE also produced a newsletter and became a clearing house for information on LGBT rights. Hirsch co-organized the "Fragments of Our History" exhibit during the 1993 March on Washington for Gay and Lesbian Rights and advocated for inclusion of LGBT content in Smithsonian programs.
Hirsch and Fauchald married in California in 2008. By the time of his death in April 2015, Fauchald was emeritus curator and former chair of Invertebrate Zoology at the Smithsonian's National Museum of Natural History. Hirsch died on June 12, 2015 of a rare form of cancer just two months after the death of his husband. In addition to other awards and certificates, Hirsch was given the Rainbow History Project's Community Pioneer Award in 2012.
Sources:
Memorial program for Leonard P. Hirsch and Obituary for Leonard P. Hirsch, The Washington Blade, June 2015
Related Materials:
Materials in the Archives Center
Michio and Aveline Kushi Macro-Biotics Collection (AC0619)
The Shamrock Bar: Photographs and Interviews (AC0857)
Archives Center Wedding Documentation Collection (AC1131 )
Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)
Lesbian, Gay, Bisexual, and Transgender Collection (AC1146)
John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)
Joan E. Biren (JEB) Queer Film Museum Collection (AC1216)
World AIDS Institute (WAI) Collection (AC1266)
Servicemembers Legal Defense Network (SLDN) Records (AC1282)
Helping Persons with AIDS (HPA) Records (AC1283)
DC Cowboys Dance Company Records (AC1312)
Bil Browning and Jerame Davis Papers (AC1334)
Separated Materials:
Materials at the National Museum of American History
The Division of Political History (now Division of Political and Military History) holds artifacts related to gay activist Franklin Kameny and a variety of political buttons. They also hold LGBT related artifacts from Joan E. Biren (JEB).
The Division of Medical Science holds objects donated from Dr. Renee Richards, Sean O. Strub, and Leonard P. Hirsch.
The Division of Entertainment and the Arts holds objects donated by The Fosters and Will & Grace.
Provenance:
Donated to the Archives Center by the estate of Leonard P. Hirsch, Nancy Gray, Esq., Executor, 2015.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: reproduction fees may apply. All duplication requests must be reviewed and approved by Archives Center staff.
Collection documents Jane and Michael Stern's travels across the United States collecting data for their books on American material culture subjects, with particular emphasis on food and dining.
Scope and Contents:
Collection primarily consists of the raw materials amassed by Jane and Michael Stern as they traveled the United States, researching for their books on American material culture subjects, with particular emphasis on food and dining. These materials include writings and notes from their various stops while traveling; photographs and slides of places they visited; vintage postcards collected in their travels; paper ephemera such as take-out menus, placemats, etc.; large quantities of trade literature such as product cookbooks (some dating back to the 1920s), food packaging and brochures on food related subjects, under headings such as "Meat, Fish, Game", "Parties, Etiquette, How-To", "Baking" and numerous others; trade literature on other material culture subjects the Sterns wrote books about with headings which include Rodeo, Cowboys, Indians" and many others; correspondence; business records, articles, and clippings. The collection is arranged into five series: Series 1, Research Documentation and Writings, 1975-2015, undated; Series 2, Product Cookbooks, and Trade Literature, 1890-1993, undated; Series 3, Photographic Materials, 1947-2008, undated; Series 4, Subject Files, 1910-1995; and Series 5, Vintage Postcards, undated.
Arrangement:
Collection is arranged into five series:
Series 1, Research Documentation and Writings, 1975-2015, undated
Series 2, Product Cookbooks, and Trade Literature, 1890-1993, undated
Series 3, Photographic Materials, 1947-2008, undated
Subseries 3.1, Photographs, 1947-2002, undated
Subseries 3.2, Slides and Transparencies, 1965-2008, undated
Series 4, Subject Files, 1910-1995
Series 5, Vintage Postcards, undated
Biographical / Historical:
Jane Grossman Stern (1946-) and Michael Stern (1946-) are American writers best known for their popular series of books titled Roadfood. These publications provided recommendations of restaurants, truck stops, diners, delis, bakeries, and other food-related establishments in the United States who served classic American regional specialties. The Sterns are also authors of books about American material culture subjects including truckers, cowboys, kitsch, and dog shows. They have been guests on public radio, contributors to magazine columns, and have won numerous awards for their work.
Provenance:
Collection donated by Jane and Michael Stern, 2016.
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.
The papers document Norniella's life and career in the advertising field, and her Ole Television Network, and include business records, photographs, scrapbooks, photograph albums, advertising, clippings and articles, awards, newsletters, and publicity materials.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Isabel Norniella was born in Cuba in 1938. She graduated with a degree in advertising management from the University of Puerto Rico. After working for several advertising firms, including McCann Erickson, she founded her own, Publitec, in 1969. Her firm has been much awarded, and has had clients including Stokely Van Camp, Cutty Sark, Uncle Ben's, and others. She has also done publicity work with several charities. In 1994 she founded the Ole Television Network.
Provenance:
Donated by Isabel Norniella to the Archives Center in 2017.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
This collection consists of materials documenting the Castor Advertising Corporation, Castor SG&B, and Castor Spanish International, which specialized in reaching Hispanic audiences.
Content Description:
Archival materials documenting the Castor Advertising Corporation, Castor SG&B, and Castor Spanish International. This collection includes correspondence, business records, awards, a copy of Fernández's MBA thesis, photographs, newspaper clippings, magazines, a DVD containing an interview with Fernández, and advertising reels recorded on VHS tapes, cassettes, and 16mm film.
Arrangement:
This collection is arranged into four series.
Series 1: Background Materials, 1961-2001, 2018
Series 2: Advertising Materials, 1969-1987
Series 3: Newspaper Clippings and Publications, 1968-2000
Series 4: Audiovisual Materials, 1960-2007
Biographical / Historical:
Castor A. Fernández Capote was born in 1943 in Havana, Cuba and moved to the United States in 1961. Fernández first lived in Miami, Florida but moved to New York City soon after. He attended City College of New York where he received his Bachelor and Master of Business Administration in Marketing. For his MBA thesis, "Market Segmentation through Television Advertising," Fernandéz focused his research on the potential for Spanish-language media to engage the Spanish-speaking market of New York. Fernández began his nearly four-decade-long advertising career in firms throughout New York City such as Link Advertising and Palmer Advertising. In 1968, Fernández established his own advertising firm called Castor Spanish International, focusing specifically on marketing designed for to the multiple groups of people described under the umbrella term "Hispanic." In 1989, Castor Spanish International merged with the Miami-based advertising corporation, Garcia-Serra & Blanco Advertising, to form a new agency: Castor SG&B. The agency dissolved the merger in 1990 and Fernández established Castor Advertising Corporation. Fernández retired from advertising in 2002. Throughout his decades-long career, he and his agencies did work for many major American corporations such as Café Bustelo, Citibank, McDonald's, Coca-Cola, Anheuser-Busch, Kmart, Richardson-Vicks, and Heublein Incorporated.
Provenance:
Collection donated to the Archives Center in 2018 by Castor Fernández.
Restrictions:
Collection is open for research.
Rights:
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.
The collection documents the history of the Cozy Inn and Restaurant in Thurmont, Maryland.
Scope and Contents:
Collection documents the management, day-to-day operations, activities, and history of the Cozy Inn business. Materials include registration records; accounting papers and other business records; correspondence, including some fan mail; internal employee newsletters; the restaurant's menus for ordinary days, and for special occasions and holidays; take-out and catering menus; recipes; placemats; handbooks for employees; internal memos and instructions about hiring procedures, employee comportment and protocol; and advertising and promotional materials. It is evident that the Cozy Inn's owners were aware of its historical significance and they saved advertising brochures from various time periods, newspaper clippings and magazine advertisements, certificates, honors and awards, photograph albums, a scrapbook, and voluminous amounts of clippings. The photographs contained in the collection are extremely rich, documenting both the physical changes in the hotel and restaurant over the years, entertainment activities, and several celebrity guests who stayed there. The collection is arranged into five series: Series 1, Administrative Files, 1885-2014, undated; Series 2, Menus, 1943-2015, undated; Series 3, Printed Advertisements and Ephemera, 1932-2014, undated; Series 4, Magazine Articles and Newspaper Clippings, 1935-2013, undated; and Series 5, Photographic Materials, 1920-2009, undated.
Arrangement:
The collection is arranged into five series.
Series 1, Administrative Files, 1885-2014, undated
Series 2, Menus, 1943-2015, undated
Series 3, Printed Advertisements and Ephemera, 1932-2014, undated
Series 4, Magazine Articles and Newspaper Clippings, 1935-2013, undated
Series 5, Photographic Materials, 1920-2009, undated
Biographical / Historical:
The Cozy Inn was an eighty five year old business when it closed in 2014. Located on a major highway near Gettysburg and the Catoctin Mountains, Wilbur Freeze started what was then called Camp Cozy in 1929, with just three cabins, later adding a gas station to attract tourists, and in the 1930s, he added in a small lunch counter, and eventually a full service restaurant. It is an excellent example of a 20th century business that started small and grew large, increasing the services offered over time. The Inn grew both in size and popularity, and the Freezes added entertainment attractions in order to increase business, including festivals and special offerings for various holidays. Some of the attractions were eccentric, such as hot air balloons and live animal shows.
In 1942, the presidential retreat Camp David (then known as Shangri-La) was established just six miles away. This led to the Cozy Inn becoming the headquarters for Secret Service agents, reporters and photographers during events that occurred at Camp David. Sometimes foreign dignitaries stayed there. State and local politicians such as members of the Senate, governors of states, cabinet members, and Presidents' family members, also were guests.
The Freezes were fond of boasting that they were the oldest family-run restaurant in the state. They also capitalized on their proximity to Camp David, using the fact in their advertising and naming the Inn's rooms after presidents. In 2005, they started a small Museum on the history of the Inn, its famous guests, and its connection to Camp David. They also sold souvenirs that related to that connection. They regularly hosted weddings and other events and were famous for their lavish holiday decorations. At Christmas they set up gingerbread houses, multiple Christmas trees, a miniature railroad village, etc. The Cozy Inn's restaurant cultivated a large number of repeat, loyal customers with its family atmosphere and comfort food. Some of its dishes became locally famous, like its clam chowder.
Provenance:
Collection donated by Gerald G. Freeze, 2015
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.
Collection documents the development and marketing of the Chef's Choice brand of knife sharpeners.
Scope and Contents:
The collection documents the development, marketing, and sales of the Chef's Choice brand of knife sharpeners to a home-based consumer market. Materials include both American and foreign print advertisements, press releases, press kits, point-of-purchase displays, magazine articles, catalogs, photographs, trade literature, audiovisual materials including VHS recordings of demonstrations, design drawings, business records, and scrapbooks. Of interest is the materials relating to chefs and food service industry professionals and EdgeCraft Corporation's evolution from serving the home cook to manufacturing products for commercial use. The collection is arranged in two series: Series 1, Company Records, 1984-1993, undated and Series 2, Product Information, 1984-2016, undated.
Arrangement:
The collection is arranged into two series.
Series 1, Company Records, 1984-1993, undated
Series 2, Product Materials, 1984-2016, undated
Biographical / Historical:
EdgeCraft Corporation, founded by Daniel Denwood Friel (1920-2012), introduced the Chef's Choice brand to the consumer market in 1984. Chef's Choice brand's first product was the electric knife sharpener which debuted in 1985. The electric knife sharpener was the invention of Friel, a retired chemical engineer. Born to Samuel Edward Whiting Friel and Martha Reynolds Friel in Queenstown, Queen Anne's, Maryland, Friel received a Bachelor of Science degree in Chemical Engineering from Johns Hopkins University in 1942. He began his career on the Manhattan Project at the University of Chicago in 1943. Mr. Friel's career path continued with thirty-nine years of experience as a chemical engineer with the DuPont Company. His retirement from DuPont was short lived as he turned his attention to the development of his new company, EdgeCraft Corporation, and an ever-increasing line of products. EdgeCraft Corporation, located in Avondale, Pennsylvania, continues to manufacture a large selection of electric and manual knife sharpeners, kettles, electric food slicers, waffle makers, electric grills, grinders, and hot beverage makers.
Related Materials:
Archives Center, National Museum of American History
Julia Child Award Winners Collection NMAH.AC.01371
Collection donated by the Edgecraft Corporation, 2016.
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.
The Hector and Norma Orcí Advertising Agency Records document the history, educational, and creative output produced by Hector and Norma Orcí throughout their extensive career in advertising. The Orcís founded their own independent agency in 1986 in Los Angeles. The Orcí Advertising Agency successfully introduced various products to Latinos in the United States and developed a reputation as one of the top advertising agencies to understand the US Latino market. The collection showcases the agency's history and awards, advertising and marketing campaigns, and its role in educating advertising agencies on the importance of the US Latino market.
Scope and Contents:
The collection documents the Orcí Advertising Agency and its work in helping clients market their products to U.S. Latinos, its marketing methods and creative philosophy, and its role in educating other advertising companies about the Latino consumer market in the United States. The collection includes the founding and history of the agency, business records, awards and press clippings, training materials for staff, reports on the US Latino market for various products, training and curriculum materials for a UCLA Extension course on advertising in the US Latino market, account reports, conference materials, slides and photographs, and campaigns and advertising materials developed for clients such as Allstate, Honda, and Pepsi. Video footage of Spanish-language commercials developed by the Orcí Advertising Agency is also part of the collection.
Arrangement:
The collection is divided into five series.
Series 1: Background Materials, 1979-2010, undated
Series 2: Advertising and Marketing Materials, 1986-2003, undated
Series 3: Teaching Materials, 1985-2012, undated
Series 4: Conference Materials, 1984-1999, undated
Series 5: Audiovisual Materials, 1986-2016
Biographical / Historical:
Once employees of La Agencía de McCann-Erickson advertising company, Hector and Norma Orcí founded their own independent agency in 1986. The Orcí Advertising Agency, also known as La Agencía de Orcí & Asociados, is based in Los Angeles. Since its inception, the Orcí Advertising Agency has devoted itself to US Latino marketing and teaching other advertising agencies how to effectively advertise and sell products to US Latinos. The Orcís quickly developed an impressive roster of successful campaigns for major clients and continue to be a well-respected agency in the advertising sector.
Separated Materials:
The Division of Work and Industry holds the following artifacts related to this collection:
Virgin of Guadalupe Painting, Accession #: 2015.0306.01
INS Eagle Painting, Accession #: 2015.0306.02
Don Quixote Figurine, Accession #: 2015.0306.03
Provenance:
Collection donated by Hector and Norma Orcí, 2016.
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.
The collection documents Nick Reynolds, a member of the vocal music group, the Kingston Trio.
Content Description:
The collection documents the life and career of Nick Reynolds, one of the members of the Kingston Trio folk music group. Included in the collection are: a scrapbook approximately covering the years 1958-1970, and including such things as articles, photographs, and flyers announcing appearances by the Trio; letters, including fan mail, and a large set of letters and cards sent by member Nick Reynolds to his parents; postcards; business and legal papers, especially relating to a 1981 reunion; programs; songbooks and sheet music; posters advertising appearances; a book about the Trio; articles and miscellaneous printed materials.
Arrangement:
The collection is arranged into two series.
Series 1: Reynolds, Nick, Personal Papers, 1950-2014, undated
Series 2: Kingston Trio Papers and Ephemera, 1956-2013, undated
Biographical / Historical:
The history of the original Kingston Trio and its subsequent permutations has been well chronicled. The group came to national prominence in 1958 during the folk music revival of the 1950s and 1960s. At that time the trio consisted of Dave Guard, Bob Shane, and Nick Reynolds. Their first album released in 1958 contained their first gold record, Tom Dooley. Success continued for the trio but in 1961, Dave Guard left the group and John Stewart joined the group as his replacement. The group continued to have a successful run, their cover of Where Have All the Flowers Gone? and Greenback Dollar made the Billboard Top Ten chart in 1961 and 1963 respectively. The group in its configuration of Reynolds, Shane, and Stewart ceased actively performing in June 1967. Subsequent incarnations of the group performed into the twenty-first century.
Nicholas (Nick) Wells Reynolds, tenor, was a founding member of the Kingston Trio. He was born in San Diego, California on July 27, 1933. His parents were Stewart S. and Jane Keck Reynolds. His father was a commander in the United States Navy. Reynolds attended schools in Coronado, California graduating in 1951 from Coronado High School. He graduated from Menlo College, Atherton, California in 1956.
Reynolds, Bob Shane (1934-2020) and Dave Guard (1934-1991) formed the Kingston Trio in the 1950s. Reynolds left the Trio in 1967 moving to Oregon. He rejoined the Trio in 1988 after recording the album Revenge of the Budgie in 1983, and remained with the group until retiring in 2003. Reynolds died in San Diego, California on October 1, 2008 survived by his third wife, Leslie Yerger Reynolds, and four children.
Sources
Family Search, 1940 United States Census, accessed July 9, 2019.
Obituary, Nick Reynolds, The New York Times, October 2, 2008.
Obituary, Nick Reynolds, The Los Angeles Times, October 3, 2008.
Kingston Trio Legacy Project, (http://kingstontriolegacyproject.com) last accessed July 9, 2019.
Provenance:
Collection donated by the Kingston Trio Legacy Project to the Archives Center, National Museum of American History, Smithsonian Institution in 2018.
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.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
William Jones World War II Scrapbook, NASM.2006.0067, National Air and Space Museum, Smithsonian Institution.
The records of the Municipal Art Society of New York, based out of New York City and established in 1893, measure 3.2 linear feet and date from 1901 to 1960. The records include minutes from the annual and directors meetings, which incorporate reports, directors' files, committee files, and printed material. Financial reports to the Municipal Art Society Board that detail the organization's Permanent Fund are also present.
Scope and Contents:
The records of the Municipal Art Society of New York measure 3.2 linear feet and date from 1901 to 1960. Minutes from annual and directors meetings, printed materials, and financial reports document the Municipal Art Society of New York's involvement in urban planning, city beautification, funding art for public spaces, and generally improving the quality of life in New York City.
Bound minute books from the annual and directors meetings incorporate annual reports, committee reports, membership lists, and by-laws, as well as some correspondence with business colleagues and fellow arts organizations. Printed materials are also integrated into the minute books and often relate to the content of the adjacent administrative files and include exhibition announcements and catalogs, event invitations, meeting announcements, bulletins, newsletters, magazine and newspaper clippings, and membership solicitation materials.
Financial reports to the Municipal Art Society Board detail the Permanent Fund and the organization's accounts.
Arrangement:
The collection is arranged as 2 series.
Missing Title
Series 1: Annual and Directors Meetings Minutes, 1901-1960 (3.2 linear feet; Box 1-8)
Series 2: Permanent Fund Financial Records, 1913-1949 (1 folder; Box 8)
Biographical / Historical:
The Municipal Art Society of New York is a private organization that was founded in 1893 to beautify New York City streets, parks, and public places in ways both practical and artistic through projects supported by member dues. The society regularly held competitions for artists to create murals and sculptures to decorate public buildings, and exhibited artists' public works. Members of the society spearheaded efforts to preserve, improve, and maintain public buildings, monuments, and parks; create and maintain street signage and fixtures; regulate zoning; plan thoroughfares; and advocate for public housing. Interests of the society also included establishing a housing authority, slum clearance, and post-World War II planning. The Municipal Art Society of New York continues to influence urban planning and historic preservation into the 21st century, and is known for their architectural tours of New York CIty.
Provenance:
Donated 1968 by Municipal Art Society of New York.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Historic buildings -- Conservation and restoration -- New York (State) -- New York Search this
Public art -- New York (State) -- New York Search this
Function:
Arts organizations -- New York (State)
Citation:
Municipal Art Society of New York records, 1901-1960. Archives of American Art, Smithsonian Institution.
The records of the DC Cowboys Dance Company, an all-male, gay, non-profit dance company based in Washington, DC. that was active from 1994-2012. They peformed nationally and internationally live and on television, "celebrating diversity through dance."
Scope and Contents:
The DC Cowboys Dance Company Records contain the business and financial papers of the company, such as memoranda and correspondence; choreography routines; printed materials such as press releases and articles; fundraising materials; photographs; audiovisual materials; and the pre-recorded music used for their various dance routines. The records are arranged chronologically in three series.
Series 1: Company Files, 1994-2013, undated, is arranged chronologically by year and maintains the original order received from the donor. The files cover the entire life of the company and its peformances within the United States as well as internationally. The files contain correspondence, contracts, dance routines, fundraising initiatives, event information and advertising materials, travel and lodging arrangements, tourist information, and photographs.
Series 2: Financial, 1996-2011, undated, is arranged chronologically. The files contain receipts, money receipt books, financial statements, balance sheets and those materials related to the financial aspect of running the company.
Series 3: Audiovisual, 1994-2012, undated, contains compact discs (189) of pre-recorded music used for the company's various dance routines. The music was prepared for each booking and most often identified with the title of the booking and the date. Much of the music on these discs is under copyright since they are recordings done by original artists or professional covers of songs that were contemporary with the company's performance during any given year. There are also DVDs (five) detailing the production of varous fund raising DC Cowboys calendars and one audio cassette tape.
Arrangement:
This collection is divided into three series.
Series 1: Company Files, 1994-2013, undated
Series 2: Financial, 1996-2011, undated
Series 3: Audiovisual, 1994-2012, undated
Biographical / Historical:
"History of the DC Cowboys Dance Company - Celebrating diversity through dance"
The DC Cowboys Dance Company, an all-male, gay dance company, entertained audiences around the world from 1994 to 2012. Internationally acclaimed, the DC Cowboys specialized in providing exciting, high-energy, jazz-style, dance entertainment which spanned all musical genres, from contemporary country to club dance party, pop, to classic Broadway numbers for all types of occasions. Shows were customized to the venue—both gay-specific and mainstream events—and featured anywhere from one song to multiple sets of three to four songs each. Combining a little traditional country-western with jazz, musical theater and a masculine sex appeal, the DC Cowboys' high-energy choreography made the company one of the most-sought after gay dance groups in the world.
Founder and Artistic Director Kevin Platte started the dance company in August 1994 after seeing a similar gay, country-western dance group in California. Platte recruited 11 dancers—mostly friends—from a Washington, D.C., gay, country-western bar named Remington's. He approached the best dancers based on watching them two-step and line-dance at the bar. The dancers formed the troupe for the sole purpose of performing at the Atlantic States Gay Rodeo Association's (ASGRA) annual rodeo in Washington, D.C., in September 1994.
Platte thought the performance would be a one-time event. But based on an overwhelming reception, the dancers decided to continue the group. This required weekly rehearsals, the creation of a dance "repertoire" and a larger commitment from the dancers. Of the original 12 members, only six were up to the task. These six original members then had to find more dancers and identify other performance venues. Mainstay venues soon included the Capital Pride Festival every June and the Atlantic Stampede Gay Rodeo event every September.
In September 1995, Metro Weekly placed them on the cover of their magazine, giving them greater exposure and more clout. The Cowboys used this coverage as a catalyst to build the brand and identity. All the while, the DC Cowboys remained volunteers and amateurs, performing solely for the love of it. Each dancer maintained a "day job," and the group only rehearsed in the evenings once or twice a week. As the warmer months seemed to be their busiest, the dancers would use the colder months to build up the repertoire and practice. Every year, rehearsals would cease for the months of November and December for the existing dancers. However new recruits that were successful in the annual auditions attended "bootcamp" rehearsals during those months to learn some of the existing repertoire. In January, the existing and new members started rehearsing together as the new season began.
During the early years, the dancers paid for all expenses out of their own pockets, and monthly dues were collected to pay for group expenses. The group would often pay for the opportunity to perform. To supplement these expenses, the group began fundraising through a monthly bar night at different gay nightclubs. Once their reputation grew, venues and events began to pay for the company's entertainment services and patron club members donated funds to support the organization and their mission. These funds allowed the organization to pay for all of their expenses including dancer costuming. In addition, the group sold merchandise which included T-shirts, performance DVDs as well as their sexy DC Cowboys calendars. Three of the more popular calendars featured the dancers without clothes in artistic poses and included the "making of the calendar" DVD.
In 1996, Platte added a charitable element to the organization. He created a mission statement which said the company would provide free entertainment to any HIV/AIDS charitable organization. Over the years, the company also directly raised funds for HIV/AIDS organizations by sharing the profits of their calendar sales. The DC Cowboys raised millions of dollars through performances for national and local non-profit organizations such as:
Washington, D.C. AIDS Ride; Washington, D.C. AIDS Walk; Chase Brexton Clinic of Baltimore, Maryland; Northern Virginia AIDS Ministry; Human Rights Campaign; Whitman Walker Clinic of Washington, D.C.; Food and Friends of Washington, D.C.; Mautner Project; Gay Latino Benefits in Metro D.C.; Harford County AIDS/Cancer Benefit, Maryland; NYFD Benefit for the New York City Fire Department.
In 1996, the company received a grant from the D.C. Commission on the Arts and Humanities and the National Endowment for the Arts, honoring the company for its valued contribution to the Washington, D.C. arts community. The company always maintained a tax-deductible status as a 501c3 non-profit organization with a small board of directors.
During their 18-year tenure, the DC Cowboys provided an outlet for gay artists and performers in the Washington, D.C., metropolitan area. The company included 85 dancers, eight choreographers and three stage-managers. The company performed at 458 events in five countries. The DC Cowboys' crowd-pleasing, sexy dance style had been described as "Will Rogers Follies meets Bob Fosse." The group famously described themselves on America's Got Talent in 2008 as "Think Brokeback meets Broadway," which became a popular line echoed around the world. Their growth and popularity were attributed to their unique and high quality entertainment which was often copied in other cities but never equalled. In addition the dancers were talented, good-looking men who were friendly and approachable to their many fans. Their farewell season tour in 2012 visited all of their favorite performance venues and locations around the world and was dedicated to their fans who were instrumental to their success.
Typical performance venues included Pride Festivals in New York City, Washington, D.C., Baltimore, and Charlotte, North Carolina; Headliners on the Gay Rodeo circuit in Washington, D.C., Las Vegas, San Diego, Atlanta, Chicago, Calgary, and Texas; Halloween in New Orleans; Mr. Gay All-American Finals; Gay Men's Chorus of Washington, Washington, D.C., concerts and events; Whitman Walker Volunteer Appreciation at Constitution Hall, Washington, D.C.; PFLAG's Gala Dinner, Washington, D.C.; HRC (Human Rights Campaign) Leadership Dinner cruise aboard the Spirit of Washington, Washington, D.C.; Human Rights Campaign National Dinner, Washington, D.C. - special reception for major donors; Annual Chef's Best Dinner & Auction for Food and Friends, Washington, D.C..
Performance highlights included America's Got Talent television show, season 3, NBC, semifinalists (2008); Closing Ceremonies of the Gay Games VII at Wrigley Field in Chicago (2006); RSVP's Caribbean Fantasy gay cruise (2005); Arts grant recipient from the DC Commission on the Arts and Humanities and the National Endowment for the Arts (1996);The Sziget Festival in Budapest, Hungary (2009--012); Dales' Great Getaway television show, ITV London, England (2012); The Podge and Rodge television show, RTE, Dublin, Ireland (2010)."
Source
This history of the DC Cowboys Dance Company was supplied by its founder, Kevin Platte.
Provenance:
The collection was donated by Kevin P. Platte, founder and Artistic and Executive Director of DC Cowboys Dance Company in 2013.
Restrictions:
This collection is open for research use. Gloves must be worn when handling unprotected photographs, negatives, and slides.
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. Fees for commercial reproduction.
United States. National Aeronautics and Space Administration Search this
Extent:
15.23 Cubic feet (34 boxes.)
Type:
Collection descriptions
Archival materials
Photographs
Correspondence
Reports
Date:
1970s - 2010s
Summary:
This collection consists of approximately 15.23 cubic feet of papers, photographs, certificates, and video/film, created or collected by Kathryn Sullivan, spanning her lifetime of achievement.
Scope and Contents:
Scope and Content Note:
The Kathryn D. Sullivan Papers (acc. no. 2019-0007) reflect Dr. Sullivan's broad, restless curiosity regarding oceanography, geology, engineering, astronomy, space exploration and education advocacy. Sullivan's great contributions as a scientist, educator, astronaut and explorer are quite evident in this collection.
For the most part, this collection encompasses Dr. Sullivan's years spent as a NASA astronaut, with the U.S. Naval Reserve (USNR), as well as her post-NASA career as a federal government administrator, educator, scientist and explorer; roughly, from the 1970s through the 2010s. There is some material however, that dates back prior to this time span. This collection is a mixture of the following materials: correspondence, memoranda, notes, reports technical manuals, flight logs, photographs, speeches, news releases, papers, books, brochures, pamphlets, journals, magazines, articles and day planners. Additionally, there are some materials stored in oversized containers that include newspapers or sections of newspapers, Dr. Sullivan's Ph.D. dissertation from Dalhousie University in Halifax, Nova Scotia, certificates and awards, a photograph album, as well as matted photographs pertaining to her Space Shuttle flights (STS-41G, STS-31 and STS-45) and the Hubble Space Telescope (HST).
Upon receiving the Kathryn D. Sullivan Papers, the processing archivist did discern some order to this collection. Some materials, such as photographs, reports and speeches, tended to be grouped together. Other materials were threaded throughout in a more random fashion. Furthermore, most of the archival items had been already placed in some sort of files or folders. The processing archivist did rehouse these materials utilizing archival-friendly file folders and legal-size document cases.
This collection is arranged into three series. The first series is composed of personal materials that include correspondence, photographs, postcards, business cards and transcripts. Each type of archival material is organized chronologically and then alphabetically. The second series consists of professional materials and is by far and away the largest segment of the Kathryn D. Sullivan Papers. This series is arranged as follows: Dr. Sullivan's correspondence, memoranda, notes, reports, manuals (mainly Space Shuttle program-related), flight logs, photographs, speeches, news releases, policy directives and educational course materials, papers, Congressional hearings and testimony, books, brochures, catalogs and pamphlets, magazines and journals, certificates, articles, and miscellaneous materials (such as agendas, programs, day planners and photographic slides). All the above material is arranged chronologically and then alphabetically. The third series is composed of oversize materials. This material consists of newspapers or sections of newspapers (mainly focused on the Space Shuttle Challenger accident of 1986), Dr. Sullivan's Ph.D. dissertation, a photograph album, awards and certificates, as well as matted photographs, largely pertaining to her three Space Shuttle flights and the Hubble Space telescope (HST).
Please note: the initials "KDS" refer to Kathryn D. Sullivan.
Arrangement:
This collection is arranged into three series. The first series is composed of personal materials that include correspondence, photographs, postcards, business cards and transcripts. Each type of archival material is organized chronologically and then alphabetically. The second series consists of professional materials and is by far and away the largest segment of the Kathryn D. Sullivan Papers. This series is arranged as follows: Dr. Sullivan's correspondence, memoranda, notes, reports, manuals (mainly Space Shuttle program-related), flight logs, photographs, speeches, news releases, policy directives and educational course materials, papers, Congressional hearings and testimony, books, brochures, catalogs and pamphlets, magazines and journals, certificates, articles, and miscellaneous materials (such as agendas, programs, day planners and photographic slides). All the above material is arranged chronologically and then alphabetically. The third series is composed of oversize materials. This material consists of newspapers or sections of newspapers (mainly focused on the Space Shuttle Challenger accident of 1986), Dr. Sullivan's Ph.D. dissertation, a photograph album, awards and certificates, as well as matted photographs, largely pertaining to her three Space Shuttle flights and the Hubble Space telescope (HST).
Biographical / Historical:
Kathryn D. Sullivan was born on October 3, 1951, in Paterson, New Jersey. Several years later, the Sullivan family relocated to California where her father proceeded to work in the aerospace field. After graduating from high school in 1969, Sullivan received a Bachelor of Science degree in earth sciences from the University of California at Santa Cruz. In 1978, she earned her Ph.D. in geology from Dalhousie University, Halifax, Nova Scotia. During her time at Dalhousie, Sullivan participated in several oceanographic expeditions that studied the floors of the Atlantic and Pacific Oceans.
In 1977, Sullivan applied for a position as astronaut candidate for the National Aeronautics and Space Administration (NASA). Her application was successful and she was accepted as part of the first group of six women astronauts hired by the space agency. Training and evaluation commenced in 1978 and was completed the following year. Dr. Sullivan was now an official astronaut, qualified for selection on space flight crews. She would make her first flight aboard NASA's new fleet of Space Shuttles five years later. This flight, designated STS-41G (Space Transportation System), lifted off from the Kennedy Space Center (KSC) in Cape Canaveral, Florida, on October 5, 1984. While circling the Earth from the orbiter Challenger, Dr. Sullivan performed the first spacewalk or EVA (extra-vehicular activity) by an American woman. During her second shuttle flight, designated STS-31, she flew aboard the orbiter Discovery. Lifting off from KSC on April 24, 1990, she actively participated in deploying the Hubble Space Telescope (HST) into Earth orbit. Her third and final space flight occurred aboard Discovery once more, from March 24 to April 2, 1992. Dr. Sullivan served as Payload Commander on this mission, designated STS-45 - the first flight of Spacelab dedicated to NASA's Mission to Planet Earth program. In 1993, she retired from NASA but, not before logging a total of 532 hours in space.
Hand in hand with her NASA career, Dr. Sullivan also served her country with the U.S. Naval Reserve (USNR). In 1988, she became a direct commissioned officer with the rank of lieutenant commander. Two years later, Dr. Sullivan was given command of a specialized unit of oceanographers and meteorologists that was based at Naval Air Station Dallas. This facility provided support to the Naval Meteorology and Oceanography Command Center on the island of Guam. By the time of her retirement from the USNR in 2006, she had attained the rank of captain.
Though retired from NASA, Dr. Sullivan has since maintained a very active life. Aside from her work as an USNR officer that continued into the first years of the 21st century, she also served as President and Chief Executive Officer (CEO) of Ohio's Center of Science and Industry (COSI). Under her leadership, COSI enhanced its impact on science teaching in the classroom, as well as its national reputation as an innovator of hands-on, inquiry-based science learning resources. Additionally, from 2006-2011, she acted as Director for Ohio State University's Battelle Center for Mathematics and Science Education Policy while continuing with COSI as a volunteer science advisor.
Two decades after leaving NASA, Dr. Sullivan reentered public service within the federal government. In 2011, the Obama administration nominated, and the U.S. Senate confirmed, her as Assistant Secretary of Commerce for Environmental Observation and Prediction and Deputy Administrator for the National Oceanic and Atmospheric Administration (NOAA). Moreover, starting in early 2013, she served as acting NOAA Administrator. The following year, she was confirmed by the Senate as the Under Secretary of Commerce for Oceans and Atmosphere and simultaneously, as NOAA Administrator. She remained in these positions until early 2017.
Upon her retirement from government service, Dr. Sullivan was selected for the 2017 Charles A. Lindbergh Chair of Aerospace History Fellowship, at the Smithsonian Institution's National Air and Space Museum (NASM). During her time with the museum as a Fellow, she focused her research energies on the Hubble Space Telescope (HST). Based on this research, Dr. Sullivan wrote her book, Handprints on Hubble: An Astronaut's Story of Invention, which was released in 2019.
Dr. Sullivan's life as an explorer, researcher, scientist and public servant continued into the early 2020s. In 2020, she ventured aboard a specially equipped submarine to the bottom of the Challenger Deep in the Mariana Trench of the Pacific Ocean, becoming the first woman to reach the deepest known point of all of Earth's oceans, as well as the first person to travel to both the Challenger Deep and aboard the shuttle Challenger (and later, Discovery) into outer space. Also, late that year, Dr. Sullivan was named a volunteer member of President-Elect Biden's presidential transition Agency Review team to help facilitate transition efforts connected to the Commerce Department. In 2021, President Biden appointed her to the President's Council of Advisors on Science and Technology.
During her decades in public life, Dr. Sullivan has had many honors bestowed upon her and earned numerous awards – too numerous to list all of them here. The following is merely a sample: NASA Space Flight Medal (1984 and 1990), the National Air and Space Museum Trophy, Smithsonian Institution (1985), NASA Exceptional Service Medal (1988 and 1991), NASA Medal for Outstanding Leadership ((1992), Ohio Veteran's Hall of Fame (2001), Ohio Women's Hall of Fame (2002), inductee into the Astronaut Hall of Fame (2004) and the Aviation Week & Space Technology Aerospace Legend Award (2005). Additionally, she has received honorary degrees from multiple colleges, including ones from Brown University and Willamette University.
Provenance:
Kathryn D. Sullivan, Gift, 2018, NASM.2019.0007
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Kathryn D. Sullivan Papers, NASM.2019.0007, National Air and Space Museum, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Outterbridge papers, 1953-1997. Archives of American Art, Smithsonian Institution.
