It had to be you --Come rain or come shine --I get a kick out of you --I don't want to cry anymore --Ghost of a chance --A fine romance --Gone with the wind --Isn't it a lovely day.
Local Numbers:
FW-ASCH-LP-0642
Clef.669
Publication, Distribution, Etc. (Imprint):
Clef 196x
General:
Program notes on container. Performer(s): Billie Holiday.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Mean to me. I'll get by. Sun shower. He's funny that way. My man. Nice work if you can get it. Can't help lovin' dat man. My first impression of you. I can't believe that you're in love with me. Now they call it swing. If I were you. You can't be mine (and someone else's too). I've got a date with a dream. I'm gonna lock my heart and throw away the key. They say. Say it with a kiss. Sugar. More than you know. Why did I always depend on you. Night and day. You're a lucky guy. Falling in love again. I'm all for you. I hear music. Practice makes perfect. It's the same old story. St. Louis blues. Solitude. I'm in a lowdown groove. Let's do it. Mandy is two. It's a sin to tell a lie.
Track Information:
101 Mean to Me.
102 I'll Get By.
103 Sun Flowers.
104 He's Funny That Way.
105 My Man.
106 Nice Work If You Can Get It.
107 Can't Help Lovin' Dat Man.
108 My First Impression of You.
201 I Can't Beleive That You're in Love With Me.
202 Now They Call It Swing.
203 If I Were You.
204 You Can't Be Mine.
205 I've Got a Date With a Dream.
206 I'm Gonna Lock My Heart And Throw Away the Key.
207 They Say.
208 Say It With a Kiss.
301 Sugar.
302 More Than You Know.
303 Why Did I Always Depend On You.
304 Night and Day.
305 You're a Lucky Guy.
306 Falling In Love Again.
307 I'm All For You.
308 I Hear Music.
401 Practice Makes Perfect.
402 It's theSame Old Story.
403 St. Louis Blues.
404 Solitude.
405 I'm In a Lowdown Groove.
406 Let's Do It.
407 Mandy is Two.
407 It's a Sin to Tell a Lie.
Local Numbers:
FW-ASCH-LP-0778
Columbia.32127
Publication, Distribution, Etc. (Imprint):
New York Columbia
General:
Program notes by R.J. Gleason and L. Feather on containers. Performer(s): Popular songs, sung by Billie Holiday; additional musicians listed on container. Production notes: Recorded 1933-1942, in New York.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Your mother's son-in-law. Riffin' the scotch. Them there eyes. These foolish things. Did I remember? No regrets. A fine romance. Easy to love. The way you look tonight. Pennies from heaven. That's life I guess. I can't give you anything but love. This years's kisses. Why was I born? The mood that I'm in. I'll never be the same. Without your love. Swing! Brother, Swing! They can't take that away from me. Getting some fun out of life. Trav'lin' all alone. When you're smiling. If dreams come true. I can't get started. Back in your own back yard. On the sentimental side. When a woman loves a man. You go to my head. The very thought of you. That's all I ask of you. Dream of life. Long gone blues
Track Information:
101 Your Mother's Son-in-law.
102 Riffin' the Scotch.
103 Them There Eyes.
104 These Foolish Things.
105 Did I Remember?
106 No Regrets.
107 A Fine Romance.
108 Easy to Love.
201 Way You Look Tonight.
202 Pennies From Heaven.
203 That's Life I Guess.
204 I Can't Give You Anything But Love.
205 This Years Kisses.
206 Why Was I Born?
207 The Mood That I'm In.
208 I'll Never be the Same.
301 Without Your Love.
302 Swing! Brother, Swing!
303 They Can't Take That Away From Me.
305 Trav'lin' All Alone.
304 Getting Some Fun Out of Life.
306 When Your Smiling.
307 If Dreams Come True.
308 I Can't Get Started.
401 Back in Your Own Back Yard.
402 On the Sentimental Side.
403 When a Woman Loves a Man.
404 You Go To My Head.
405 The Very Thought of You.
406 That's All I Ask of You.
407 Dream of Life.
408 Long Gone Blues.
Local Numbers:
FW-ASCH-LP-0779
Columbia.32121
Publication, Distribution, Etc. (Imprint):
New York Columbia
General:
Program notes by R.J. Gleason and L. Feather on containers. Performer(s): Popular songs, sung by Billie Holiday; additional musicians listed on container. Production notes: Recorded 1933-1942, in New York.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Some other spring --The man I love --Ghost of yesterday -- Body and soul --I'm pulling through --Tell me more --Laughing at life --Time on my hands --Georgia on my mind --Romance in the dark --All of me --God bless the child --Am I blue? -- I cover the waterfront --Love me or leave me --Gloomy Sunday --A sunbonnet blue --I'm painting the town red -- What a night, what a moon, what a girl --You let me down -- It's too hot for words --It's like reaching for the moon --One never knows does one? --I've got my love to keep me warm --My last affair --You showed me the way --Sentimental and melancholy --Let's call the whole thing off --Moanin' low -- Carelessly --Where is the sun --How could you.
Track Information:
101 Some Other Spring.
102 The Man I Love.
103 Ghost of Yesterday.
104 Body and Soul.
105 I'm Pulling Through.
106 Tell Me More.
107 Laughing at Life.
108 Time on My Hands.
201 Georgia on My Mind.
202 Romance in the Dark.
203 All of Me.
204 God Bless the Child.
205 Am I Blue?
206 I Cover the Waterfront.
207 Love Me or Leave Me.
208 Gloomy Sunday.
301 A Sunbonnet Blue.
302 I'm Painting the Town Red.
303 What a Night, What a Moon, What a Girl.
304 You Let Me Down.
305 It's Too Hot For Words.
306 It's Like Reaching for the Moon.
307 One Never Knows Does One?
308 I've Got My Love to Keep Me Warm.
401 My Last Affair.
402 You Showed Me the Way.
403 Sentimental and Melancholy.
404 Let's Call the Whole Thing Off.
405 Moanin' Low.
406 Carelessly.
407 Where is the Sun.
408 How Could You.
Local Numbers:
FW-ASCH-LP-0789
Columbia.32124
Publication, Distribution, Etc. (Imprint):
New York Columbia
General:
Program notes by L. Feather on containers. Durations and personnel listed on containers. Performer(s): Billie Holiday, vocals, with various orchestras and bands.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Miss Brown to you --I wished on the moon --What a little moonlight can do --If you were mine --Summertime --Billie's blues --I must have that man! --Foolin' myself --Easy living -- Me, myself and I --A sailboat in the moonlight --I cried for you.
Track Information:
101 Miss Brown to You.
102 I Wished on the Moon.
103 What a Little Moonlight Can Do.
104 If You Were Mineonlight Can Do.
105 Summertime.
106 Billie's Blues.
201 Must Have That Man!
202 Foolin' Myself.
203 Easy Living.
204 Me, Myself, and I (Are All in Love with You).
205 A Sailboat in the Moonlight.
206 I Cried for You (Now Its Your Turn to Cry Over Me).
Local Numbers:
FW-ASCH-LP-1597
Columbia.637
Publication, Distribution, Etc. (Imprint):
New York Columbia 1955
General:
Program notes by George Avakian on container. Performer(s): Popular and jazz songs; performed by Billie Holiday with various jazz groups. Production notes: Recorded originally July 2, 1935-June 15, 1937.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Miss Brown to you -- I wished on the moon -- What a little moonlight can do -- If you were mine -- I must have that man! -- Foolin' myself -- Easy living -- When you're smiling.
Local Numbers:
FW-ASCH-78-0040
Columbia.C-61
Publication, Distribution, Etc. (Imprint):
New York Columbia 194x
Participant or Performer Note:
Teddy Wilson, piano and his orchestra, featuring Billie Holiday, vocals.
Date/Time and Place of an Event Note:
Recorded between 1935 and 1938.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
1 Item (Silver gelatin on cellulose acetate film sheet, 4" x 5".)
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
ca. 1940-1950
Scope and Contents:
Billie Holiday seated at a table in Club Bali with Benny Caldwell, Ada Deans Chapman, and Melvin Smith. There are drinks on the table and a large fan is mounted on a decorated wall behind them. To the right of the man a woman is standing holding a flashgun. "2-1E" is visible in the top left hand corner. No ink on negative. Further ink on envelope: "Guest: Ada Deans Chapman & Melvin Smith". "ANSCO SAFETY FILM" edge imprint. No Scurlock number.
Biographical / Historical:
Club Bali was situated at 1901 14th Street, N.W. Billie Holiday played the venue in 1948 or 1949. This image may date from that session.
General:
Scan is much too dark.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1940-1950 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet, 4" x 5".)
Container:
Box 72
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
Scope and Contents:
No ink on negative. Looking up at Billie Holiday in a white dress singing on a stage. Champagne glasses, a drum and part of a man's head can be seen on the left. "2 ANSCO SAFETY FILM" and "2-1E" edge imprint. No Scurlock number.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1950-1960 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Jazz club photographs by noted Jazz photographer Herman Leonard.
Scope and Contents:
This collection consists of 110 black-and-white photographic prints depicting musicians performing at various American and European jazz clubs between 1948 and 1991. The collection contains mounted and unmounted 11" x 14" and 16" x 20" prints made by Leonard. Artists represented among these photographs are Billie Holiday, Charlie Parker, Dizzy Gillespie, Duke Ellington, Frank Sinatra, Lester Young, Louis Armstrong, Miles Davis, and Thelonious Monk. The photographs are organized into three series: Series 1: 11"x 14" prints, Series 2: 16" x 20" prints, and Series 3: Addenda. The series are arranged alphabetically by performer's last name. Unmatted 16" x 20" prints can be found in box 2 but are listed alphabetically by performer.
Biographical / Historical:
Herman Leonard (1923‑2010) was born in Allentown, Pennsylvania and served as a military photographer in Burma during World War II. He earned his Bachelor of Fine Arts Degree in photography from Ohio University and began working with Yousuf Karsh, a Canadian portraitist. Settling in New York in 1949, Leonard began photographing jazz musicians at various jazz clubs on Broadway and Fifty‑Second Streets, and in Harlem for such publications as Cosmopolitan, Esquire, Life, Look, Playboy, and Time. He later to Paris to begin a fashion and advertising business. He also continued photographing jazz musicians. In 1988 Leonard presented his first exhibition, "Images of Jazz," in London. This show established his reputation as a leading photographer of jazz and sparked further shows and publications.
Provenance:
The Herman Leonard Photographs were donated to the National Museum of American History by Mr. Leonard on December 17, 1991 and in 2006.
Restrictions:
Collection is open for research.
Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Holliday singing into microphone with smoke swirling around her. Title below image, signed at lower right.
Local Numbers:
00044503.tif (AC Scan No.)
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
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.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 73, Folder 23
Type:
Archival materials
Date:
1940's
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 74, Folder 2
Type:
Archival materials
Date:
1937
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Extent:
25 Cubic feet (75 boxes
)
Type:
Collection descriptions
Archival materials
Legal records
Magazines (periodicals)
Catalogs
Correspondence
Financial records
Music
Bank statements
Autobiographies
Articles
Tax records
Business records
Newsletters
Photographs
Recordings
Sheet music
Date:
1895-2001
Summary:
The collection documents Gabler's involvement in the recording industry and the evolution of Commodore Records. The documentation begins with the Commodore Radio Shop through its evolution to Commodore Music Shop. The collection also includes the beginnings of the Commodore record label and information detailing Gabler's 30 years as staff producer and later Vice-President in Charge of Artists and Repertoire at Decca Records (1941-1974). There is a small collection of black and white photographs chronicling the early years at the Commodore Music Shop, as well as jam sessions, often held at Jimmy Ryan's on 52nd Street. The collection also includes a vast array of audio recordings (mainly audiodiscs).
Scope and Contents:
Papers documenting Gabler's life and career, including: correspondence with family members, friends and people in the music business such as Sammy Davis, Jr. and Lucille Armstrong (Louis' wife); Gabler's writings, including an autobiography and numerous articles; music manuscripts and sheet music, the lyrics for some of which were written by Gabler, and other compositions written by others, including Red Norvo, Eddie Condon and others; legal and financial records, including royalty statements, tax papers and banking records; business records for Commodore and Decca, including correspondence from persons such as Norman Granz, Burl Ives, and Leonard Feather; Commodore and Decca legal records including licensing and trademark documents; publicity materials; production records, such as production logs and liner notes; printed materials such as catalogs, newsletters, magazines, and periodicals; papers relating to Gabler's affiliation with Bert Kaempfert, including correspondence, sheet music and lyrics, and production records; photographs of Gabler and his family and of numerous others in the music industry, including Bing Crosby, Billie Holiday, Sammy Davis Jr., Bert Kaempfert, the Mills Brothers, Rex Stewart, Cootie Williams, Benny Goodman, Coleman Hawkins, Gene Krupa, Louis Jordan, Peck Kelly, Sidney Bechet, Cab Calloway, Louis Armstrong, and numerous others, many taken in the studio during recording sessions; and audio recordings.
Arrangement:
The collection is arranged into twenty-seven series.
Series 1: Personal Correspondence
Series 2: Writings by Milt Gabler
Series 3: Music Manuscripts and Sheet Music
Series 4: Personal Financial and Legal Records
Series 5: Commodore and Decca Correspondence and Gabler Rolodex
Series 6: Commodore and Decca Legal Records
Series 7: Commodore and Decca Financial
Series 8: Publicity
Series 9: Commodore and Decca Projects
Series 10: Production Records
Series 11: Commodore General Correspondence
Series 12: Commodore Financial Records
Series 13: Commodore Legal Records
Series 14: Commodore Production Records
Series 15: Commodore, Various Projects and Topical Files
Series 16: Commodore Publicity Records
Series 17: Business Cards
Series 18: Catalogs
Series 19: Newsletters
Series 20: Serials
Series 21: Monographs
Series 22: Newsclippings, Periodical Articles, and Advertisements
Series 23: Correspondence with Organizations
Series 24: Organization Membership cards
Series 25: Bert Kaempfert
Series 26: Photographs
Series 27: Audio Discs
Biographical / Historical:
Milt Gabler was born in Harlem, New York on May 20, 1911. He began managing his father's radio and small appliance store, the Commodore Radio Shop, while still a teen. Gabler convinced his father to expand the business and sell audio recordings. Soon Gabler pioneered the concept of marketing reissues by leasing discontinued masters from various record companies (mainly Victor, Columbia, Vocalion, and Brunswick). Eventually the Gablers changed the name of the family business to the Commodore Music Shop. By the early 1930's Gabler founded the first mail order record label, United Hot Clubs of America, to reach an even greater audience of jazz enthusiasts.
In 1935 Gabler began publicizing the music shop by staging a series of Sunday afternoon jam sessions at several different recording studios along 52nd Street. Later the jam sessions moved to the nearby jazz club, Jimmy Ryan's.
In 1938 Gabler founded the Commodore music label. It was the first American recording label created exclusively for jazz music. A recording session for Eddie Condon's Windy City Seven at Brunswick Studios was the first original Commodore recording. In 1939 Gabler recorded Billie Holiday's controversial "Strange Fruit", which became Commodore's first major commercial success. Other notable Commodore artists include Sidney Bechet, Jonah Jones, Peck Kelley, Red Norvo, Ralph Sutton, and Teddy Wilson.
Gabler began as a staff producer at Decca Records in 1941 and worked with artists from many different musical genres: Ella Fitzgerald, Bing Crosby, Judy Garland, Brenda Lee, the Weavers, and Louis Jordan, among others. Gabler also began writing lyrics in collaboration with Decca songwriters/composers. In 1954 Gabler produced the first recordings by Bill Haley and the Comets. In addition, Gabler continued to run the Commodore recording label until 1957. Gabler also managed the Commodore Music Shop until 1958, when he began working full-time at Decca as Vice-President in Charge of Artists and Repertoire.
Throughout the 1960's Gabler served as lyricist in a number of collaborations with Bert Kaempfert and Herbert Rehbein. Gabler retained his influential position at Decca until 1974 when the corporation moved to the West Coast. Through the Decca years, Gabler had saved the Commodore masters and in 1974 began to reissue the recordings through Atlantic, Columbia Special Products, and finally United Hot Clubs of America. In 1987 Mosaic Records also began to reissue the entire catalog of Commodore recordings.
In the last decades of his life Gabler remained active in a number of professional organizations, most notably the National Academy of Recording Arts and Sciences, which bestowed upon him a Grammy lifetime achievement award in 1991. Gabler died in New York on July 20, 2001.
Provenance:
Collection donated by Milt Gabler estate, through Lee Gabler.
Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 2, Folder 3
Type:
Archival materials
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 70, Folder 1
Type:
Archival materials
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 70, Folder 1
Type:
Archival materials
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 70, Folder 1
Type:
Archival materials
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 70, Folder 1
Type:
Archival materials
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
