Search Results

Creator:

Mundel, Marvin Everett, 1916-1996 (industrial engineer)  Search this

Names:

A.O. Smith Company  Search this

Aji-no-moto Corporation  Search this

Albert Trostel and Sons  Search this

Aluminum Goods Manufacturing Comp  Search this

American Colortype Company  Search this

American Institute of Industrial Engineers  Search this

Asian Productivity organization  Search this

Barbar and Coleman  Search this

Bridgestone  Search this

Briggs & Stratton Corporation  Search this

Buffalo China Company  Search this

Cindahy Brothers Company  Search this

College of Technology Birmingham, England  Search this

E.I. du Pont de Nemours & Company  Search this

Gardner Board and Carton Company  Search this

Hamilton Manufacturing Company  Search this

Herbst Shoe Manufacturing Company  Search this

Japan Productivity Center  Search this

Japanese Management Association  Search this

Kanaki Gear Plant  Search this

Kanebo Spinning Co.  Search this

Kawasake Dockyard  Search this

Lockheed Shipbuilding and Construction Comp  Search this

Milwaukee Dental Research Group  Search this

Milwaukee Gas Company  Search this

Mitsubishi Heavy Industries Ltd.  Search this

Nihon Denso  Search this

Nippon Electric Company  Search this

Nippon Kokan Tsurumi  Search this

Pillsbury Mills  Search this

Purdue University  Search this

S.C. Johnson and Son  Search this

Society for the Advancement of Management  Search this

Stephan A. Young Company  Search this

Sumitomo  Search this

Walgreen's  Search this

Western Printing and Lithography Corp  Search this

Westover Engineers  Search this

Yanmar Diesel Engine Company  Search this

Deming, Edwards  Search this

Gambrell, C.B.  Search this

Extent:

15 Cubic feet (36 boxes)

75 Motion picture films

Type:

Collection descriptions

Archival materials

Motion picture films

Photographs

Field notes

Motion photographs

Diagrams

Loop films

Motion pictures (visual works)

Transparencies

Correspondence

Charts

Place:

United States Navy Long Beach Naval Shipyard

United States Rock Island Arsenal

Date:

1937-1996

Summary:

The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel, a well-known expert in the field of work management and productivity enhancement.

Scope and Contents:

The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel and demonstrate his work practices and teaching techniques.

The collection is organized chronologically into eleven series: Biographical Materials, Writings, Industrial Engineering, Work Methods, Purdue University, Time and Motion Study, Government Work, Japanese Consulting, Asian Productivity Organization, Dupont Case Study, and Films and Videos. While the years in each series may overlap, the separation of series demonstrates the evolution of Mundel's work and teachings. Photographs can be found throughout the collection. Information about the film and video series is located in Appendix A.

Series 1, Biographical Materials, 1953-1996, consists of documentation about Mundel and his career. The series contains bibliographies and curriculum vitae, correspondence, documentation on his memberships in Industrial Engineering groups, photographs, and certificates.

Series 2, Writings, 1937-1994, brings together Mundel's papers, speeches, books, and publications. When possible, the writings are arranged chronologically. The remaining writings are arranged by topic. This series should not be considered a definitive bibliography of Mundel's writings.

Series 3, Industrial Engineering, 1954-1995, combines Mundel's research with correspondence to and from other Industrial Engineers. It also includes Mundel's contributions to the Encyclopedia Britannica on "Industrial Engineering," "Work Measurement," and "Memomotion."

Series 4, Work Methods, undated, contains documents such as forms, office procedure manuals, visual aids, and printed matter about office equipment that offer insight into Mundel's work methods and innovative methods of making his own office more efficient.

Series 5, Purdue University, 1951-1957, documents his teaching career at the Industrial Engineering Department as well correspondence from his trip to England where he taught classes on industrial engineering.

Series 6, Time and Motion Study, 1952-1984, includes notes, data, printed matter, correspondence, charts, and photographs from his consultant work for various companies. This series contains seven subseries: Subseries 1, Consulting Work, 1954-1966; Subseries 2, Correspondence, 1956-1960; Subseries 3, Course work, undated; Subseries 4, Equipment, undated; Subseries 5, Film, 1952-1984; Subseries 6, Memberships, 1970-1977; and Subseries 7, Research, 1957.

Subseries 1, Consulting work, 1954-1966, contains correspondence and data from the corporations that hired Mundel as a consultant. Subseries 2, Correspondence, 1956-1960, the contains letters to and from people with diverse interests in time and motion study. Many people wrote to Mundel asking for advice with projects. Visual aids and handouts make up Subseries 3, Course work. In order to create memomotion, Mundel needed to refine certain electrical and motor parts on the cameras and projectors with which he worked. Subseries 4, Equipment, undated, have brochures on many different kinds of motors and switches. Subseries 5, Film, 1952-1984, contains most of the documentation that relates directly to films and video cassettes in this collection. Mundel was active in many organizations related to industrial engineering that shared his interests in time and motion study. Finally, copies and clippings make up the research subseries, 1957.

Series 7, Government Work, 1952-1971, documents Mundel's work for the government, from his work at Rock Island Arsenal to seminars for NASA. This series contains correspondence, data, reports, course work, visual aids, and photographs. The consulting work is arranged in a chronological manner and, in some instances, alphabetically.

Series 8, Japanese Consulting, 1959-1987, documents Mundel's consulting work for Japanese corporations. The files are arranged alphabetically by company and contain research, data, charts, notes, reports, and correspondence about each manufacturing firm. His notebooks and trip files give insight into his cultural understanding of Japanese firms and his teaching practices. Of special interest are the notebooks that contain photographs and firsthand experiences of adapting to Japanese culture and understanding Japanese work practices.

Series 9, Asian Productivity Organization, 1973-1994, consists of year and country files of Mundel's seminars throughout the Far East. The course work, notes, visual aids, reports, and photographs demonstrate Mundel's shift in emphasis from work measurement to managerial organization. This series also contains books published by the Asian Productivity Organization (APO) that give a context to Mundel's work and writings.

Series 10, Dupont Case Study, 1978-1984, contains correspondence, data, notes, reports, research, and visual aids concerning one of the many American companies where Mundel consulted. Dupont was selected because of its prominence in the American business world.

Series 11, Films and Videos, circa 1939-1973, is comprised of 16mm films and 1⁄2" VHS videocassette tapes. The bulk of the series is 16mm films. The films relate to the documents in Series 6: Time and Motion Studies. There are six subseries: Rating Films, 1939-1973; Memomotion Films, circa 1948-1959; Multi-Image Loops, circa, 1956-1958; Instructional Films, circa 1939-1962; Travel Films, circa 1955-1958 and Papers, undated.

Films are labeled either OF, RF, OV, or RV, for Original Film, Reference Film, Original Video, and Reference Video, respectively. [Example: For "676.24 OF Roll Edge on Sheet Metal Disc, circa 1960 (REF. FILM 676.24 and REF. VIDEO 676.70)," 676 is the collection number; 24 is the item number; OF means original film; "Roll Edge on Sheet Metal Disc" is the title; 1960 is the date followed by any reference copies. In this case there are both a reference film and a reference video. The Archives Center will eventually have reference copies for all of the films. for researchers to view.

Subseries 1, Rating Films, circa 1939-1973, represents Mundel's work with rating or pace films. This technique films a worker doing a repetitive work unit and allows trained motion study analysts to establish time standards. These films show a wide variety of jobs held by both men and women, American workers and Japanese workers. There are three groups of films:

Demonstration Rating Films: These films have the same format as titles with 10 scenes of workers doing a work unit at different paces. The films are arranged according to Mundel's numerical system and retain the original titles. These films should be projected at 1000 frames per minute.

Poultry Rating Films: These are rating films that Mundel did for the USDA and the Consumer Protection Programs.

Miscellaneous Films: These are Mundel's rating films for Tung Sol, ASF, Woods Veterans Hospital, and Montfort. There is also a rating film taken by an English company.

Subseries 2, Memomotion Films, circa 1948-1959, includes memomotion examples that were incorporated into instructional films. Memomotion is a filming technique created by Mundel. Time and motion analysts film a non-repetitive or extended crew activity at one frame per second and then project the film at normal speed. In this manner, the analyst can record a longer work period at a fraction of the cost and be able to analyze the film much more quickly. Memomotion is often used in conjunction with work flow diagrams.

Subseries 3, Multi-Image Loops, circa 1956-1958, combines seven of Mundel's multi-image loops onto one film core. The films display twelve images of rating films at the same time. The worker in each image is working at a different pace (fastest in the top left-hand corner and the slowest in the bottom right-hand corner). Time and motion study analysts could watch the loops for as long as they needed to get an idea of what the range of paces for a certain job could be. The loops were disassembled and spliced together for preservation and viewing purposes.

Subseries 4, Instructional Films, circa 1939-1962, includes Mundel's attempts to educate others about his filming techniques and overall industrial engineering themes. The films teach ways to improve productivity through motion studies, how to make memomotion films, and the College of Technology, Birmingham, England's method of making microscope slides.

Subseries 5, Travel Films, circa 1955-1958, includes films that combine Mundel's love for travel and different cultures with film documentation of Japanese seminars.

Subseries 6, Papers, undated, contains papers directly related to the films. Of importance are the rating sheets which associate different percentages of efficiency to the paces in the film.

Arrangement:

This collection is divided into eleven series.

Series 1, Biographical Materials, 1953-1996

Series 2, Writings, 1937-1994

Subseries 1, Books, 1942-1994

Subseries 2, Papers, 1959-1989, undated

Subseries 3, Publications, 1937-1993, undated

Subseries 4, Speeches, undated

Subseries 5, University of Iowa Studies, 1938-1940

Series 3, Industrial Engineering, 1954-1995

Series 4, Work Methods, undated

Series 5, Purdue University, 1951-1957

Series 6, Time and Motion Study, 1952-1984

Subseries 1, Consulting Work, 1954-1966

Subseries 2, Correspondence, 1956-1960

Subseries 3, Course Work, undated

Subseries 4, Equipment, undated

Subseries 5, Film, 1952-1984

Subseries 6, Memberships-Industrial Management Society, 1970-1977

Subseries 7, Research, 1957

Series 7, Government Work, 1952-1971

Subseries 1, General, 1955-1967, undated

Subseries 2, Rock Island Arsenal, 1952-1958

Subseries 3, Consulting, 1959-1971

Subseries 4, Seminars, 1963-1969

Series 8, Japanese Consulting, 1959-1987

Subseries 1, Consulting, 1961-1980

Subseries 2, Correspondence, 1959-1980

Subseries 3, Keio University, 1960-1961

Subseries 4, Memberships, 1959-1987

Subseries 5, Notes, undated

Subseries 6, Photographs, undated

Subseries 7, Scrapbooks, 1960-1965

Subseries 8, Seminars, 1959-1967

Series 9, Asian Productivity Organization, 1973-1994

Subseries 1, Annual Reports, 1973-1994

Subseries 2, Books, 1985-1989

Subseries 3, General, 1976-1995, undated

Subseries 4, Seminars, 1973-1989

Subseries 5, Presentation Album of Jakarta Seminar, 1973

Series 10, DuPont Case Study, 1978-1984

Series 11, Films and Videos, circa 1939-1973

Subseries 1, Rating Films, circa 1939-1973

Subseries 2, Memomotion Films, circa 1948-1959

Subseries 3, Multi-Image Loops, circa 1956-1958

Subseries 4, Instructional Films, circa 1939-1962

Subseries 5, Travel Films, circa 1955-1958

Subseries 6, Papers, undated

Biographical / Historical:

Marvin Everett Mundel, born April 20, 1916, was a major figure in the fields of industrial engineering and time and motion studies. He is known particularly for his consulting work, seminars and teaching, as well as numerous publications based on his expertise in work management and productivity enhancement. He began his engineering career in 1936 with a B.S. in Mechanical Engineering from New York University (1936), followed by an M.S. and Ph.D. in Industrial Engineering earned in 1938 and 1939, respectively, from the State University of Iowa.

In the late 1930s and 1940s, work measurement studies were considered the state-of-the-art method for improving industrial production. Mundel continued and built upon the achievements of pioneers Frank and Lillian Gilbreth during his teaching career at both Bradley and Purdue Universities. He also conducted seminars at Marquette University Management Center and the University of Wisconsin's Extension Center in Milwaukee. In addition to his American teaching career, Mundel was a visiting professor at both the University of Birmingham in England and Keio University in Tokyo, Japan.

In 1952, Mundel started a consulting firm which aided corporations and governments in either work measurement consulting or, later in his career, industrial engineering consulting. His first clients were United States government agencies that wanted to gain control over lost revenue or manpower. His position from 1952 to 1953 at the Rock Island Arsenal in Illinois, as the first Director of the Army Management Engineering Training Program, transformed management techniques in the Army.

After his employment at Rock Island, Mundel began a series of consultant roles with corporations eager to standardize labor practices and make production more efficient. From 1953 to 1963, Mundel conducted time and motion studies at various manufacturing companies and developed techniques to measure work units. His most important contribution to the field of time and motion study was the development of memomotion, a stop-action filming technique used to determine time standards for work tasks.

Following his refinements of time and motion study, Mundel took his expertise to Japan where he offered his consultant services to various Japanese manufacturing firms during the 1960s. His interests evolved from time and motion studies to include work management and overall management organization consulting. During the 1960s and 1970s, Mundel also returned to government consulting in the United States with these new techniques, in offices such as the Bureau of the Budget and United States Department of Agriculture. This period marked an important evolution in Mundel's career, from time and motion study to work measurement and then to industrial consulting. Mundel was among the first consultants to export American management techniques to Japan, and, in his later career, to other Asian countries. He became an integral part of the Asian Productivity Organization, a group that helped developing Asian countries learn how to increase productivity. His seminars sought to provide corporations and governments with efficient management techniques so that Asia would become a strong economic center. Mundel was sensitive to cultural differences as well as varied methods of management and standards of productivity.

Mundel won the Gilbreth Award in 1982. He continued conducting seminars and writing books and articles well into the 1980s, until failing health prevented him from traveling. When Mundel died in 1996, he was well respected in the field of industrial engineering for his many contributions.

Provenance:

This collection was donated to the Archives Center at the National Museum of American History by Marvin Mundel's wife, Takako Mundel, in January, 1999.

Restrictions:

The collection is open for research use.

Rights:

Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Hospitals -- Materials management  Search this

Food processing plants  Search this

Industrial productivity -- measurements  Search this

Industrial films  Search this

Government consultants -- Asia -- Japan  Search this

Government productivity -- Japan  Search this

Machine shops  Search this

Slaughtering and slaughter-houses  Search this

Machinery industry  Search this

Punched card systems -- Machinery  Search this

Steel founding  Search this

Steel industry and trade  Search this

Plant layout  Search this

Diesel motor industry  Search this

Meat -- Packing  Search this

Shipbuilding industry  Search this

Meat inspection  Search this

Meat industry and trade  Search this

Pharmaceutical industry  Search this

Materials handling  Search this

Poultry -- Inspection  Search this

Dental offices  Search this

Box making  Search this

Greeting cards industry  Search this

United States Department of Agriculture  Search this

Refuse collection  Search this

Poultry industry  Search this

Shoe industry  Search this

Dental instruments and apparatus  Search this

Methods engineering  Search this

Industrial engineering -- 1930-2000  Search this

Chronophotography  Search this

Drafting table  Search this

Organizational effectiveness  Search this

Industrial management  Search this

Work measurement  Search this

Motion study  Search this

Genre/Form:

Photographs -- 20th century

Field notes

Motion photographs

Diagrams

Loop films

Motion pictures (visual works)

Transparencies

Correspondence -- 1930-1950

Charts

Citation:

Marvin E. Mundel Industrial Engineering Collection, 1937-1996, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0676

See more items in:

Marvin E. Mundel Industrial Engineering Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep885139741-4c32-4460-bb06-8cfb024e15c3

EDAN-URL:

ead_collection:sova-nmah-ac-0676

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2012-03-09T22:52:56.000Z

YouTube Category:

Education  Search this

See more by:

SmithsonianVideos

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianVideos

EDAN-URL:

edanmdm:yt_f2oyU0RusiA

Manufacturer:

Western Wireless  Search this

Materials:

Metal, phenolic, and glass

Dimensions:

3-D: 34.5 × 33.5 × 27cm, 10.8kg (13 9/16 × 13 3/16 × 10 5/8 in., 23 13/16lb.)

Type:

AVIONICS-Communication

Country of Origin:

United States of America

Date:

1930-1934

Credit Line:

Gift of American Legion Post 678

Inventory Number:

A19500109000

Restrictions & Rights:

CC0

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9a37f241b-75cf-44a4-a5a2-d0e1015db564

EDAN-URL:

edanmdm:nasm_A19500109000

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2021-03-31T17:43:43.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_u-O8zeOxUo4

Creator:

Anderson, William "Cat", 1916-1981 (musician)  Search this

Names:

Cat Anderson Quintet  Search this

Duke Ellington Orchestra  Search this

Lionel Hampton Orchestra  Search this

Mingus Quintet  Search this

Bechet, Sidney (musician)  Search this

Calloway, Cab, 1907-1994  Search this

Carter, Benny, 1907-2003  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Hampton, Lionel  Search this

Humphrey, Hubert H. (Hubert Horatio), 1911-1978  Search this

Humphrey, Muriel  Search this

Johnson, Lucy Bird  Search this

Johnson, Lyndon B. (Lyndon Baines), 1908-1973  Search this

Tatum, Art, 1909-1956  Search this

Webster, Ben  Search this

Extent:

5 Cubic feet (12 boxes)

Type:

Collection descriptions

Archival materials

Manuscripts

Transcripts

Oral histories (document genres)

Oral history

Phonograph records

Photographs

Recordings

Interviews

Clippings

Audiotapes

Awards

Audiocassettes

Articles

Date:

1940-1981

bulk 1963-1977

Scope and Contents note:

Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.

Arrangement:

Collection is divided into four series.

Series 1: Music

Series 2: Original tapes and recordings

Series 3: Photographs

Series 4: Miscellaneous

Biographical/Historical note:

Cat Anderson (Sept 12, 1916 - April 29, 1981) was one of the premier trumpet players of the Duke Ellington Orchestra. Known for his effortless high notes, he was a strong section leader and a great soloist whose style exhibited humor and precision. He grew up in Jenkins= Orphanage in Charleston, SC, received basic music training there, and participated in many of their famous student ensembles. He formed and played with the Cotton Pickers, a group of orphanage teens while still a young man. Before joining Ellington in 1944, he played in several big bands, including Claude Hopkins and Lionel Hampton. Anderson left the Ellington organization from 1947 through 1949 again to lead his own group. From 1959 to1961 and after 1971 Anderson free lanced, working with the Ellington orchestra intermittently. He died in 1981 after receiving honors from the US Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.

Related Archival Materials:

Related artifacts include: awards, plaques, mutes, trumpet mouth pieces, and the Jon Williams/Cat Anderson simulator in the Division of Cultural and Community Life (now Division of Cultural and Community Life). See accession: 1998.3074.

Provenance:

The collection was donated to the National Museum of American History in January 1998, by Dorothy Anderson, Cat Anderson's widow. It was acquired through negotiations with her, her brother, Mr. John Coffey and her nephew, Andrew Brazington. The materials were picked up from Mr. John Coffey of upper N.W. Washington, DC on January 21, 1998.

Restrictions:

Collection is open for research. Master tapes not available to researchers.

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.

Copyright status of items varies. Signed copies of releases on file.

Occupation:

Composers -- 20th century  Search this

Topic:

Music -- 20th century  Search this

Music -- Acoustics and physics  Search this

Musicians -- 20th century  Search this

Piano and synthesizer music  Search this

Inventions -- 1980-2000  Search this

Synthesizer music  Search this

Electric engineering -- 1980-2000  Search this

Band musicians  Search this

African American musicians  Search this

Jazz musicians -- United States  Search this

Inventors -- 20th century  Search this

Genre/Form:

Manuscripts -- Music -- 20th century

Transcripts

Oral histories (document genres)

Oral history

Phonograph records

Photographs -- 20th century

Recordings

Interviews

Interviews -- 1950-2000

Clippings -- 20th century

Audiotapes -- 1940-1980

Awards

Audiocassettes

Audiotapes

Articles -- 1940-1980

Citation:

William "Cat" Anderson Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0630

See more items in:

William "Cat" Anderson Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep891a9a0e4-7c4f-4956-b81e-6d65c57e1f29

EDAN-URL:

ead_collection:sova-nmah-ac-0630

Collector:

Watkins, J. Elfreth (John Elfreth), 1852-1903  Search this

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

Creator:

White, John H., 1933-  Search this

Extent:

31.33 Cubic feet (94 boxes)

Type:

Collection descriptions

Archival materials

Articles

Color slides

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Negatives

Newsclippings

Patents

Photocopies

Photographs

Research

Writings

Date:

1880s-1990

Scope and Contents:

The archivist has arranged the collection into five series. The collections consists of orginal photographs, brochures, advertisements, correspondence, and trade literature as wells as photcopies of same and assembled by John White for many of his books about railroads.

Series 1: Car Builders, arranged alphabetically by company or individual.

Series 2: Equipment, Rolling Stock, arranged in two sections: alphabetically by White's heading: Articles in Progress and alphabetical by type of railroad car under White's heading: Research Files for Book in Progress.

Series 3: Locomotives, arranged alphabetically by Locomotive builders in two sections, first by individual company and second by individuals.

Series 4: Railroad Companies and Lines, arranged alphabetically by railroad companies and railroad lines.

Series 5: Publications, White's files for his book The American Railroad Freight Car, which are arranged into two sections, Illustrations and Text. Both sections are arranged numerically by chapters or sections of the book.

Series 6: Freight Cars

Series 7: Passenger Cars

Arrangement:

The collection is divided into seven series. Most material arranged alphabetically and then chronologically.

Series 1: Car Builders

Series 2: Equipment--Rolling Stock

Subseries 2.1: Articles in progress

Subseries 2.2: Research Files for Books in Progress

Series 3: Locomotives

Series 4: Railroad Companies and Lines

Series 5: Publications

Series 6: Freights Cars

Series 7; Passenger Cars

Historical:

John H. White, Jr., (1933- ), historian and museum curator, was born in Cincinnati, Ohio. He graduated with a B.A. in history from Miami University, Ohio, in 1958. Shortly after receiving his degree, White joined the staff of the Smithsonian Institution as Assistant Curator of the Division of Transportation, Department of Science and Technology, National Museum of History and Technology (NMHT). White became Associate Curator of the Division, 1961-1966, Curator, 1967-1985, and Senior Historian, 1986-1989. White specialized in land transportation, particularly the history of railroads. He retired in 1990. His papers, the John H. White, Jr., Papers, circa 1959-1989 are at the Smithsonian Institution Archives.

This collection of railroad materials was begun many years ago by employees of the Smithsonian Institution, and maintained later by curators and museum specialists working in the Division of Transportation, NMHT, later named the National Museum of American History (NMAH).

Some of the clippings date back to the time of J. Elfreth Watkins in the 1880-1890s. In 1885 Watkins was appointed Curator of the Section of Steam Transportation, which was successively known as Transportation and Engineering, and Technological Collections. Other portions of White's collection were clearly from Carl Mitman, author of several hundred entries on inventors and engineers in the Dictionary of American Biography and a Smithsonian employee who served as Curator of Mechanical Technology in 1919. In 1921 Mitman took the title of Curator of the Divisions of Mineral and Mechanical Technology, serving in this capacity until 1931. In 1931 the Division of Engineering was established. Mitman served as Curator of the Division and in charge of Mineral Technology, 1931-1938, Head Curator of the Department of Arts and Industries, 1932-1938, and Head Curator of the Department of Engineering and Industries, 1938-1948.

Some portions of this collection were acquired under the time of Frank A. Taylor (Mitman's protégé) who was Assistant Curator, 1928-1931, Assistant Curator for Mechanical Technology, 1932, Curator of the Division and in charge of Mechanical Technology, 1932-1948, Head Curator of the Division of Engineering and Industry, 1948-1957. In 1955 Taylor was appointed Assistant Director, United States National Museum (USNM), with special responsibility for planning the new NMHT, and in 1958 was appointed the first Director of the new museum. In 1962 Taylor became Director of the USNM with responsibility for both the National Museum of Natural History and NMHT.

Smith Hempstone Oliver of the Division of Transportation also kept up the files to a degree, though his main interest was in automobiles.

When White started employment at the Museum in June, 1958, there were, perhaps, two file cabinets on railroads. As Mr. White mentions in a letter to the archivist in March of 2002, "It was and is a great mix of odds and ends -- photos, news clippings, small prints, manufacturing catalogs, post cards, etc. Some junk and some treasure."

White found the material very useful for research and greatly expanded the collection. It more than doubled in size during his years in the Division, 1958-1990. The collection was White's working file and was set up to meet his needs. According to White, the collections greatest lack was cross referencing -- which was mostly in his head. He could usually find things but the organization might be confusing to other users. It was not intended for public use.

White is the author of many books on railroads, including:

American Locomotives: An Engineering History, 1830-1880. Baltimore: Johns Hopkins Press, 1968; 1997.

Early American Locomotives, with 147 engraving. New York: Dover Publications, 1972.

American Single Locomotives and the "Pioneer". Washington: Smithsonian Institution Press, 1973.

The Pioneer, Chicago's First Locomotive. Chicago: Chicago Historical Society, 1976.

The American Railroad Passenger Car. Baltimore: Johns Hopkins University Press, 1978.

The John Bull, 150 Years a Locomotive. Washington, D.C.: Smithsonian Institution Press, 1981.

A Short History of American Locomotive Builders in the Steam Era. Washington, D.C.: Bass, 1982.

Great Yellow Fleet: A History of American Railroad Refrigerator Cars. Golden West Books, 1986

The American Railroad Freight Car: From the Wood-Car Era to the Coming of Steel. Baltimore: Johns Hopkins University Press, 1993.

Provenance:

Collection materials donated by Jack White in 1995.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Freight cars  Search this

Locomotives  Search this

Railroads -- History  Search this

Railroad passenger cars  Search this

Transportation  Search this

Genre/Form:

Articles

Color slides

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Negatives

Newsclippings

Patents

Photocopies

Photographs -- 19th century

Photographs -- 20th century

Research

Writings

Citation:

John H. White, Jr. Railroad Reference Collection, ca. 1830-1980, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0523

See more items in:

John H. White, Jr. Railroad Reference Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83b50b7ee-ab37-4b18-b17c-cffb2543738e

EDAN-URL:

ead_collection:sova-nmah-ac-0523

Collector:

Archives Center, National Museum of American History  Search this

Producer:

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

America's Jazz Heritage  Search this

Smithsonian Institution. Traveling Exhibition Service  Search this

Funder:

Ella Fitzgerald Charitable Foundation  Search this

Lila Wallace-Reader's Digest Fund  Search this

National Endowment for the Arts  Search this

Creator:

Smithsonian Institution  Search this

Interviewee:

Adams, Joe, 1922-  Search this

Aguabella, Francisco, 1925-  Search this

Akiyoshi, Toshiko, 1929-  Search this

Alvarado, Alfredo  Search this

Anderson, Chris, 1926-  Search this

Armenteros, Chocolate, 1928-  Search this

Armstrong, Howard, 1909-2003  Search this

Ashby, Harold  Search this

Atkins, Clarence, 1921-  Search this

Avakian, George, 1919-  Search this

Baker, David, 1931-  Search this

Bank, Danny, 1922-  Search this

Barker, Danny, 1909-  Search this

Barker, Louise, 1913-  Search this

Barron, Kenny  Search this

Bass, Fontella  Search this

Bates, Peg Leg, 1907-  Search this

Bauza, Mario, 1911-  Search this

Belli, Remo  Search this

Bellson, Louis  Search this

Benson, George, 1943-  Search this

Berger, Ed  Search this

Bert, Eddie, 1922-  Search this

Betts, Keter, 1928-  Search this

Bey, Chief (James), 1913-  Search this

Bishop, Walter, 1927-  Search this

Brooks, Cecil  Search this

Brown, Oscar, Jr., 1926-  Search this

Brown, Velzoe, 1910-  Search this

Brubeck, Dave  Search this

Bryant, Ardie, 1929-  Search this

Bryant, Clora  Search this

Bryant, Ray, 1931-  Search this

Bufalino, Brenda, 1937-  Search this

Bunnett, Jane  Search this

Burns, Ralph, 1922-2001  Search this

Burrell, Kenny  Search this

Butts, Jimmy, 1917-  Search this

Byrd, Charlie, 1925-  Search this

Calloway, Cab, 1907-1994  Search this

Camero, Candido, 1921-  Search this

Carbonell, Luis  Search this

Carrington, Terri Lyne  Search this

Carter, Benny, 1907-2003  Search this

Carter, Ron, 1937-  Search this

Casey, Al, 1915-  Search this

Cheatham, Doc, 1905-1997  Search this

Cheatham, Jeannie, 1917-  Search this

Cheatham, Jimmy, 1924-  Search this

Claxton, William  Search this

Cobb, Jimmy, 1929-  Search this

Cohen, Martin, 1939-  Search this

Collins, John, 1913-  Search this

Columbus, Chris, 1902-  Search this

Conover, Willis, 1920-  Search this

Costello, Diosa  Search this

Cruz, Alfredo  Search this

Cruz, Celia, 1924-2003  Search this

Cugat, Xavier, 1900-  Search this

D'Rivera, Paquito, 1948-  Search this

De Franco, Buddy, 1923-  Search this

DeJohnette, Jack  Search this

Dejan, Harold, 1909-  Search this

Del Puerto, Carlos, 1951-  Search this

Di Novi, Gene, 1928-  Search this

Diaz Ayala, Cristobal  Search this

Donegan, Dorothy, 1922-  Search this

Driggs, Frank, 1930-  Search this

Dudley, Bessie, 1902-  Search this

Edison, Harry, 1915-  Search this

Egũes, Richard, 1923-2006  Search this

Farmer, Art, 1928-  Search this

Favors, Malachi  Search this

Fernandez, Rosita, 1918-2006  Search this

Fernandez, Ruth  Search this

Finegan, Bill, 1917-  Search this

Flynn, Frank (Marimba player)  Search this

Foster, Frank, 1928-  Search this

Fournier, Vernel, 1928-  Search this

Freeman, Von, 1922-  Search this

Fuller, Curtis, 1934-  Search this

Fuller, Gil, 1920-  Search this

Gensel, John  Search this

Gilbert, Peggy  Search this

Golson, Benny  Search this

Gonzalez, Celina  Search this

Goodson, Sadie, 1904-  Search this

Green, Urbie  Search this

Guerrero, Felix, 1916-2001  Search this

Guines, Tata  Search this

Hamilton, Chico, 1921-  Search this

Hampton, Slide  Search this

Harris, Joe  Search this

Harrison, Nelson  Search this

Haynes, Roy, 1926-  Search this

Heath, Jimmy, 1926-  Search this

Heath, Percy, 1923-2005  Search this

Hemphill, Julius, 1938-  Search this

Henderson, Bill, 1930-  Search this

Henderson, Luther  Search this

Hendricks, Jon, 1921-  Search this

Hentoff, Nat  Search this

Hill, Roger, 1928-  Search this

Hinton, Milt, 1910-2000  Search this

Holman, Bill, 1927-  Search this

Horn, Shirley, 1934-  Search this

Humphries, Roger  Search this

Hutcherson, Bobby  Search this

Jarvis, Jane, 1915-  Search this

Jimenez, Flaco  Search this

Johnson, J.J., 1924-  Search this

Jones, Elvin  Search this

Jones, Hank, 1918-2010  Search this

Jones, Jonah  Search this

Jones, Quincy, 1933-  Search this

Jordan, Kidd, 1935-  Search this

Jordan, Sheila, 1928-  Search this

Keepnews, Orrin, 1923-  Search this

Kimball, Narvin, 1909-  Search this

Klein, Manny, 1908-  Search this

Konitz, Lee  Search this

Lateef, Yusef, 1920-  Search this

Laws, Hubert  Search this

LeGon, Jeni, 1916-  Search this

LeRoy Neiman  Search this

Leonard, Herman, 1923-2010  Search this

Levy, John, 1912-2012  Search this

Lewis, Edna, 1907-  Search this

Lewis, Ramsey  Search this

Liebman, Dave  Search this

Lincoln, Abbey, 1930 -  Search this

Liston, Melba  Search this

Livelli, Vincent  Search this

Longoria, Valerio, 1924-2000  Search this

Lopez, Israel, 1918-  Search this

Lucie, Lawrence, 1907-  Search this

Lutcher, Nellie, 1912-  Search this

Lynton, Charles, 1904-  Search this

Mandel, Johnny  Search this

Manning, Frank, 1914-  Search this

Marsalis, Delfeayo  Search this

Marsalis, Ellis  Search this

Marsalis, Jason  Search this

McGettigan, Betty  Search this

McIntosh, Tom, 1927-  Search this

McKibbon, Al, 1919-  Search this

McKusick, Hal, 1924-  Search this

McPartland, Marian  Search this

Mendoza, Lydia  Search this

Miller, Eric  Search this

Miller, Norma, 1919-  Search this

Mondello, Toots, 1911-  Search this

Moody, James, 1925-  Search this

Morgenstern, Dan  Search this

Murray, Albert, 1916-  Search this

Myers, Amina  Search this

Nicholas, Fayard, 1918-  Search this

Nicholas, Harold, 1924-  Search this

Norvo, Red, 1908-1999  Search this

O'Brien, Peter F.  Search this

O'Farrill, Chico, 1921-2001  Search this

Owens, Jimmy, 1943-  Search this

Palmier, Remo, 1923-  Search this

Peraza, Armando, 1924-  Search this

Perez, Graciela  Search this

Peterson, Oscar, 1925-  Search this

Puente, Tito  Search this

Pullen, Don, 1941-  Search this

Rachell, Yank  Search this

Ray, Carline, 1925-  Search this

Reed, Leonard, 1907-  Search this

Richards, Red, 1912-  Search this

Rivers, Sam  Search this

Robinson, Charles  Search this

Robinson, Les, 1912-  Search this

Rogers, Shorty, 1924-  Search this

Rollins, Sonny  Search this

Ross, Annie, 1930-  Search this

Royal, Marshall, 1912-1995  Search this

Rugolo, Pete, 1915-  Search this

Russell, George, 1923-2009  Search this

Rutherford, Rudy  Search this

Sager, Jane, 1914-  Search this

Santamaria, Mongo, 1917-  Search this

Scott, Jimmy  Search this

Settle, Cucell, 1914-  Search this

Shaw, Artie, 1910-2004  Search this

Slyde, Jimmy, 1927-  Search this

Smith, Hale G.  Search this

Smith, Johnny  Search this

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

Taylor, Arthur, 1929-  Search this

Taylor, Billy  Search this

Teagarden, Norma, 1911-  Search this

Terry, Clark  Search this

Thielemans, Toots  Search this

Tinney, Al, 1921-  Search this

Toro, Yomo  Search this

Tucker, Bobby, 1923-2008  Search this

Tyner, McCoy  Search this

Valdes, Bebo, 1918-  Search this

Valdez, Carlos, 1926-  Search this

Valdez, Chucho, 1941-  Search this

Valentin, Val, 1920-  Search this

Valeria, Chuy  Search this

Van Gelder, Rudy  Search this

Van Lake, Turk, 1918-  Search this

Viola, Al, 1919-  Search this

Walton, Cedar, 1934-  Search this

Wein, George  Search this

Wess, Frank, 1922-  Search this

Weston, Randy, 1926-  Search this

White, Andrew, 1942-  Search this

Wilder, Joe, 1922-  Search this

Willcox, Spiegle, 1902-  Search this

Williams, Claude, 1908-2004  Search this

Williams, John, 1905-  Search this

Wilson, Gerald, 1918-  Search this

Wilson, Nancy, 1937-  Search this

Wofford, Mike  Search this

Woods, Phil  Search this

Ybarra, Eva  Search this

Yoshida, George, 1922-  Search this

Young, Al (Saxophinist)  Search this

Young, Lee, 1917-  Search this

Young, Webster, 1932-  Search this

Interviewer:

Baker, Lida  Search this

Bluiett, Hamiett  Search this

Brower, William  Search this

Brown, Anthony  Search this

Burstein, Julie  Search this

Carner, Gary  Search this

Cole, Tom  Search this

Coleman, Steve  Search this

Corporan, Hector  Search this

Crease, Bob  Search this

Dantzler, Russ  Search this

Elie, Lolis  Search this

Fernandez, Raul  Search this

Fochios, Steve  Search this

Frank, Rusty  Search this

Geremia, Paul, 1944-  Search this

Haddix, Chuck  Search this

Harris, Barry  Search this

Holley, Eugene  Search this

Jackson, Reuben  Search this

Jenkins, Willard  Search this

Kimery, Kennith  Search this

Kirchner, Bill  Search this

Levin, Floyd, 1922-2007  Search this

Lopez, Rene  Search this

McDaniel, Ted  Search this

McDonough, John  Search this

Murphy, Molly  Search this

Newton, James  Search this

O'Meally, Bob  Search this

Ouelette, Dan  Search this

Pelote, Vincent  Search this

Placksin, Sally  Search this

Porter, Lewis  Search this

Pullman, Peter  Search this

Ritz, David  Search this

Rodrique, Jessie  Search this

Schoenberg, Loren  Search this

Schwartz, Scott  Search this

Smith, Ernie  Search this

Sneed, Ann  Search this

Stitt, Katea  Search this

Talbot, Bruce  Search this

Tucker, Sherrie  Search this

Watson, Matt  Search this

White, Michael  Search this

Whitfield, Weslia  Search this

Willard, Patricia  Search this

Williams, James  Search this

Wong, Herb  Search this

Yamazaki, Paul  Search this

Zimmerman, James  Search this

Extent:

39 Cubic feet (56 boxes)

Type:

Collection descriptions

Archival materials

Compact discs

Sound recordings

Oral history

Audiotapes

Interviews

Date:

1992-2014

Scope and Contents:

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

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

1. Brown, Anthony

2. Baker, Lida

3. Burstein, Julie

Interviewer

2. Bluiett, Hamiet

Arrangement:

This collection is arranged into six series.

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

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

Series 3, Audio CD Reference Copies, 2000-2012

Series 4, Video/CD, 1994-2012

Series 5, Transcripts and Abstracts, 1992-2014

Series 6, Supplemental Documentation, 1992-2012

Biographical / Historical:

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

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

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

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

Provenance:

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

Restrictions:

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

Rights:

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

Topic:

Dancers  Search this

Music -- 20th century  Search this

Jazz  Search this

Musicians -- United States  Search this

Jazz musicians -- United States  Search this

Genre/Form:

Compact discs

Sound recordings

Oral history -- 1990-2000

Audiotapes -- 1990-2000

Interviews -- 2000-2010

Interviews -- 1990-2000

Citation:

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

Sponsor:

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

Identifier:

NMAH.AC.0808

See more items in:

Smithsonian Jazz Oral History Program Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

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

EDAN-URL:

ead_collection:sova-nmah-ac-0808

Creator:

Granatelli, Andy, 1923-2013  Search this

Grancor Automotive Specialists  Search this

Hurricane Hot Rod Association  Search this

Studebaker Corporation  Search this

Donor:

Granatelli, Vincent  Search this

Names:

Indianapolis Speedway Race  Search this

Soldier Field (Chicago)  Search this

Studebaker Corporation. STP Division  Search this

Afrons, Arthur Eugene "Art", 1926-2007  Search this

Afrons, Walter Charles "Walt", 1916-2013  Search this

Agajanian, Joshua C. James , 1913-1984  Search this

Agnew, Spiro T., 1918-1996  Search this

Andretti, Mario, 1940-  Search this

Banks, Henry, 1913-1994  Search this

Bishop, Joey  Search this

Bridges, Lloyd  Search this

Carson, Johnny, 1925-2005  Search this

Carter, Jimmy, 1924-  Search this

Chapman, Anthony Colin Bruce , 1928-1982  Search this

Clark, Jim, 1936-1968  Search this

Cole, Hal, 1912-1970  Search this

Cooper, Earl, 1886-1965  Search this

Cooper, Leroy Gordan, 1927-2004  Search this

DePaolo, Peter, 1898-1980  Search this

Derr, Ernest Virgil "Ernie" , 1921-  Search this

Egbert, Sherwood, 1920-1965  Search this

Ford, Gerald R., 1913-2006  Search this

Foyt, A. J., 1935-  Search this

Gable, Clark, 1901-1960  Search this

Garagiola, Joe  Search this

Grissom, Virgil I.  Search this

Guerrero, Roberto, 1958-  Search this

Hartke, Vance, 1919-2003  Search this

Hill, Graham, 1929-1975  Search this

Holland, Willard, 1907-1984  Search this

Hurtubise, Jim, 1932-1989  Search this

Kennedy, Edward M. (Edward Moore), 1932-2009  Search this

Kladis, Danny, 1917-2009  Search this

LaMotta, Jake  Search this

Lasorda, Tommy  Search this

Leno, Jay (comedian)  Search this

Leonard, Joe, 1932-2017  Search this

Lorenzen, Fred, 1934-  Search this

Luyendyk, Arie  Search this

Malone, Art, 1936-2013  Search this

Marcenac, Jean  Search this

Marciano, Rocky  Search this

Mays, Rex Houston, 1913-1949  Search this

McCain, John  Search this

McElreath, Jimmy, 1928-2017  Search this

Miller, Chet, 1902-1953  Search this

Murphy, Paula, 1928-  Search this

Nixon, Richard M. (Richard Milhous), 1913-1994  Search this

Palin, Sarah, 1964-  Search this

Parsons, Johnnie, 1918-1984  Search this

Petty, Richard, 1937-  Search this

Pickens, T. Boone (Thomas Boone)  Search this

Pollard, Artle Lee, 1927-1973  Search this

Quayle, Dan, 1947-  Search this

Rathman, Royal Richard "Jim", 1928-2011  Search this

Reagan, Ronald  Search this

Robbins, Marty  Search this

Russo, Paul, 1914-1976  Search this

Tremulis, Alex S.  Search this

Unser, Bobby  Search this

Weld, Greg, 1944-2008  Search this

Williams, Carl, 1930-1973  Search this

Actor:

Anderson, Eddie "Rochester", 1905-1977  Search this

DeVito, Danny  Search this

Douglas, Kirk, 1916-2020  Search this

Goulet, Robert, 1933-2007  Search this

Extent:

66 Cubic feet (108 boxes, 16 map-folders)

Type:

Collection descriptions

Archival materials

Advertisements

Business records

Clippings

Correspondence

Design drawings

Drawings

Financial records

Legal records

Minutes

Photographs

Scrapbooks

Speeches

Date:

1932-2008

Scope and Contents:

The collection documents Granatelli's lifelong involvement with automobiles, from his youth through his career as an auto industry executive, and as a racing car owner, designer and promoter. The collection consists primarily of files, photographs, scrapbooks, and drawings. Some of the earliest files relate to Grancor, a company founded by Granatelli and his two brothers in 1945, which customized cars for clients. Other things contained in the files include meeting minutes, articles of association, business and financial records, legal records and profit and loss statements. Also included are papers relating to an organization he started called the Hurricane Hot Rod Association.

A large portion of the files relate to Granatelli's term as President of STP, a division of the Studebaker Corporation, from 1961-1974. These files detail the internal workings of the company during this period, and include papers relating to such things as strategic planning, sales, marketing, advertising and competitors' products. Additionally, this portion contains STP's Board of Directors' minutes, documents on policies and procedures, papers documenting advertising campaigns, comparative sales figures, sales manuals, and Granatelli's business correspondence. The largest part of the files relate to the Indianapolis 500 race. There are detailed files on the drivers and race teams he assembled for the annual race, but these files also include design drawings, specifications, test data, lap logs, performance statistics, and reports documenting the implementation of design changes. The scrapbooks in the collection contain clippings, biographical materials, and other documents relating to auto racing in America and especially the Indianapolis 500. Finally, the collection contains a large number of photographs covering all aspects of Granatelli's career.

Arrangement:

Collection is arranged into nine series.

Series 1: Biographical Materials, 1946-2006

Series 2: Granatelli Corporation, 1943-1975

Series 3: Studebaker Corporation, 1935-1991

Series 4: United States Auto Club (USAC)

Series 5: Novi Engine, 1949-1971

Series 6: Product Literature, 1949-1972

Series 7: Racing Programs, Publications, and Ephermera, 1940s-2007

Series 8: Photographs, 1932-2008

Series 9: Audiovisual Materials, 1960-2001

Biographical / Historical:

Andy Granatelli (1923-2013) was an automobile racing promoter, a race car engine designer and an automotive innovator. Two of his cars, a 1967 turbine engine race car and the 1969 Indianapolis 500 winner, are in National Museum of American History's Division of Work & Industry collection. More than any other racing figure, Granatelli bridged the realms of garage tinkerers and professional motorsports, and he stimulated public interest in auto racing on a national level. His STP Corporation became a high-profile sponsor of Indianapolis 500 and NASCAR race cars, with Granatelli appearing in ads and commercials. His larger-than-life personality and flair for the dramatic made him an American cultural phenomenon. His career is well summed up in the profile written for his 2003 induction into the Automotive Hall of Fame.

Racer, entrepreneur, engineer, promoter, business executive. This is how one begins to describe the career of Andy Granatelli. But the title Mister 500 is the one that befits him most, for it describes a lifelong dream to conquer the famous 500-mile race in Indianapolis.

It was a preposterous dream for the scrappy kid growing up in the slums of Chicago, whose mother had died when he was twelve, and two years later, at the age of fourteen, dropped out of school to help his father feed the family. Andy Granatelli began his quest for Indy 500 fame at the age of 20 in 1943, when he and his brother pooled their meager, hard-earned money and purchased a Texaco gas station on the north side of Chicago, which he called Andy's Super Service. Andy, always the promoter, needed a gimmick to set himself apart from other service stations. His gimmick? Granatelli initiated the first pit stop service station, utilizing four or five mechanics to work on a car at one time.

Customers appreciated the true super service experience and would often wait in line for this unique treatment. With this unique service and Andy's P.T. Barnum style it was no wonder that the station was prosperous, and just two years later, in 1945, he formed the Granatelli Corporation, known as Grancor Automotive Specialists. As the head of Grancor, Andy Granatelli pioneered the concept of mass merchandising performance products and power and speed equipment to a generation of Americans who were discovering the joys of hot rodding.

Andy quickly learned that if you give the customer what he needs, you can make a living; give him what he wants, and you can make a fortune! Granatelli's racing career began in 1946, when he built the first rocket-powered car to race on an oval track. That same year, he took his first car to the Indianapolis 500--a pre-war Harry Miller--designed Ford.

When Andy Granatelli wasn't burning up tracks, he was tearing up the business world. In 1958, Andy and his brother Joe purchased Paxton Products, a failing engineering firm that made superchargers. With Andy at the helm, Paxton Products became profitable in seven months. In 1961, Andy sold Paxton Products to Studebaker Corporation and stayed on as Paxton's CEO. Two years later, Studebaker management wanted Granatelli to work his magic on an under-performing division called Chemical Compounds Corporation. Chemical Compounds had only one, little known product . . . STP Oil Treatment. With virtually no advertising budget, Andy created a four-pronged approach to turn the company around: a recognizable corporate logo (the STP oval), a product (oil treatment), a product spokesman (himself) and a reason for existence (racing). The STP logo became one of the best recognized in history. STP could be found in virtually every venue of speed: on land, on the water or in the air. Andy Granatelli once said that in the 1960s, virtually every kid in America had an STP sticker on his bedroom door, his notebook or his lunchbox, and he was probably right!

Back at Indianapolis, Granatelli entered a revolutionary race car of his own design - one with a turbine engine in 1967 and 1968. Even though the car failed to finish both years due to mechanical failure, the cars demonstrated superior speed and performance. At the end of the 1968 season, the U.S. Auto Club revised engine specifications, effectively outlawing Granatelli's turbine car. Undeterred, Granatelli returned to Indy the following year with a conventional car and proceeded to win his first Indianapolis 500 with Mario Andretti at the wheel. Four years later, in 1973, Andy won his second and last Indy 500 with a car driven by Gordon Johncock. Andy Granatelli's childhood dream of conquering Indy was fulfilled, not once, but twice.

Source

Andy Granatelli Biography, Automotive Hall of Fame (last accessed January 29, 2020 https://www.automotivehalloffame.org/honoree/andy-granatelli/)

Related Materials:

Materials in the Archives Center

Warshaw Collection of Business American, Series: Automobile Industry (NMAH.AC.0060)

Winton-Anderson Scrapbook Collection (NMAH.AC.0122)

Sam DeVincent Collection of Illustrated American Sheet Music, Series 1: Transportation (NMAH.AC.0300)

Evan Rangeloff Collection of Punchboards and Liggett & Myers Tobacco Sales Materials (NMAH.AC.0716)

Materials at the National Museum of American History, Division of Work and Industry

The Divison holds artifacts related to STP and the STP-Paxton Turbo Car. Included are key chains, trophies, STP stickers, TuneUp Masters stickers, belt buckle, and patch. See accession 2017.3043.

STP-Paxton Turbocar, 1967. See accession 1978.0418.

Materials at the National Museum of American History, Division of Cultural and Community Life

Division holds artifacts related to Andy Grantelli's racing career such as helmets, goggles, trophies, and coveralls and vests with the STP logo. See accession 2017.0092.

Provenance:

Collection donated by Vincent J. Granatelli, 2017.

Restrictions:

Collection is open for research. Viewing film and audio portion of collection requires special appointment. See repository for details.

Rights:

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

Topic:

Automobile driving  Search this

Automobile industry and trade  Search this

Automobile industry executives  Search this

Automobiles  Search this

Automobiles -- Design and construction  Search this

Automobiles, Racing  Search this

Engines, automobile  Search this

Hot rods  Search this

Publications  Search this

Slides  Search this

Genre/Form:

Advertisements -- 20th century

Business records -- 20th century

Clippings -- 20th century

Correspondence -- 20th century

Design drawings -- 20th century

Drawings

Financial records -- 20th century

Legal records -- 20th century

Minutes -- 20th century

Photographs -- 20th century

Scrapbooks

Speeches

Citation:

Andy Granatelli Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1403

See more items in:

Andy Granatelli Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b8ed345f-7459-4956-9875-900f8585af74

EDAN-URL:

ead_collection:sova-nmah-ac-1403

Extent:

4.46 Cubic feet

0.641 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Catalogs

Diaries

Manuals

Maps

Programs

Photographic postcards

Photographs

Scrapbooks

Date:

1900-1955

bulk 1905-1918

Summary:

Early aviation catalogs, photographs, periodicals, class notes, and scrapbooks as well as other materials collected by Javier Arnago detailing the evolution of early aircrafts built before and during World World I.

Scope and Contents:

This collection consists of early aviation materials, collected by Javier Arango, pertaining to the development of early 20th century aircrafts. The bulk of the material consists of air meet programs and memorabilia, engine and aeroplane catalogs, articles and periodicals, maps and charts, postcards and correspondence, class notes and technical manuals, scrapbooks and journals, and a variety of photographs. Materials in English, French, German, and Dutch. Aviators pioneers include: the Wright Brothers, Henry Farman, Louis Bleriot, Hubert Latham, Glenn Curtiss, Louis Paulhan, and other French and American pilots. Aircraft manufacturers represented include: Wright Brothers, Curtiss-Wright, Blériot (France), Antoinette (Société Anonyme Antoinette) (France), Deperdussin (France), Farman, Voisin (France), and other American, French, German, and British inventors prior to World War I.

Arrangement:

Collection organized into eight sections by material type. The first three sections 'Aeroplane Catalogs,' 'Engine Catalongs,' and 'Air meet Programs' are in original order, which is alphabetically arranged by company, aircraft, or engine name and thereunder chronologically by year. The 'Periodicals' section is also alphabetically arranged by title and thereunder chronologically by year. 'Additional Text Materials,' 'Scrapbooks and albums,' and 'Class notes and journals' alphabetically arranged by creator's surname or title. The 'Photographs' section is organized by subjects or event, orginially grouped by Arango, and thereunder alphabetically arranged.

Biographical / Historical:

Javier Arango (1962-2017) was an investment consultant, aircraft collector, avid pilot, and board member of the Smithsonian Institution's National Air and Space Museum. Graduating at Harvard University, he studied the history of science and became an authority of World War I aviation focusing on the progression of warplanes. Establishing his Aeroplane Collection with the construction of a triplane in 1980, he began collecting original materials from the 1900s and 1910s. With a passion for understanding and preserving the history of flight, Arango amassed an exemplary study of the evolution of early aviation.

Provenance:

Javier Arango Living Trust, Gift, 2022, NASM.2022.0033

Restrictions:

No restrictions on access

Rights:

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

Topic:

Aeronautics  Search this

Aeronautics -- Competitions  Search this

Aircraft supplies industry  Search this

Airplanes -- Design and construction  Search this

Airplanes -- Motors  Search this

Antoinette Aircraft Family  Search this

Bleriot Aircraft Family  Search this

Breguet Aircraft Family  Search this

Bristol Aircraft Family  Search this

Burgess Aircraft Family  Search this

Curtiss, General, Aircraft  Search this

Deperdussin Aircraft Family  Search this

Ford Tri-Motor Family  Search this

Gallaudet Type C Military Tractor Biplane Family  Search this

Lockheed Aircraft Family  Search this

Moisant (Monoplane Co) 1914 Bluebird Monoplane  Search this

Nieuport Aircraft Family  Search this

Sloane Aircraft Family  Search this

SPAD Aircraft Family  Search this

Voisin Aircraft Family  Search this

Genre/Form:

Catalogs

Diaries

Manuals

Maps

Programs

Photographic postcards

Photographs

Scrapbooks

Citation:

Javier Arango Early Aviation Collection, NASM.2022.0033, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.2022.0033

See more items in:

Early Aviation Collection [Arango]

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2a7794054-9fbe-430c-8b18-ec5aa5cd48e7

EDAN-URL:

ead_collection:sova-nasm-2022-0033

Creator:

Holman, Bill, 1927-  Search this

Kenton, Stan  Search this

Monk, Thelonious  Search this

Basie, Count, 1904-1984  Search this

Herman, Woody, 1913-1987  Search this

Extent:

12 Cubic feet (68 boxes)

Type:

Collection descriptions

Archival materials

Music

Posters

Business records

Scores

Date:

1951-2000

Scope and Contents:

The Bill Holman Collection consists of original music compositions and arrangements, posters, performance contracts and a photograph dating from 1952 to 1999. The collection is organized into two series: Series 1: Music Manuscripts; and Series 2: Photographs and Business Records.

Arrangement:

The collection is organized into two series.

Series 1: Music Manuscripts, 1952-1999

Series 2: Photographs and Business Records, 1975-1997

Biographical / Historical:

Born Willis Leonard Holman on May 21 in Olive, California, Bill Holman is considered one of the great jazz composers of the last half of the twentieth century. He is best known as one of the architects of the style of jazz defined as "West Coast" and as the major arranger for the Stan Kenton Orchestra from 1952 - 1955.

Holman began playing clarinet in junior high school and tenor saxophone while in high school eventually leading his own band. After serving in the Navy and studying engineering, he chose a career in music instead and attended Westlake College of Music in California from 1948-1950. While attending Westlake, he studied counterpoint with Russ Garcia and one hallmark of a Holman work continues to be the distinguished use of that compositional element.

While performing as a tenor and baritone saxophonist for Charlie Barnet & His Orchestra in 1951, Holman submitted his first composition for a name band to Woody Herman. Originally titled Prez Conference in honor of Lester Young, the piece - which featured solos for four tenors - was recorded in 1954 with a baritone and trumpet introduction and ending tagged on by Herman and re-titled Mulligantawny Stew.

From 1952 - 1954, Holman performed in the reed section of the Stan Kenton Orchestra and there he received international recognition. Within six months, Kenton encouraged Holman's voice as a composer and arranger and he quickly became a principal. His distinctive swinging approach was always evident resulting in songs still beloved by Kenton fans all over the world such as Stomping At The Savoy and Whats New. Taking advantage of his clout in the industry, Stan Kenton facilitated Holman's first recording as a leader in 1954 (Kenton Presents Jazz B Bill Holman: Bill Holman Octet) as one in a series of Capitol recordings featuring Kenton's sidemen as bandleaders. Unfortunately, this was not released until five years later. After returning to the West Coast in 1955, Holman continued as a Kenton staff arranger until 1956 and contributed compositions and arrangements on an occasional basis until the late 1950s.

Upon his return to Los Angeles, California in 1955, Holman B as an instrumentalist, composer and arranger B helped shape the sound later dubbed West Coast Jazz. At first, Holman worked in small groups for others including Conte Candoli (1955), Shelly Manne (1955), and Art Pepper (1957) but in 1957 Holman longed to Amake a statement@ for himself and formed his own big band. The band eventually recorded three albums that have become collector=s items among jazz aficionados: The Fabulous Bill Holman (1957), Big Band In A Jazz Orbit, (1958) and Bill Holman's Great Big Band. (1960) Holman continued to work in small group settings as well recording Jive For Five with a quintet co-led by Mel Lewis and Jazz Erotica (re-titled in CD release as West Coast Jazz) in an octet featuring Richie Kamuca.

In 1960, Holman entered into a twenty-seven year hiatus from recording. However, he remained active in the business and was continually sought out as a composer and arranger for both jazz and popular music. His arrangements for Gerry Mulligan, Count Basie, Woody Herman, and Shorty Rogers, among others, are considered the pinnacle of jazz composition and orchestration. Holman=s occasional forays into film, television and popular music include Aquarius as recorded by the Fifth Dimension and The Association=s Never My Love and Cherish. A long relationship with the Tonight Show band directed by Doc Severinson (1967 B 1992) developed eventually awarding him with his first Grammy award for an arrangement of Billy Strayhorn=s Take The >A= Train.

Bill McKay, the co-owner of a Los Angeles night club Donte's, encouraged Holman to re-form his band in 1975 leading to his legendary rehearsal band which still meets most weeks at the Hollywood Musician=s Union. However, the Bill Holman Band did not record until the release of World Class: The Bill Holman Big Band in 1987, followed by A View From the Side. (for which Holman earned a Best Instrumental Composition Grammy for the title track) in 1995. Although Holman's arranging style matured, his characteristic use of line writing, unison sections, uneven bar lengths, and reference for rhythm were distilled and refined rather than complicated in the interim.

Beginning in 1980, Holman received regular commissions from the WDR band in Cologne Germany including ones for extended works and special programs featuring noted jazz instrumentalists such as Lee Konitz, Al Cohn and Phil Woods. Since 1990, he has been conducting that renowned Orchestra. In 1997, Holman embarked on what has become an annual European trip B as a composer/conductor for the Netherlands Metropole Orchestra B and in that same year recorded Further Adventures with them. Holman continues to work extensively in Europe and in 2001 will conduct orchestras in Sweden, Austria and the Netherlands.

Continually sought after by contemporary vocalists, Holman supplied the arrangements (with the exception of the title tune) for Natalie Cole=s 1991 Unforgettable B a tribute to her father Nat King Cole. He continues to provide settings for elite jazz vocalists including Tony Bennett and Carmen McRae. Holman remains active. In 1998, he received a composer=s grant from the International Association of Jazz Educators. The Bill Holman Band still rehearses weekly and appears periodically in the Los Angeles area. Brilliant Corners: The Music of Thelonius Monk is a big band and arrangers tour-de-force and garnered Holman his third Grammy award in 1997.

Restrictions:

Collection is open for research.

Rights:

The Archives Center does not own the reproduction rights to the music of the Bill Holman Collection. All requests for performance or publication of Mr. Holman's compositions and/or arrangements should be directed to Bill Holman at 323-466-8809.

Occupation:

Composers -- 20th century  Search this

Topic:

Music -- 20th century  Search this

Musical arrangers  Search this

Jazz  Search this

Genre/Form:

Music -- Manuscripts

Posters -- 20th century

Business records -- 1950-2000

Scores

Citation:

Bill Holman Collection, 1951-2000, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0733

See more items in:

Bill Holman Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ecf71aef-19e8-455b-bfb2-c604e11f2591

EDAN-URL:

ead_collection:sova-nmah-ac-0733

Creator:

Schaefer, Bertha, 1895-1971  Search this

Names:

Bertha Schaefer Gallery (New York, N.Y.)  Search this

New Bertha Schaefer Gallery (New York, N.Y.)  Search this

Barnet, Will, 1911-2012  Search this

Ben-Zion, 1897–1987  Search this

Duchamp, Marcel, 1887-1968  Search this

Greene, Balcomb, 1904-1990  Search this

Picasso, Pablo, 1881-1973  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Vasilieff, Nicholas  Search this

Zóbel, Fernando  Search this

Extent:

4.6 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketches

Date:

1909-1975

bulk 1940-1965

Summary:

The Bertha Schaefer papers and gallery records measure 4.6 linear feet and date from 1909-1975, with the bulk of the material dating from 1940-1965. The collection documents the Bertha Schaefer Gallery as well as Bertha Schaefer, the interior designer, through correspondence with artists and galleries, artist files, client files, exhibition material, printed material, financial material, biographical material, photographs, and six scrapbooks.

Scope and Contents:

The Bertha Schaefer papers and gallery records measure 4.6 linear feet and date from 1909-1975, with the bulk of the material dating from 1940-1965. The collection documents the Bertha Schaefer Gallery as well as Bertha Schaefer, the interior designer, through correspondence with artists and galleries, artist files, client files, exhibition material, printed material, financial material, biographical material, photographs, and six scrapbooks. Also found here are oversized blue prints and sketched plans of interior design projects, as well as a number of oversized photographic prints and stereo slides. Correspondence contains handwritten notes by many notable artists, including Marcel Duchamp, Pablo Picasso, Jackson Pollock, Ad Reinhardt, and Fernando Zobel, with a bulk of the letters from Balcomb Greene.

Separated into three series, the Bertha Schaefer Gallery records document the artists represented by and function of the Bertha Schaefer Gallery. The Bertha Schaefer papers pertain to Bertha Schaefer as an interior designer through a large number of photographic materials and client files. Six scrapbooks document artists Will Barnet, Ben-Zion, Balcomb Greene, and Nicolai Vasilieff, as well as the Bertha Schaefer gallery and the New Bertha Schaefer Gallery.

Arrangement:

This collection is arranged as 3 series. Records are generally arranged by material type and chronologically thereafter.

Missing Title

Series 1: Bertha Schaefer Gallery Records, 1909-1971 (0.8 linear feet; Box 1)

Series 2: Bertha Schaefer Papers, 1914-1971 (2.6 linear feet; Boxes 1-3, 6-7, OV 8-9)

Series 3: Scrapbooks, 1944-1975 (1.2 linear feet; Boxes 3-5)

Biographical / Historical:

Bertha Schaefer (1895-1971) was an interior designer and director of the Bertha Schaefer Gallery in New York, New York. Schaefer was born in Yazoo City, Mississippi to Emil and Julia (Marx) Schaefer. She received her B.A. on June 1, 1914 from Mississippi State College for Women, and received a diploma for interior decorating from the Parsons School of Design in New York City. In 1924, after living in Paris for 5 months, she opened Bertha Schaefer Interiors in New York. In 1944, she opened the Bertha Schaefer Gallery of Contemporary Art, which featured American and European paintings and sculpture. "The Modern House Comes Alive" (1947-1948) is one of the key exhibitions she created. Schaefer designed furniture for Joe Singer of M. Singer and Sons Furniture Company in New York, 1950-1961.

Schaefer won design awards from the Museum of Modern Art (1952) and the Decorators Club of New York (1959). In 1958, she was given an award of recognition from the U.S. Department of State for her gallery's assistance in the American program for the Brussels Universal and International Exhibition, and an outstanding achievement in interior design award from the American Institute of Interior Designers. She was a member of several design organizations, including: the American Institute of Decorators, the Home Lighting Forum, the Illuminating Engineers Society, the American Federation of the Arts, and the Art Dealers Association of America. She was the president of the Decorators Club of New York from 1947-1948 and 1955-1957.

Schaefer was one of the first people to use fluorescent lighting in domestic spaces, with Percy Block as her first client, in 1939. In honor of Edison's birthday in 1953, she designed a bathroom for General Electric, applying new developments in lighting. She died on May 24, 1971, after which the gallery was renamed the New Bertha Schaefer Gallery.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Bertha Schaefer conducted by Paul Cummings, April 20-22, 1970.

Separated Materials:

The Archives of American Art also holds material lent for microfilming. Reel N69-115 is comprised of papers concerning Alfred H. Maurer, including a scrapbook about Maurer from 1946 to 1969. Reel N70-60 contains material concerning Hale Woodruff, including correspondence, sketches and drawings, articles, photographs, catalogs, announcements, clipping, notes kept while a student of Diego Rivera, and a scrapbook. Lent material was returned to the lender and is not described in the collection container inventory.

Provenance:

The Bertha Schaefer papers and gallery records were donated in several installments from 1969 to 1974 by Bertha Schaefer and Bertha Schaefer Gallery Inc. She also loaned material for microfilming in 1970. Paul Creamer donated three scrapbooks from the Bertha Schaefer Gallery and the New Bertha Schaefer Gallery in 1979. Additional material was donated in 1984 by Syracuse University.

Restrictions:

Use of original papers requires an appointment.

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.

Occupation:

Gallery directors -- New York (State) -- New York  Search this

Interior designers  Search this

Topic:

Interior decoration  Search this

Art, Modern -- 20th century -- New York (State) -- New York  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Scrapbooks

Sketches

Citation:

Bertha Schaefer papers and gallery records, 1909-1975, bulk 1940-1965. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.schabert

See more items in:

Bertha Schaefer papers and gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9837e3fbe-5623-4258-9014-b2d8c0ac6857

EDAN-URL:

ead_collection:sova-aaa-schabert

Artist:

Grace Wells Parkinson  Search this

Medium:

Bust, Amelia Earhart

Dimensions:

3-D: 24.1 x 24.1 x 35.6cm, 10.7kg (9 1/2 x 9 1/2 x 14 in., 23 5/8lb.)

Type:

ART-Sculpture

Country of Origin:

United States of America

Date:

1948

Credit Line:

Gift of Amelia Earhart Post 678, American Legion Auxiliary

Inventory Number:

A19500108000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9b0032470-e1e0-4b84-be4f-e8e0aee03838

EDAN-URL:

edanmdm:nasm_A19500108000

Materials:

paper, cardstock, canvas, paint

Dimensions:

3-D: 13.7 x 3.8 x 20cm, 0.5kg (5 3/8 x 1 1/2 x 7 7/8 in., 1lb.)

Type:

LITERATURE AND RESEARCH-Books (under Library)

Credit Line:

Lent by Dorothy Cochrane

Inventory Number:

I20211460001

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv90a2f16d9-b76e-469a-84f9-715ec6ed6503

EDAN-URL:

edanmdm:nasm_I20211460001

Creator:

Pearlstein, Philip, 1924-  Search this

Names:

WBAI Radio (New York, N.Y.)  Search this

WRFM (Radio station : New York, N.Y.)  Search this

Barnet, Will, 1911-2012  Search this

Blaine, Michael  Search this

Cantor, Dorothy  Search this

Close, Chuck, 1940-  Search this

Downes, Rackstraw  Search this

Dückers, Alexander, 1939-  Search this

Field, Richard  Search this

Haas, Richard, 1936-  Search this

Hampleman, Jean  Search this

Kelly, W. J.  Search this

Levine, Jack, 1915-2010  Search this

McCarthy, David, 1960-  Search this

Shaman, Sanford Sivitz  Search this

Storr, Robert  Search this

Tamburini, Fernando  Search this

Tsao, Vivian, 1950-  Search this

Updike, John  Search this

Viola, Jerome  Search this

Wallin, Leland  Search this

Ward, John  Search this

Warhol, Andy, 1928- -- Photographs  Search this

Witkin, Jerome  Search this

Yezzi, David  Search this

Extent:

31.8 Linear feet

16.68 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Date:

circa 1940-2008

Summary:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Scope and Contents:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.

Arrangement:

The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)

Biographical / Historical:

Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.

Provenance:

The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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.

Occupation:

Art teachers -- New York (State) -- New York  Search this

Topic:

Architecture -- Egypt  Search this

Architecture, Roman  Search this

Art -- Study and teaching  Search this

Painters -- New York (State) -- New York  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.pearphil

See more items in:

Philip Pearlstein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ae8de1cb-660c-49be-b009-d765ed771ebe

EDAN-URL:

ead_collection:sova-aaa-pearphil

Creator:

Cook Labs  Search this

Cook, Emory, 1913-2002  Search this

Names:

Cook Labs  Search this

Extent:

6.3 Cubic feet (Phonograph albums)

63.5 Cubic feet (Open-reel tapes)

8.75 Cubic feet (Business records)

78.55 Cubic feet

Culture:

Afro-Caribbean cults  Search this

10th Naval District Steel Band  Search this

Almerico, Tony, 1905-  Search this

American Indians  Search this

Audio Engineering Society  Search this

Ast, Anita  Search this

Bach, Johann Sebastian, 1685-1750  Search this

Beethoven, Ludwig van, 1770-1827  Search this

Big Shell Band  Search this

Boston Chorale  Search this

Brahms, Johannes, 1833-1897  Search this

Brokenshire, Norman, 1898-1965  Search this

Brundage, Al (Alfred)  Search this

Brute Force Band  Search this

Camp, Red  Search this

Carroll, Jimmy  Search this

Crowley, Daniel J., 1921-  Search this

Type:

Collection descriptions

Archival materials

Audiotapes

Photographic prints

Business records

Artifacts

Contracts

Phonograph records

Correspondence

Christmas music

Place:

Cuba

West Indies -- Lesser Antilles

Caribbean Area

Antigua

Barbuda

Amazon River Region

Benítez (Venezuela)

Baja California (Mexico : Peninsula)

Brazil

Connecticut

Cuba

Haiti

Date:

1908-2002, bulk 1948-1965

Summary:

The Cook Labs records, which date from 1939-2002, document the activities of audio engineer Emory Cook and his label Cook Labs. The contents include business records, materials relating to recording artists, photographs, and production materials, as well as phonograph records, master recordings and unpublished recordings produced by or associated with the Cook Labs label. The collection also contains two interviews conducted with Emory Cook in 1990: one by Jeff Place and one by Anthony Seeger and Nicholas Spitzer. There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.

Scope and Contents note:

There are two primary components of the Cook Labs records: the records, master tapes and other audio recordings, and the related paper files.

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

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

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

There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.

Arrangement note:

Many of the items in this list have been assigned an accession number, and like materials have been grouped together to create seven series:

Series 1: Business Papers, 1939-1990

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

Series 3: Photographs, undated, 1957

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

Series 5: Objects, undated, 1908-1964

Series 6: Audio Interviews, 1990

Series 7: Audio Recordings

Biographical/Historical note:

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

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

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

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

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

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

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

Emory Cook died at the age of 89 in 2002 after a long hospitalization.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

COOK RECORDINGS - NUMERICAL LISTING:

001 20,000 Cycle Demo (1949) COOK00001

002 Night Rain and Surf COOK00002

003 Specimen Heart Beats COOK00003

004 Katydids, Frogs and Forrest Birds

E101 Grenada Stories and Songs (1957-58) COOK00101

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

E103 Music of St. Lucia (1953) COOK00103

E104 Rada (1958) COOK00104

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

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

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

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

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

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

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

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

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

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

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

928 CLARENCE CURVAN His Drums, His Orchestra COOK00928

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

931 LORD MELODY Lord Melody, 1962 COOK0931

1000 TITUS MOODY DDDs of Binaural (1952) COOK01000

1011 The Christmas Music Box (1950) COOK01011

1012 Music Boxes of Long Ago (1950) COOK01012

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

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

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

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

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

1023 The Ramayana (Hindu Ceremony) (1961) COOK01023

1024 GUSTAVO ZEPOLI Concert Guitar (1954) COOK01024

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

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

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

1028 CARLOS MONTOYA Montoya (1952) COOK01028

1030 EDWARD VITO The Harp (1951) COOK01030

1031 EDWARD AND JOSEPH VITO Dual Harp (1951) COOK01031

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

1035 Barrelhouse Piano (1950) COOK01035

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

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

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

1039 LEONID HAMBRO A Perspective of Beethoven (1953) COOK01039

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

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

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

1043 Three Rituals (1955) COOK01043

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

1045 Drums of Trinidad (1956) COOK01045

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

1047 THE KATZENJAMMERS The Enchanted Steelband (1957) COOK01047

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

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

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

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

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

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

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

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

1056 ALFONSO VEGA NUÑEZ Morelia Cathedral Organ (1954) COOK01056

1057 REGINALD FOORT Foort Pops (1956) COOK01057

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

1059 REGINALD FOORT Intermission at the Mosque (1956) COOK01059

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

1061 FESTIVAL CASALS ORCHESTRA Hector Campos Parsi (1958) COOK01061

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

1063 NEW ORCHESTRAL SOCIETY OF BOSTON Debussy (1955) COOK01063

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

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

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

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

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

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

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

1071 Burlesque Uncensored (1954) COOK01071

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

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

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

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

1077 Voice of the Storm (1957-58) COOK01077

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

1079 Tour of High Fidelity (1965) COOK01079

1080 TRIO LEONES Trio Leones of Cabrito (1954) COOK01080

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

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

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

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

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

1086 WILLIE RODRIGUEZ The Drums of Rodriguez (1953) COOK01086

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

1088 RED CAMP Red Camp Horizontal (1954) COOK01088

1089 RED CAMP Red Camp Upright (1954) COOK01089

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

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

1092 HUFSTADER SINGERS Hufstader Singers (1953) COOK01092

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

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

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

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

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

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

1120 BENITEZ-VALENCIA TRIO Ecuador (1958) COOK01120

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

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

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

1124 HAYWIRE MAC McCook LabsINTOCK Haywire Mac (1951) COOK01124

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

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

1127 STEVE CAMACHO Folk and Other Songs (1962) COOK01127

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

1132 SHINCHI YUIZE The Japanese Koto (1955) COOK01132

1133 RED CAMP The New Clavichord (1957) COOK01133

1134 LUIS BONFA Guitar in Brazil (1959) COOK01134

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

1150 BILL FLOYD The King of Organs (1957) COOK01150

1151 REGINALD FOORT The Theatre Organ, volume 2 COOK01151

1152 REGINALD FOORT The Theatre Organ, volume 3 COOK01152

1154 REGINALD FOORT The Theatre Organ, volume 5 COOK01154

1155 REGINALD FOORT The Theatre Organ, volume 6 COOK01155

1156 REGINALD FOORT The Baroque Organ, volume 1 COOK01156

1157 REGINALD FOORT The Baroque Organ, volume 2 COOK01157

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

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

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

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

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

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

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

1186 ENSEMBLE AUX CALEBASSES Meringue (1958) COOK01186

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

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

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

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

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

1282 Italian Moom Jefferson-Jones' Orchestra COOK01282

2004 Tour of Stereo (1958) COOK02004

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

2070 Aboard a Fast Express / Jet Dynamics COOK02070

4057 REGINALD FOORT The Theater Organ COOK04057

4069 NEW ORCHESTRAL SOCIETY OF BOSTON Hayden Military Symphony COOK04069

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

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

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

5004 TIRORO Tiroro: Haitian Drummer (1948) COOK05004

5005 RED CAMP Camp Has a Ball (1954) COOK05005

5006 AL BRUNDAGE Square Dance (1951) COOK05006

5007 Mexican Marimba Band (1954) COOK05007

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

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

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

5011 Voice of the Sea (1954) COOK05011

5012 Earthquake (1953) COOK05012

5013 Ionosphere (1955) COOK05013

5014 Mariachi Music of Mexico (1954) COOK05014

5015 Mexican Firecrackers (1951) COOK05015

5016 Calypso Lore and Legend (1956) COOK05016

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

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

5019 ALONZO CRUZ Blind Troubadour of Oaxaca (1956) COOK05019

5020 Epilogue to the String Band Tradition (1956) COOK05020

5022 ABCs of Hi Fi COOK05022

5025 BUCKMINSTER FULLER Buckminster Fuller Speaks His Mind COOK05025

5050 NORMAN BROKENSHIRE Radio Moscow and the Western Hemisphere COOK05050

5051 FRANKLIN D. ROOSEVELT The Four Inaugural Addresses COOK05051

6061 BUCKMINSTER FULLER The Clock Is Stopping COOK06061

8374 BUCKMINSTER FULLER Dymaxion Ditties: Buckminster Fuller Sings COOK08374

10001 Sound Effects, volume 1 COOK10001

10002 Sound Effects, volume 2 COOK10002

10003 Sound Effects, volume 3 COOK10003

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

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

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

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

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

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

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

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

10500 REGINALD FOORT The Theater Organ COOK10500

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

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

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

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

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

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

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

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

10850 RUPERT Cook LabsEMENDORE BAND Le Jazz Trinidad COOK10850

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

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

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

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

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

50130 Tour of Cook Labs COOK50130

70889 RED CAMP Popular Piano and Combo COOK70889

80134 LUIZ BONFA Waterfall: Guitar COOK80134

80417 MARIMBA ORCHESTRA Waterfall: Children's Music COOK80417

80680 NEW ORCHESTRAL SOCIETY OF BOSTON Waterfall: Symphonic COOK80680

XX1 Audio Follies Sampler COOK00XX1

XX2 Calypso Jazz Sampler COOK00XX2

Series 10 Cook Series 10 COOK_Series10

Series 30 Cook Series 30 COOK_Series30

Series 60 Cook Series 60 COOK_Series60

Series 70 Cook Series 70 COOK_Series70

Series 80 Cook Series 80 COOK_Series80

Series 90 Cook Series 90 COOK_Series90

Series 100 Cook Series 100 COOK_Series100

Series 300 Cook Series 300 COOK_Series300

Series 301 Cook Series 301 COOK_Series301

Series 302 Cook Series 302 COOK_Series302

Series 303 Cook Series 303 COOK_Series303

Provenance:

The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the Cook Labs Records in 1990, when Emory and Martha Cook donated their company records to the Center for Folklife and Cultural Heritage. Anthony Seeger, then Director of Smithsonian Folkways Records, received a call from Mr. Cook in the summer of 1989 offering to donate the Cook label to the Smithsonian. Dr. Seeger visited him in August of that year to view the contents of the collection, and the Smithsonian received custody of the collection in May 1990. In return for the donation from Mr. Cook, the Center for Folklife and Cultural Heritage agreed to keep the record titles available and to store the papers in the archives.

Restrictions:

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

Rights:

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

Topic:

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

Wit and humor  Search this

Calypso (Music)  Search this

Folk music -- Caribbean Area  Search this

Folk music  Search this

Sounds  Search this

Music -- 18th century  Search this

Folk music -- United States  Search this

Jazz -- Louisiana -- New Orleans  Search this

Jazz  Search this

Accordion music  Search this

Airplane sounds  Search this

Animal sounds  Search this

Audio equipment industry  Search this

Blues (Music)  Search this

Bonfá, Luiz  Search this

Calypso (Music)  Search this

Burlesque (Theater)  Search this

Calliope music  Search this

Calypso (Music)--Trinidad and Tobago  Search this

Campos Parsi, Héctor, 1922-  Search this

Catholicism  Search this

Christianity  Search this

Christmas  Search this

Cimbalom and zither music  Search this

Clavichord  Search this

Clemendore, Rupert  Search this

Drum  Search this

Genre/Form:

Audiotapes

Photographic prints

Business records

Artifacts

Contracts

Phonograph records

Correspondence

Christmas music

Citation:

Cook Labs records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.COOK

See more items in:

Cook Labs records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk50980aef1-30c4-4f77-9de4-97337007b9f0

EDAN-URL:

ead_collection:sova-cfch-cook

Creator:

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

Extent:

4.25 Cubic feet (5 boxes)

Type:

Collection descriptions

Archival materials

Articles

Maps

Newspaper clippings

Negatives

Patents

Photographs

Stock certificates

Tickets

Date:

undated

Content Description:

Collection documents street railway cars through photographs and ephemera. INcludes reprints and articles from Street Railway Journal, Capital Traction Quarterly, The Railroad Gazette, the American Society of Civil Engineers, and Scientific American.

Arrangement:

Collection is unarranged.

Provenance:

Immediate source of acquisition unknown.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Local transit  Search this

Railways  Search this

Streetcars  Search this

Genre/Form:

Articles -- 19th century

Articles -- 20th century

Maps

Newspaper clippings

Negatives

Patents

Photographs

Stock certificates

Tickets

Citation:

Division of Transportation Street Railways Reference Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1575

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86e2bbdd8-df7c-4873-8761-cc82feccc36d

EDAN-URL:

ead_collection:sova-nmah-ac-1575

Creator:

Head, Howard, 1914-1991 (inventor, business executive)  Search this

Names:

Head Ski Company.  Search this

Prince Manufacturing, Inc.  Search this

Bruner, Wally, 1931-  Search this

Budge, Dan  Search this

Cash, Pat  Search this

Cosby, Bill, 1937-  Search this

Douglas, Mike, 1925-  Search this

Ford, Gerald R., 1913-2006  Search this

Francis, Arlene  Search this

Savalas, Telly, 1924-  Search this

Shore, Dinah, 1917-1994  Search this

Shriver, Pam  Search this

Tiriac, Ian  Search this

Van Patten, Dick, 1928-  Search this

Watson, Tom  Search this

Extent:

11 Cubic feet (25 boxes, 1 oversize folder)

Type:

Collection descriptions

Archival materials

Videodiscs

Tax records

Patents

Advertisements

Audiocassettes

Clippings

Dictaphone cassettes

Drawings

Correspondence

Photographs

Date:

1926-1991

bulk 1955-1991

Scope and Contents:

The Head Papers, 1926-1991, consist of correspondence, calendars, notes, company records (Head Ski Company and Prince Manufacturing Inc.), drawings, sketches, advertisements, product information, photographs, and slides documenting the development and design of both the Head ski and Prince oversized tennis racket. The collection is arranged into eight series:

Arrangement:

The collection is divided into eight series.

Series 1: Biographical Materials, 1926-1991

Series 2: Correspondence and Writings, 1943-1991

Series 3: Head Ski Company Records, 1943-1990

Series 4: Head Ski Company Reunion Materials, 1986

Series 5: Prince Manufacturing, Inc. Records, 1971-1991

Series 6: Historical Collection Materials, 1986-1991

Series 7: Posters, undated

Series 8; Audiovisual Materials, 1940s-1991

Biographical / Historical:

Howard Head was born July 31, 1914 in Philadelphia, Pennsylvania. He attended William Penn Charter and graduated from Harvard in 1936 with a degree in engineering. From 1939 to1947, Head worked for Glenn L. Martin Company as a riveter and engineer. He left Martin and founded the Head Ski Company in Timonium, MD in 1948. The former aircraft engineer, developed, designed, manufactured, and marketed the first metal laminate skis in 1950 called the "Head Standard" which revolutionized the ski industry. These skis were made of two layers of aluminum bonded around a core of plywood at very high pressure; the outer layer was made of plastic. By 1952, Head introduced skis with edges made of tempered steel. His skis were lighter and faster than wood and earned the nickname "cheaters" by the industry. In 1969, Head introduced a fiberglass/metal ski, but this ski combined with a diversified product line of javelin and aluminum tennis rackets could not strengthen his company nor stop a takeover by AMF in 1970. In 1968, Head formed a tennis division of Head Sports Inc., to develop a metal tennis racket which he introduced at the U.S. Open in 1969. After Head sold his interests in Head Sports Inc., he became chairman of the board for Prince Manufacturing Inc., in 1971. He decided to enlarge the width and length of the traditional tennis racket, more than doubling its "sweet spot." He developed and patented a line of new aluminum rackets and introduced the "Prince Advantage" in 1976. The Prince racket company was sold to Cheesebrough Ponds in 1982. Head, who died in 1991, revolutionized both the ski and tennis industries.

Related Materials:

Artifacts donated to the National Museum of American History, Division of Cultural History (now Division of Cultural and Community Life) on May 19, 1997, include downhill skis, ski poles, ski boots, ski bindings, cross sections of downhill skis, competition medals, Prince tennis rackets, and racket covers.

Separated Materials:

Materials at the National Museum of American History

Artifacts were donated to the Division of Cultural History (now Division of Cultural and Community Life) on May 19, 1997,and include downhill skis, ski poles, ski boots, ski bindings, cross sections of downhill skis, competition medals, Prince tennis rackets, and racket covers.

Provenance:

This collection was donated to the National Museum of American History by Martha Head and The Howard and Martha Head Fund, Inc., May 19, 1997.

Restrictions:

Collection is open for redsearch. No reference copies of audiovisual materials available at this time.

Rights:

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

Topic:

Tents  Search this

Inventions -- 20th century  Search this

Philanthropists  Search this

Rackets (Sporting goods)  Search this

Sporting goods industry  Search this

Skis and skiing  Search this

Genre/Form:

Videodiscs

Tax records

Patents

Advertisements

Audiocassettes

Clippings

Dictaphone cassettes

Drawings -- 20th century

Correspondence -- 1930-1950

Photographs -- 20th century

Citation:

Howard Head Papers, 1926-1991, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0589

See more items in:

Howard Head Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89351eb2d-8d33-4b79-8226-aae217765546

EDAN-URL:

ead_collection:sova-nmah-ac-0589

Materials:

Linen, cotton

Dimensions:

2-D - Unframed (H x W): 40 x 96.5cm (15 3/4 in. x 38 in.)

Type:

MEMORABILIA-Events

Date:

1935

Credit Line:

Gift of Robert T. Skinner

Inventory Number:

A19750015000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv903985956-1691-4775-8b9e-342cffa3cc35

EDAN-URL:

edanmdm:nasm_A19750015000

Creator:

Cotton Museum at the Memphis Cotton Exchange  Search this

National Cotton Council  Search this

Extent:

38 Cubic feet (91 boxes)

Type:

Collection descriptions

Archival materials

Videocassettes

Slides (photographs)

Scrapbooks

Reports

Programs

Photographs

Photograph albums

Audiotapes

Place:

Memphis (Tenn.)

Date:

1939-1994, undated

Summary:

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.

Topic:

Beauty contestants  Search this

Cotton textile industry  Search this

Cotton industry  Search this

Beauty contests -- United States  Search this

Genre/Form:

Videocassettes

Slides (photographs)

Scrapbooks -- 20th century

Reports

Programs -- 20th century

Photographs -- 20th century

Photograph albums -- 20th century

Audiotapes

Citation:

Maid of Cotton Records, 1939-1993, undated, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

This collection was processed with a generous donation from Mr. and Mrs. Steven L. and Michelle Pitcher Trulaske, 2010.

Identifier:

NMAH.AC.1176

See more items in:

Maid of Cotton Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f53d73b9-ea20-46d7-a006-fb4122e3ad71

EDAN-URL:

ead_collection:sova-nmah-ac-1176

Creator:

Architectural League of New York  Search this

Names:

American Institute of Architects  Search this

National Sculpture Society (U.S.)  Search this

Gilbert, Cass, 1859-1934  Search this

Extent:

114.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Annual reports

Photographs

Minutes

Lantern slides

Date:

1880s-1974

Summary:

The records of the Architectural League of New York measure 114.9 linear feet and date from 1880s-1974 (bulk 1927-1968). The League's mission "to advance the art of architecture" is documented through administrative and business records, committee records and officers' files, exhibition files, records of functions and events, correspondence, publicity files, photographs, lantern slides, and 16 scrapbooks.

Scope and Content Note:

The records of the Architectural League of New York measure 114.9 linear feet and date from 1880s-1974 (bulk 1927-1968). The League's mission "to advance the art of architecture" is documented through administrative and business records, committee records and officers' files, exhibition files, records of functions and events, correspondence, publicity files, photographs, lantern slides, and scrapbooks.

League records prior to 1927 are limited in the collection and are mostly found among Administrative Files. The administrative files include a nearly complete collection of annual reports from 1889-1932 and various meetings minutes from 1889 through the mid-20th century. Also found is a history of the League written by founding member Cass Gilbert, documentation of the changes of the League Constitution and By-Laws during the first half of the 20th century, and other administrative records.

Over a third of the collection are records from committees, including voluminous records of the Executive Committee, Current Work Committee, House Committee, Finance Committee, Membership Committee, and Scholarships and Special Awards Committee. In addition, there are scattered records for minor committees. Materials include correspondence, meeting minutes, election ballots, financial records, membership records, documents related to awarding scholarships and awards, and other administrative and organizational committee records. Found is the original 1889 agreement between the Architectural League, the Art Students League, and the Society of American Artists to build the American Fine Arts Society building. Throughout the collection, but especially in the Membership Committee subseries, the records provide a glimpse into the struggles the League faced during the Depression through World War II to maintain dues-paying members.

Officers' Files includes collated records of the League Executive Secretary and Secretary, as well as correspondence of the League President and Treasurer. Materials found here are not comprehensive; similar materials can be found throughout the collection.

Financial records such as bank statements, correspondence, and ledgers; insurance correspondence and policies; and legal correspondence, are found in the Business Records series. This series does not include records prior to 1926.

Exhibition files provide detailed documentation of the exhibitions sponsored by, or held at, the League primarily from the 1930s to the early 1970s. Records related to the League Annual Exhibition, the National Gold Medal Exhibitions, and the 1939 World's Fair in New York are found here, as well as exhibition files arranged chronologically by exhibition date and miscellaneous administrative files. Materials include administrative files, applications, correspondence, printed materials, publicity files, and other records related to organizing and managing exhibitions. The files of the Exhibition Committee are also found here.

Other series which document activities held by, or held at, the League include Functions and Events series and Publicity Files series. Found is correspondence, printed materials, press releases, schedules, and other administrative documents created in organizing events such as dinners, lectures, receptions, balls, and outings. The Records of Other Organizations includes records relating to organizations that had business with the League, often regarding events, meetings, and exhibitions held at the League. Represented here are some records of the American Institute of Architects (A.I.A.) and the National Sculpture Society (N.S.S.).

Correspondence includes miscellaneous correspondence arranged alphabetically by subject or name, and collated correspondence arranged chronologically. Most of the chronological correspondence appears to be Secretaries' files. The materials in the Miscellaneous series seem to have been separated from their original files, or were never filed properly. Therefore, materials and contents are similar to those found in other series, such as correspondence, administrative records, some financial records, and handwritten notes.

Black and white photographs, a handful of colored photographs, nearly 350 lantern slides, and negatives of exhibitions, buildings, events, and portraits are found in the Photographic Materials series.

Sixteen scrapbooks include eight scrapbooks of clippings from 1880s-1960s, and seven scrapbooks of notices and printed materials from 1925-1930. Also found is a scrapbook of signatures of event attendees, a clippings scrapbook compiled by Hamilton M. Wright, and a scrapbook of the Archeological Institute of America.

Arrangement:

The collection is arranged as 12 series:

Missing Title

Series 1: Administrative Files, 1889-1969 (Boxes 1-10, OV 116; 9.7 linear feet)

Series 2: Committee Records, 1887-1974 (Boxes 10-54, 110, 114, OV 116; 44.7 linear feet)

Series 3: Officers' Files, 1900, 1923-1970 (Boxes 54-58; 3.9 linear feet)

Series 4: Business Records, circa 1926-1972 (Boxes 58-62, BVs 129-144; 7.35 linear feet)

Series 5: Exhibitions, 1887-1972, bulk 1930s-1960s (Boxes 62-83, 111, OVs 117-119; 21.85 linear feet)

Series 6: Functions and Events, 1909, 1931-1973 (Boxes 84-93, OV 120; 9.35 linear feet)

Series 7: Publicity Files, 1922-1972 (Boxes 93-95, 111; 2.5 linear feet)

Series 8: Records Relating to Organizations, 1908-1968, bulk 1930s-1960s (Boxes 95-101; 6.1 linear feet)

Series 9: Correspondence, 1929-1970 (Boxes 101-103, OV 120; 1.85 linear feet)

Series 10: Miscellaneous, circa 1936-1968 (Boxes 103-104; 1.3 linear feet)

Series 11: Photographic Materials, 1896-1960s (Boxes 105-108, 112, OVs 121-128; 4.3 linear feet)

Series 12: Scrapbooks, 1880s-1960s (Boxes 108-109, 113-115, BVs 145-148; 2.2 linear feet)

There are frequently similar and related materials in multiple series, as is indicated in the series' descriptions. The records may originally have been arranged by file owner (committees, secretary, etc.), then by League season (roughly May - April). Most series include a handful of folders in which the original folder title indicates the file owner and League season (i.e. Secretary 1938-1939).

Historical Note:

Modeling the organization's name after the Art Students League of New York, the Architectural League of New York was founded in New York City in 1881 by a group of architects who wished to gather and discuss architecture and its relationship to the arts. The group elected D.W. Willard as the first President of the League and they began gathering regularly to discuss and critique each other's sketches and hold competitions. The organization grew quickly and soon the League rented a room in a building on 14th Street between University Place and Fifth Avenue.

However, by the mid-1880s the founders and more active League members left New York, and membership began to falter. The League was reorganized in 1886, expanding membership beyond professional architects, and incorporated in 1888 with 166 members. In 1889, the League joined with the Art Students League of New York and the Society of American Artists to form the American Fine Arts Society. Thus, in 1892 the three organizations were able to erect a building at 215 West 57th Street where the League remained until 1927 when it moved to 115 East 40th Street.

The League was run by the Executive Committee and its officers, elected every two years. The beginning of each League season kicked off with an annual dinner in the spring. The League also formed numerous committees to organize activities and manage administrative tasks. Noteworthy committees include the Current Work Committee, House Committee, Finance Committee, Exhibition Committee, Membership Committee, and Scholarships and Special Awards Committee.

The League's interdisciplinary approach to architecture and the arts was expressed through sponsored forums and discussions with architects and artists. From the League's beginning, the Current Work Committee was established to organize educational forums for members. Recognition of achievement was awarded by an Annual Exhibition from the late 1880s until 1938. In 1950, the League began awarding the annual National Gold Medal Exhibition in various fields, including landscape architecture, engineering, and sculpture. Additionally, the League awarded numerous other scholarships each year. Architects, artists, and arts-related organizations could also rent space in the League building to hold meetings, discussions, and exhibitions.

The League admitted its first female member in 1934. Notable members of the League included Arnold W. Brunner (President, 1903-1905), Cass Gilbert (President, 1913-1915), Philip Johnson, Robert A.M. Stern, and Russell Sturgis (President, 1889-1893).

The Architectural League of New York continues to provide educational opportunities and scholarships to students and professionals.

Background information was gathered from a written history of the League by Cass Gilbert found in this collection and the Architectural League of New York website (http://archleague.org/category/archive/history-archive/).

Related Material:

Among the holdings of the Archives of American Art are several collections that contain Architectural League of New York records. The American Federation of Arts records, 1895-1993, include a significant amount of League records related to national awards programs and lantern slides from the "New Horizons in America" lecture series.

Provenance:

The Architectural League of New York records were donated in several installments from 1967-1980 by the Architectural League of New York.

Restrictions:

Use of original papers requires an appointment.

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:

Architecture  Search this

Function:

Arts organizations

Genre/Form:

Scrapbooks

Annual reports

Photographs

Minutes

Lantern slides

Citation:

Architectural League of New York records, 1880s-1974, bulk 1927-1968. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care and Preservation Fund

Identifier:

AAA.archleag

See more items in:

Architectural League of New York records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a5b8a23f-5566-4bf5-ae3c-c89920c27dad

EDAN-URL:

ead_collection:sova-aaa-archleag