The Maid of Cotton (MOC) beauty pageant was sponsored by the National Cotton Council, Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans from 1939-1993. The contest was held annually in Memphis, Tennessee until the National Cotton Council and Cotton Council International moved to Dallas, Texas. Beginning with the 1985 pageant (held December 1984) the competition was held in Dallas. The pageant was discontinued in 1993 due to lack of funds, a sponsor, and changes in marketing strategies. The records include files on contestants, photographs, and scrapbooks.
Scope and Contents:
The collection contains the records for the Maid of Cotton pageant (1939-1993) sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The collection consists of approximately 38 cubic feet of records created by the NCC in the course of operating the Maid of Cotton contest from 1939 to 1993. The records form the complete archive of this fifty-four year program. The records include administrative files, scrapbooks, photographs, slides, and videotapes.
"One of the main values of the Maid of Cotton collection is its completeness. These are all of the official records of the program, documenting all of its activities throughout its entire existence from 1939 to 1993. As such, it represents a truly unique documentary record and opportunity for research.
Beauty contests have been the subject of serious scholarly study for many years. A search of WorldCat reveals over fifty books on the topic. Scholars have found the subject to be a fruitful springboard from which to study a wide variety of topics, primarily centered around issues of beauty, femininity, culture values, national identity, racism, and feminism.
Beauty pageants serve as symbols that reflect the values of American culture. For example, pageant winners have symbolized the advances made by formerly disenfranchised groups. Vanessa Williams, the first African American to win the Miss America crown (1983), rewrote the definition of beauty in America, and Heather Whitestone, the first deaf Miss America (1995), proved that physical handicaps need not hold anyone back from their dreams. Pageants can provide a focus for the re-examination of our society and culture. The tragic murder of six-year-old Jonbenet Ramsey in 1996 provided a window into what author Susan Anderson calls "the extravagant world of child beauty pageants," that led to public debate about issues of motherhood and adolescence.
In addition, beauty pageants can be viewed in advertising terms: they are the ultimate expression of the tried and true adage that sex sells. All pageants have sponsors and all sponsors want their products to be seen in a positive light. Some sponsors are content to contribute goods and services to the contestants --a new car, a trip to the Caribbean, a fur coat, etc. --so that their generosity can be noted in the publicity surrounding the contest. Others prefer to sponsor the entire program. The Miss Universe contest, for example, was created in 1952 by the Jantzen Company specifically to enable the company to showcase pretty girls wearing its swimsuits. Jantzen abruptly withdrew its previous support of the Miss America pageant when Yolande Betbeze refused to wear a bathing suit during her reign as Miss America 1951. The Maid of Cotton pageant is a highly organized, year-long, very visible public relations program that allows the National Cotton Council to showcase the wonders of cotton through the wonders of young beauty queens. Attractive young women are the perfect vehicle for promoting fashionable fabrics made from cotton.
Cotton --the product at the heart of the Maid of Cotton program --has been central to American economic and political history. NMAH's collecting and research interests reflect this. The Division of Work & Industry contains numerous cotton-related objects and much documentation on the subject. The Archives Center holds several cotton-related collections, including the Peter Paul Haring Papers, 1897-1935, documenting Haring's development of cotton picking machinery; the Lockwood Greene collection of thousands of engineering drawings, many of which were for textile mills; the Robert L. Shurr Script and Scrapbook for a 1939 biographical motion picture on Dr. George Washington Carver; and the Southern Agriculture Oral History Project Records, 1985-1992, which documents modern cotton farming through photography and oral history interviews. In addition, all aspects of cotton production, from farm to factory to finished goods, are documented in several hundred photos in the Underwood & Underwood Agricultural Photonegative Collection, the Underwood & Underwood Glass Stereograph Collection, the Division of Work & Industry Lantern Slide Collection, and the Donald Sultner-Welles Photograph Collection. Cultural aspects of cotton can be discovered in both the Warshaw Collection of Business Americana and in the DeVincent Collection of Illustrated American Sheet Music." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)
Series 1, Organizational and Pageant Files, 1939-1993, undated., is arranged chronologically by year. Files may contain correspondence, photographs, news clippings, radio commercial scripts, tear sheets, itineraries, trip reports, sheet music, legal documents, waivers, and permissions, and other material related to the Maid of Cotton pageant for that year. Files may also contain subsequent personal information on the Maid of Cotton for that year, for example change of address, news clippings, and the like. This series contains finalist files, trip files and tour report files.
Series 2, Photographs, Slides, and Transparencies, 1939-1994, undated., is arranged chronologically by year. This series contains photographs, slides, and transparencies related to the Maid of Cotton and her travels throughout the United States and overseas. It also contains photographs of the fashions worn by each Maid.
Series 3, Scrapbooks, 1951-1988, contains the scrapbooks created by the National Cotton Council office as well as scrapbooks created by the Maids themselves or others for her. Scrapbooks most often contain news clippings, ephemera, and sometimes correspondence.
Series 4, Audio-Visual, 1991-1993. This series contains video and audio related to the Maid of Cotton. It is currently unprocessed.
Arrangement:
This collection is arranged into four series.
Series 1: Organizational and Pageant Files, 1939-1993, undated
Subseries 1.1: Maid of Cotton files, 1939-1993
Subseries 1.2: Little Miss Cotton, 1956-1963, undated
Series 2: Photographs, Slides, and Transparencies, 1939-1994, undated
Subseries 2.1: Photographic Negatives and Transparencies, 1939-1993, undated
Subseries 2.2: Slides, 1939-1993, undated
Series 3: Scrapbooks, 1951-1988
Series 4: Audio-Visual, 1991-1993, undated
Biographical / Historical:
The Maid of Cotton pageant began in 1939. The annual pageant was sponsored by the National Cotton Council (NCC), Memphis Cotton Carnival, and the Cotton Exchanges of Memphis, New York, and New Orleans. The pageant was held in Memphis, Tennessee, in conjunction with the Carnival until the 1980s.
In mid-December every year the NCC released a list of contestants. Contestants were required to have been born in one of the cotton-producing states: Alabama, Arizona, Arkansas, California, Florida, Georgia, Kentucky, Louisiana, Mississippi, Missouri, New Mexico, North and South Carolina, Oklahoma, Tennessee, Texas or Virginia. They might have also been born in the cotton-producing counties of Alexander, Jefferson, Massac, Pulaski, Williamson or Madison, Illinois or in Clark or Nye counties of Nevada. There were usually twenty contestants each year.
Contestants were judged on personality, good manners, intelligence, and family background as well as beauty and an ability to model. A Top Ten were chosen and then a Top Five, and finally second and first runners up and a winner. Winners served as goodwill and fashion ambassadors of the cotton industry in a five-month, all-expense tour of American cities. In the mid-1950s the tour expanded globally. In the late 1950s a Little Miss Cotton pageant was begun but lasted only until 1963 before being discontinued. In the mid-1980s Dallas,Texas took over the pageant, in conjunction with the NCC and its overseas division, Cotton Council International. In 1986, to bolster interest and participation, the NCC eliminated the rule requiring contestants to be born in a cotton-producing state. The pageant was discontinued in 1993, one of the reasons being that Cotton Inc. stopped contributing scholarship money as well as waning public interest and changing marketing strategies. (pageantopolis.com website accessed April 2012.)
"The National Cotton Council is the official trade association of the cotton industry. The NCC was founded in 1939 to promote the interests of cotton farmers, ginners, brokers, and manufacturers from the Southern, cotton-growing states. Its mission evolved over the years as new uses for cotton and its byproducts have been found; as competition from synthetic fibers developed; as fashion tastes changed; as government regulation increased; and in response to foreign competition in both farming and manufacturing . The NCC website states that its modern-day mission is "to ensure the ability of all U.S. cotton industry segments to compete effectively and profitably in the raw cotton, oilseed and U.S.-manufactured product markets at home and abroad." Throughout its existence, the NCC has been the contact point for issues affecting its members, legislators in Congress, allied agribusiness, and consumers.
One of the first NCC programs undertaken by to promote the versatility and value of cotton to consumers was the Maid of Cotton program, begun in 1939. This consisted of a beauty pageant open to young women born in one of the seventeen southern cotton growing states. The contestants were evaluated on the basis of beauty, personality, poise, good manners, and intelligence; a family background in cotton production was especially helpful. The girls had to apply for selection to compete in the program. At first this was done directly to the Memphis-based program but eventually a system of state Maid of Cotton programs were established, whose winners went on to compete in the national Maid of Cotton contest. The Maid of Cotton received numerous prizes, whose value and variety tended to increase over the years. In the late 1940s, the program added a scholarship prize, probably in emulation of the Miss America contest. The Maid of Cotton pageant was held each December in Memphis as part of that city's Cotton Carnival festivities. The winner was featured prominently on her own float in the Cotton Carnival parade, was feted at prestigious Carnival events, and was treated as royalty wherever she went. Selection as the Maid of Cotton carried a high degree of status and mature ladies in the South to this day proudly identify themselves as such.
The Maid of Cotton's main function, once crowned, was to serve as a goodwill and fashion ambassador for cotton; any publicity she gained was automatically positive publicity for the cotton industry. Accompanied by an NCC-appointed manager, the Maids embarked on an all-expenses-paid tour. The Maids appeared in full regalia at public events such as county fairs, parades, and holiday events; starred in fashion shows featuring all-cotton outfits; gave speeches to local chambers of commerce and other groups; and in general were the attractive personification of the cotton industry wherever they went. At first, the tours concentrated on the cotton states but they were later extended to major cities outside the cotton belt and came to include visits to legislators on Capitol Hill. Beginning in the mid-1950s, the Maids began touring internationally and in the 1970s and 1980s they frequently headed up fashion shows in Asia.
Over time, however, the publicity value of an industry-anointed beauty queen lost its attraction both to the public and --more importantly --to the press. In addition, the role of cotton in the South, particularly in Memphis, declined. In 1986 the contest was moved from Memphis to Dallas. Eventually the cotton industry withdrew its support for the program's scholarships; the 1993 Maid of Cotton was the last to be crowned." (Orr, Craig. "NMAH Collections Committee", memorandum, 2009)
Related Materials:
Materials in the Archives Center
National Cotton Council Records, circa 1960s-1980s (AC1177)
Southern Agriculture Oral History Project Records, 1986-1991 (AC0773)
Provenance:
This collection was donated by the Cotton Museum at the Memphis Cotton Exchange on October 14, 2009.
Restrictions:
Collection is open for research but the negatives are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Baekeland, L. H. (Leo Hendrik), 1863-1944 Search this
Collection Creator:
Baekeland, L. H. (Leo Hendrik), 1863-1944 Search this
Extent:
1 Item (6.0" x 3.5")
Container:
Box 21, Folder 9
Type:
Archival materials
Diaries
Date:
1935 January 1- 1935 December 31
1935 June 1- 1935 December 31
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The 75th anniversary of the State of Oklahoma's admission to the Unites States - its Diamond Jubilee - was celebrated at the 1982 Festival with the presentation of cultural traditions that Oklahomans nourish and support. Music and craft traditions associated with diverse ethnic groups in Oklahoma were presented, as well as skills, knowledge, and lore associated with two major Oklahoma institutions - horses and oil. Indeed, a horse-racing track and show ring were created in the center of the National Mall to host programs spotlighting Oklahoma horse culture.
The strength of folklife in Oklahoma stems from contrasts in the state's landscape and diversity of its cultures. The original settlers in the area now Oklahoma were the Osages, Quapaws, Caddos, Pawnees, Wichitas, Comanches, and Kiowas, but in the 1820s as the Indian removal from the South became the national goal, the Five Civilized Tribes were forcibly marched to "Indian Territory." During the next fifty years, additional tribes were removed to the Territory until today over fifty-five tribes are represented within the state.
In non-Indian culture Oklahoma is a late-comer. White settlement did not start until 1889 with the first land run, and for the next fifteen years additional Indian lands were opened through other land runs, lotteries, and allotments. Oklahoma became the melting pot of the nation. Because it offered free farm land for many new European immigrants, more people moved into Oklahoma in a shorter period of time than any other migration in American history. Also, mining - particularly coal mining - was developed by Indians in the eastern Territory, which attracted many Italian, as well as Mexican and Welsh immigrants, to the new coal fields, and communities that were predominantly Italian grew up around them. Other communities predominantly of one ethnic group, such as Polish, German, Russian-German, Czech and Slovak, were established in the free land areas of central and western Oklahoma, and their Old World traditions continue to flourish until now.
Next to Anglo, Mexican, and Indian cultures, blacks compose the largest ethnic group, but even some black traditions were transported to Oklahoma by Indians. Many citizens of the Five Civilized Tribes were plantation slave holders in their southern homes, and when they were removed to Indian Territory, they took their cotton farming traditions and slaves with them. When the Emancipation Proclamation freed the slaves of the Indians, they became known as Indian Freedmen and congregated into all-black settlements. Later, a movement was started to make Oklahoma an all-black state.
Music has played a strong role in all areas of Oklahoma folklife. Fiddle music is widespread and its various styles reflect the state's diversification. Western swing and dance music developed into what is often referred to as the Texas-Oklahoma style, in which a "breakdown" is slowed and the full bow is used; still, a hybrid Oklahoma fiddler has the ability to play almost any style. Places where Saturday night dances are held can be found in communities of all sizes as well as in the country, miles from the nearest town. A cultural blend of musical styles, western swing has one primary characteristic - a danceable beat. While country and bluegrass music primarily emerged as listening traditions, the principal audience for western swing is a dancing crowd. If the listeners on a Saturday night outnumber the dancers, the band has failed at playing good western swing.
Not all music is secular, for gospel is also very much alive. The tradition of shape-note singing was first introduced among the Five Civilized Tribes and taught to the Indian Freedmen. Shape-note singing became widespread among Christians, and, as whites settled in the state, the singing schools expanded. Indian crafts proliferate in Oklahoma. In the past decade, increasing numbers of persons from many tribes have moved to Oklahoma, often as a result of marrying a person from an Oklahoman tribe, but just as often to relocate to a good crafts market. The crafts of Oklahoman tribes include baskets, pottery, flute making, woodcarving, headwork, hidework, patchwork, appliquework, featherwork, quilting and German silverwork. They continue to flourish as old ways are increasingly appreciated and practiced.
Lee Roy Smaltz, 1900-1990, doodlebugger, witcher, Cushing
Darrell Smith, 1947-, pumper, model builder, Oilton
Tom Spradlin, 1917-1989, oil model builder, Oilton
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives; please submit this form. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1982 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Letters Received from the Commissioner, the Assistant Commissioner, and the Staff
Type:
Archival materials
Date:
Jan. 1866–Mar. 1868
Scope and Contents:
Unbound letters received from the Commissioner, the Assistant Commissioner and the staff, January 1866–March 1868, are arranged chronologically.
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commerical use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commerical use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Unbound letters received, 1865–68, are arranged by year, thereunder by the initial letter of surname of the correspondent, and thereunder chronologically.
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commerical use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Use of the materials requires an appointment. Please contact the archivist at ACMarchives@si.edu
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Anacostia Community Museum Archives, Smithsonian Institution.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
The John K. Parlett Collection of Agricultural Ephemera, 1859-2011, undated, is a collection of operator's instruction manuals, parts illustrations manuals, dealership materials, farming, farm life, and agriculture-related ephemera. The material is from national companies as well as local manufacturers and businesses.
Scope and Contents:
The collection consists of farming and rural life ephemera, dating from about 1859-2011, and undated. The materials are national in scope and include agricultural ephemera from all regions of the United States. Since Parlett's collecting interest spanned the entire spectrum of agricultural work, the collection is not livestock or crop specific. It covers many types of farming from dairying, beekeeping, poultry, cattle, sheep, and hogs to raising tobacco, small grains, hay and forage. It includes almanacs, operator's manuals, catalogues, promotional materials, pocket ledgers and notebooks, mail order catalogs, state fair advertising and catalogues, livestock care and feeding manuals, correspondence, receipts, guarantees, chemical and fertilizer handbooks, account books, "Ladies'" notebooks and calendars, directories, price lists, corporate "yearbooks," clothing advertisements and catalogues, farming practices handbooks, agent's sales order books, seed guides, National Grange material, farming co-op by-laws and ephemera, agriculture related convention materials, poultry magazines and journals, beekeeping magazines, barn and housing design material, gardening manuals, sales contracts for machinery, appliance manuals, commodity marketing guides, auction catalogues, home canning and meat processing manuals and guides, price lists, pamphlets, sale brochures, and dealer service manuals.
The range and national scope of items in the collection illustrate the progression of invention within agriculture. The machinery manuals not only describe machinery in detail, but break it down to the machinery components, how it is put together and how it is repaired. The invention aspect tracks the development of farm mechanization from hand work with intensive labor requirements to machinery developed to decrease labor costs and numbers while at the same time increasing production. The changes in agricultural technology in the later years of the Industrial Revolution, on the cusp of mechanization and the availability of mail order products for the home and farm, are documented in the collection by advertisements and mail order catalogues, for products purchased in nearby towns and equipment used in farm tasks.
The sizeable mail order component of the collection provides research opportunities into economics and marketing both to an agricultural community and an urban community. The demographic changes resulting from increased urbanization and employment opportunities in manufacturing -- and how small farms coped with them -- are documented in the collection by detailed descriptions of who was expected to do what tasks and how those tasks were accomplished. With the beginning of mail order by Aaron Montgomery Ward in 1872, mail order became an integral part of life in rural America. Mail order catalogs allowed rural residents to buy new equipment and follow the latest trends in fashion or household appliances without ever leaving the farm. Mail order also allowed rural American to reap the benefits of growing mass production. Homemade clothing gave way to ready-to-wear clothes sold through retail outlets and through mail order catalogues. Likewise tools and machinery that had been locally built and maintained gave way to parts and machinery that could be purchased through mail order as well as local equipment company dealers. Mail-order buying was made even more accessible in 1896 with the first rural free delivery (RFD) service.
Gender and ethnic aspects of farm life are documented in the collection. For example, sausage, lard, pudding making and similar tasks were traditionally done by women; labor was often divided along racial or ethnic lines and used different machinery and tools for various types of farms in different locations. The collection has a sizeable component of community materials related to farm life such as county and state fair catalogues, National Grange materials, and instructional booklets given away by feed and machinery manufacturers. "How to" booklets and pamphlets covering virtually every aspect of the farm and farm work targeted members of the farm family and its labor force.
The collection complements the Smithsonian's invention holdings as innovation was taking place on the farm as well as in the factory throughout the Industrial Revolution. The machinery manuals with their operation and repair guidelines, the schematic drawings and details on "new and improved" machinery provide a cohesive span of primary material to inform the evolution of farm work from hand and physical labor involving many people to the more mechanized farming capable of being done by one farmer alone or with minimal family or hired help.
The collection includes the business records (1971-1981, undated) for Custom Auto and Equipment Sales of Manassas, Virginia, a John Deere dealership. These records include equipment inventories, a John Deere Consumer Products Dealer Parts Administration Manual, JD Dart operators manual, and a Sperry New Holland dealer sales aid manual, sales accounts, all of which help document the transition from manual based accounting systems to product specific (in this case JD Dart for John Deere) computer based systems. This portion of the collection is illustrative of suburbanization. With the farm crisis of the early 1980s, Custom Auto and Equipment ceased selling farm machinery and concentrated on the urban aspect of the John Deere brand: lawnmowers, tillers and those pieces of machinery used in housing developments being built in and around Manassas. The market for farming equipment nearly ceased to exist and in an effort to salvage their business they adapted to the environment around them.
This collection also includes sales materials for Todd Equipment Company located in Chesapeake, Virginia with a branch office in Hagerstown, Maryland. Todd serves farm equipment dealers in the states of Delaware, Maryland, New Jersey, North Carolina, Pennsylvania, South Carolina, Virginia, and West Virginia. They carry an extensive line of machinery catering to all types of agricultural cultivation, care, and harvesting. As of 2015 they are still in business.
The collection is arranged in eight series with items arranged chronologically and in some series alphabetically.
Series 1, Allis-Chalmers, AGCO Allis, and Deutz Allis, 1957-1980, undated, is arranged chronologically. This series contains operator's manuals, sales ephemera, brochures, service manuals, setting up directions, a lease plan, and a sales book. This series includes brand names AGCO Allis, Allis-Chalmers, Athens Plow Company, Baldwin, and Jeoffroy Manufacturing Incorporated, L&M
Series 2, Case, Case-IH, International Harvester, 1903-1986, undated. This series is arranged chronologically. This series includes brand names McCormick-Deering, Farmall, International-Farmall, and McCormick. It includes sales brochures, price lists, operator and maintenance manuals, product guides, advertisements, pamphlets and brochures, catalogues, and a program from McCormick Day, 1931 in Blacksburg, Virginia.
Series 3, John Deere and Company, John Deere Plow Company, 1910-2008, undated, is arranged chronologically. This series contains publications, operator's and maintenance manuals, sales brochures and pamphlets, sales manuals, catalogues, product magazines, and safety manuals.
Series 4, Sperry-New Holland, 1975-1984, undated, is arranged chronologically. This series contains operator's and maintenance manuals, sales brochures and pamphlets.
Series 6, Custom Auto and Equipment Sales of Manassas, Virginia Business Records, 1971-1981, undated. These records include equipment inventories, John Deere Consumer Products Dealer Parts Administration Manual, JD Dart operator,s manual, and a Sperry New Holland dealer sales aid manual, and sales accounts.
Series 6, Todd Farm Equipment, Incorporated, 1973-1980, undated, is arranged chronologically. This series contains the contents of Todd's sales manual detailing various companies and their products. The series includes sales brochures, equipment specifications and capabilities as outlined in corporate sales material, and a Todd catalogue.
Series 7, Assorted Companies, Catalogues, Periodicals, and Publications, 1859-2011, undated. This series is arranged chronologically and then alphabetically for the undated material. This series contains material from a variety of companies and purveyors of farm-related equipment, products, and disciplines as well as farm culture-related materials. This series includes mail order catalogues, sales and instructional pamphlets, almanacs, advertisements, government publications, magazines, catalogues, convention and souvenir brochures, National Grange materials, manuals, cook books, record books, price lists, county and state fair ephemera, beekeeping-related materials, dairying related publications and equipment brochures, operator's manuals, and the auction catalogue from the Parlett Farm-Life Museum auction.
Series 8, Poultry, 1912-1949, undated, is arranged alphabetically. This series contains material related to the production of poultry. It includes magazines, advertisements for poultry products, and educational materials related to poultry.
Arrangement:
The collection is arranged in eight series.
Series 1, Allis-Chalmers, AGCO Allis, and Deutz Allis, 1957-1980, undated.
Series 2, Case, Case-IH, International Harvester, 1903-1986, undated.
Series 3, John Deere and Company, John Deere Plow Company, 1910-2008, undated.
Series 4, Sperry-New Holland, 1975-1984, undated.
Series 6, Custom Auto and Equipment Sales of Manassas, Virginia Business Records, 1971-1981, undated.
Series 6, Todd Farm Equipment, Incorporated, 1973-1980, undated.
Series 7, Assorted Companies, Catalogues, Periodicals, and Publications, 1859-2011, undated.
Series 8, Poultry, 1912-1949, undated.
Biographical / Historical:
John K. Parlett (1937-2005) was born in St. Mary's County, Maryland, and was a life-long resident of the county and state. He was a farmer and businessman and served as a St. Mary's County Commissioner from 1974-1978 and as a member of the Maryland House of Delegates from 1981-1986.
Parlett began collecting farm equipment and agriculture-related ephemera in the 1960s. His son, John K. Parlett, Jr., stated, "The more he collected the more his passion grew." Even though Parlett lived in Maryland, his collecting was national in scope and included materials he and his wife bought on collecting trips around the country. Parlett expanded his collection of equipment and agricultural ephemera after retiring in 1986. John K. Parlett, Jr., stated, "he [Parlett Sr.] caught 'the antique bug' . . . [they] went out almost every weekend collecting more things." Parlett did not merely collect old machinery, he sought and acquired catalogues, equipment operation manuals, posters, ephemera, county and state fair ephemera, and even records from an agricultural equipment dealer, Custom Auto and Equipment Sales, in Manassas, Virginia.
Between 1988 and 1993 the collection grew so large that Parlett built a 60,000 square foot building on his farm to hold the machinery component. He converted many farm sheds, turkey and chicken houses into display areas and a library. Parlett eventually founded the John K. Parlett Farm Life Museum of Southern Maryland located on his farm, known as Green Manor. Beginning in 1996, the museum was opened annually for the Farm Life Festival, benefitting the St. Mary's County Christmas in April program, founded by Parlett. The collection was open by appointment for study; the local Amish community consulted some of the materials in the collection for help in repairing their outdated equipment. Parlett was highly respected in collecting circles. He was a tenacious and indefatigable collector who made an effort to collect all types of agricultural machinery as well as archival materials relating to farm life. Rare or obsolete items are included in this collection, as are ephemeral items relating to farm and ranch life. "If it was used on the farm or in rural America in the last 100 years, chances are it'll be at the Southern Maryland Farm Life Festival," enthused Agrifarm.com in 2008 when describing the Parlett holdings.
The last year for the Farm Life Festival was 2009. The Parlett Collection, consisting of 1007 lots of machinery, tools, tractors, household, and general store items, was auctioned by Aumann Auctions in the fall of 2011. At the auction, some materials and machinery were purchased by The Henry Ford Museum in Dearborn, Michigan and other museums throughout the United States.
NMAH Curators Pete Daniel and Larry M. Jones surveyed the collection while Parlett was still alive. Jones was credited with advising Parlett while he was building the collection. Jones commented on the collection in 2005, "I was blown away by what he had put together; here was a man who turned an interest into one of the best rural farm life collections I've ever seen. And John has such an eye for good and appropriate stuff. It's just a sensational collection." He reportedly wrote a memo suggesting the Museum "investigate the possibility" of acquiring portions of the collection if and when Parlett was willing to donate items. There was no further discussion of acquiring any of the collection until 2010, when Craig Orr, archivist-curator, talked with John K. Parlett Jr., who expressed a willingness to donate the archival materials as the entire collection was being prepared for auction. Orr and Franklin A. Robinson, Jr., archives specialist, surveyed the collection in early 2011 and selected the materials included in the collection.
Related Materials:
Maid of Cotton, Cotton Council Collection, Southern Agriculture Oral History, Robinson and Via Family Papers, Louisan Mamer Papers, Harness-Maker's Account Books, Memphis Cotton Carnival Records, New England Merchant and Farmer Account Book, Hagan Brothers Account Books, Product Cookbook Collection, Maryland Farm Diary (1879-1894), Bermis B. Brown Collection, and The Cincinnati Boss Collection. The William E. Kost Farm Records, 1939-1989 and The Kent Family Records, 1879-1933.
There are holdings in the Division of Home and Community Life related to farming and agriculture including farm clothing, home arts materials such as needlework, quilts, sewing, kitchen appliances, farming implements and machinery, and 4-H objects. The Lemelson Center has assited in acquiring objects and archival collections in the field of invention and innovation in various divisions of NMAH.
Provenance:
This collection was donated by Catherine Parlett, widow of John K. Parlett, in 2012.
Restrictions:
This collection is open for use.
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.
The collection is divided into four series. Series 1: Oral History Transcripts, 1982-1991 are transcribed versions of the oral interviews. Correspondence and/or notes pertaining to the interviewed individual collected or written by the interviewer are filed in this series following the transcription. The majority of the oral histories were done by Lu Ann Jones between1985-1991. There are a few interviews done by Pete Daniel in the early 1980s and some reference copies of oral histories done elsewhere.
This series is divided into eight sub-series: Sub-series 1.1: Arkansas, Sub-series 1.2: Georgia, Sub-series 1.3: Louisiana, Sub-series 1.4: Mississippi, Sub-series 1.5: North Carolina (including transcripts of the Mexican Workers Project in English and Spanish), Sub-series 1.6: South Carolina, Sub-series 1.7: Tennessee, and Sub-series 1.8: Virginia. Files are arranged alphabetically by state and there under by name; within the file materials are arranged chronologically. Interview files may contain transcribed copies of the oral history interviews and subsequent draft copies with corrections by the interviewer or subject. The file also may contain distillations or edited versions of the interview done by the researcher for possible publication. Correspondence and notes files may include Life History Forms, correspondence, newspaper articles, interviewer's notes, business cards, and paper copies of photographs. Signed releases are on file in the registrar's office, NMAH, with copies in the control file of the Archives Center.
Series 2: Project Files and Reference Materials, 1928-2004 contain notes and correspondence kept by Jones in support of the oral history project. This series is divided into four sub-series: Sub-series 2.1: State Files, Sub-series 2.2: Project and Reference Files, 1985-1991, Sub-series 2.3: Reference Publications, Pamphlets and Articles, 1928-2004 and Sub-series 2d: Computer Floppy Disks, 1985 and undated. This series include bills, receipts, photo orders, travel brochures, reference materials, articles, correspondence, fundraising proposals and materials, USDA Extension Service bulletins, product cookbooks, and ephemera. These materials are valuable in documenting the methodology of the oral history project. They are also valuable in detailing the funding and maintenance of the project over its five-year lifespan. There is also a great deal of information on black farmers. This series is arranged alphabetically by state and county or by article/publication title and within the file chronologically.
Series 3: Photographic Prints and Slides, 1987-1991 documenting the individuals interviewed, their homes and businesses, and geographic locations that were studied as part of the oral history project. The series is arranged numerically then chronologically by year. This series is followed by detailed photographic descriptions arranged alphabetically by state then subject. Photograph files contain photographs taken by a Smithsonian photographer or Jones and any copies of photographs supplied by the subject. Most of the photographs are black and white.
Series 4: Original Interview Tapes and Reference Compact Discs (CD), 1986-1991 are the original tapes of the individual interviews conducted by Jones. This series is divided into eight sub-series. Reference numbers for CDs matching the original tapes are noted after the tapes. CDs 495-497 are for the Smithsonian Photographer's Show: Sub-series 4.1: Arkansas, Sub-series 4.2: Georgia, Sub-series 4.3: Louisiana, Sub-series 4.4: Mississippi, Sub-series 4.5: North Carolina (within this sub-series are the transcripts of the Mexican Workers Project there may be an English language transcription as well as one in Spanish), Sub-series 4.6: South Carolina, Sub-series 4.7: Tennessee and Sub-series 4.8: Virginia and Sub-series 4.9: Miscellaneous and Duplicates, within the sub-series tapes are arranged alphabetically by subject.
Arrangement:
The collection is divided into four series:
Series 1, Oral History Transcript
Series 2, Project Files
Series 3, Photographic Prints and Slides
Series 4, Original Oral History Interview Tapes and Reference Compact Discs (CDs) are the original interview tapes and the accompanying reference copy cds.
History:
The history of the American South is intricately entwined with the history of agriculture in North America. Until very recently, post 1950, the South was predominately rural and agricultural in both its production and culture. By the 1980s American agriculture, and particularly agriculture in the south, was under attack on various fronts especially cultural, financial, and technological. This assault threatened the very existence of the small and family farm. Many small farming operations went bankrupt and the face of American agriculture was becoming more corporate. It was amidst these troubling times that the Agricultural Division of the Smithsonian's National Museum of American History undertook a massive project to document southern agriculture through oral history.
Through the efforts of NMAH staff, Pete Daniel, curator and project director, LuAnn Jones, researcher, and with countless support from staff photographers and personnel, Jones conducted approximately 159 interviews of individual persons, couples and sometimes small groups, in eight southern states over a five year period, 1986-1991. The project was funded by a series of grants from various sources. Not only were oral histories taken but also substantial documentary photographs and slides of the many interviewees. The interviews ranged from individual farmers to individuals at companies and corporations involved with agriculture. The range of crops discussed included tobacco, cotton and rice. The project interviewed a wide range of subjects: male, female, black, white, and Mexican. The project has contributed to at least two books, Mama Learned Us to Work: Farm Women in the New South by LuAnn Jones and Like a Family: The Making of a Southern Cotton Mill World by Jacquelyn Dowd Hall and others of which Jones was a contributing author.
Related Collections:
#60 Warshaw Collection
#149 Kulp Collection of Account Books, 1755-1904
#475 Robinson and Via Family Papers
#481 William C. Kost Farm Records
#767 Timothy B. Bladen, Southern Maryland Photoprints
Provenance:
A transfer from the Division of History of Technology (Agriculture), NMAH, July 2001
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection consists primaily of photographs and films created by the National Cotton Council of America (NCC) to document cotton production and use and to support the advocacy and educational work of the organization.
Scope and Contents:
Collection consists of photographs, slides, and 16mm films created by the National Cotton Council of America (NCC) to document cotton production and use and to support the educational and advocacy work of the organization. It is arranged into four series.
Series one contains black and white photographic prints dating primarily from the 1950s-1970s. The photographs document every aspect of cotton farming, from before the seed is planted to the production of finished cloth. Most of these prints illustrate agricultural practices, including land preparation, planting, bedding, plowing, harrowing, drainage, cultivation, stripping, and harvesting. Another group documents pests and infestations – boll weevils, fleas, mites, pink bollworm, hoppers - and the methods of countering them with insecticide and herbicide applications. Other photographs illustrate more general topics, including the history of cotton, research programs, trading, foreign cotton farming, printing, spinning, and weaving. There are also photographs of agricultural equipment manufactured by International Harvester. In addition, a small group of photographs consist of images from movies produced by the National Cotton Council of America (NCC). The photographs were maintained in the order that was created by the National Cotton Council of America (NCC).
Series two include slides and color photographs which date from the 1980s-early 2000s. These materials document many of the same topics as the black and white photographic prints during a later time. Many of the slides were created and assembled for use in presentations. In addition, there are slides of individuals and activities from the National Cotton Council of America (NCC) board meetings and conferences.
Series three consists of publications and reference materials.
Series four contains two hundred and fourteen films that were created by the National Cotton Council of America (NCC) and date from the 1960s-1980s. Films primarily document cotton farming and its versatility and use in consumer goods. A consistent theme and message are to promote cotton to the fashion industry and for home use.
Arrangement:
The collection is arranged into four series.
Series 1, Black and White Photographic Prints, 1945-1970s, undated
Subseries 1.1, Cultivation and Production of Cotton, 1950s-1970s
Subseries 1.2, Film Stills, 1956-1971, undated
Subseries 1.3, Subjects and Events, 1945-1965
Series 2, Slides, 1979-1999, undated
Series 3, Publications, 1954-1981
Series 4, Films, 1953-1996, undated
Biographical / Historical:
The National Cotton Council of America (NCC) is the official trade association of the cotton industry. The NCC was founded in 1939 to promote the interests of cotton farmers, ginners, brokers, and manufacturers from the Southern, cotton-growing states. Its mission evolved over the years as new uses for cotton and its byproducts were found; as synthetic fibers were developed; as fashion tastes changed; as government regulation increased; and as foreign competition in farming and manufacturing grew. The National Cotton Council's website states that its current mission is "to ensure the ability of all United States cotton industry segments to compete effectively and profitably in the raw cotton, oilseed and United States-manufactured product markets at home and abroad." Throughout its existence, the NCC has been the contact point for industry issues affecting its members, legislators in Congress, allied agribusinesses, and consumers.
The National Cotton Council of America (NCC) initially gave this collection to the Cotton Museum at the Memphis Cotton Exchange early in 2008, during the move of the Memphis-based NCC's corporate offices into a much smaller facility. Calvin Turley, president of the Board of the Cotton Museum, accepted the materials with the understanding that he could do with them as he wished. Ultimately, he decided that the collection was outside the scope of the Cotton Museum's mission. Turley offered the collection to the National Museum of American History in the belief that this was "the best possible place in the whole world for it."
Related Materials:
Materials in the Archives Center
Maid of Cotton Records (NMAH.AC.1176)
Warshaw Collection of Business Americana (NMAH.AC.0060)
Peter Paul Haring Papers (NMAH.AC.1014)
Sally Fox Innovative Lives Presentation (NMAH.AC.0646)
William Mason Papers (NMAH.AC.0045)
Anne E. Peterson Stereograph Collection (NMAH.AC.0402)
Southern Agriculture Oral History Project Records (NMAH.AC.0773)
Uriah A. Boyden Papers (NMAH.AC.0982)
Provenance:
Donated to the Archives Center in 2009 by the Cotton Museum.
Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives.
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.
Postcard book depicts various scenes from Texas mythology: the Alamo, "Judge Roy Bean, the law west of Pecos, holding court...trying a horse thief...", cattle and cotton farms during harvest season. The booklet includes a postcard-length history of Texas, from Republic to state to Confederacy to Union membership. The images include Texas industries such as oil, cotton, cattle, etc.
General:
Series 1, Box 13--U.S.A.--Texas.
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.
