Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and born-digital records with no duplicate access copies requires advance notice.
Jeff Donaldson papers, 1918-2005, bulk 1960s-2005. Archives of American Art, Smithsonian Institution.
Funding for the digitization of the Jeff Donaldson papers was provided by the Walton Family Foundation.
Image number 011 "Holiday Handcraft" has been removed from the slideshow due to culutral sensitivity.
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to email@example.com.
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
File consists of invoices and correspondence including an important letter on 03/15/1975 that discusses a rising debt Folkways owes Peerless of $54,060.89 that may affect their friendship and future business relationship.
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at firstname.lastname@example.org or (202) 633-7322 for additional information.
Copyright restrictions apply. Contact archives staff for additional information.
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
This collection consusts of . This collection arranged into six series.
Series 1, Historical Background Material,
Series 2, Seiler, Ernest E., 1951-1977, undated
Series 3, Orange Bowl Parade
Subseries 3.1, Office Files
Subseries 3.2, Float renderings and Drawings
Subseries 3.3, Costume
Subseries 3.4, Parade Scripts
Subseries 3.5, Ephemera
Series 4, Publicity Materials
Series 5, Photographs
Subseries 5.1, Floats
Subseries 5.2, Bands
Subseries 5.3, Parades
Subseries 5.4, Queens
Subseries 5.5, Slides
Subseries 5.6, Orange Bowl billboards
Collection arranged into seven series.
Series 1: Historical Background Material,
Series 2: Ernest E. Seiler, 1951-1977, undated
Series 3: Orange Bowl Parade
Subseries 3.1: Office Files
Subseries 3.2: Float renderings and Drawings
Subseries 3.3: Costume
Subseries 3.4: Parade Scripts
Subseries 3.5: Ephemera
Series 4: Publicity Materials
Series 5: Photographs
Subseries 5.1: Floats
Subseries 5.2: Bands
Subseries 5.3: Parades
Subseries 5.4: Queens
Subseries 5.5: Slides
Subseries 5.6: Orange Bowl billboards
Subseries 5.7: Photographic Negatives
Series 6: Festival Float Files,
Series 7: Oversize Float Renderings, 1945-2000
Biographical / Historical:
The Orange Bowl football game and associated Festival and Parade is one of the country's oldest and most colorful spectacles. It was conceived in 1932 by local businessmen as a way to attract visitors to Miami in the middle of the Great Depression. Originally known as the Palm Festival, in 1935 it was renamed the Orange Bowl Festival. Its popularity grew steadily, especially after a full-time business manager was hired in March 1939 to promote it. Two months later, in May 1939, the organizers officially incorporated themselves as the nonprofit Orange Bowl Committee, with the avowed purpose of promoting positive social and economic activity in the Miami community through the annual game, festival and parade. The foreword of a promotional brochure for the 1940 Festival, The Story of the Orange Bowl, described it as "The ORANGE BOWL… An Institution of higher learning in the arts of sportsmanship and community co-operation….Conceived and administered by unselfish citizens in the public interest…. Dedicated to the ideals of fellowship, good will and understanding among all ages, in the upholding of a great state.... This, briefly, is the ORANGE BOWL, belonging to all Florida and to the nation…."
The parade came to national prominence after the Second World War. One key factor in the Committee's success was its early and mutually beneficial partnership with radio and television broadcasting, which brought the Orange Bowl festivities to a nation-wide audience. The parade packaged the social, cultural, and carnival-like fantasy life of Florida for northern audiences who might warm themselves by their televisions on New Year's Eve. To gain every advantage as a television event the parade was staged at night, unique among televised parades of similar scope and popular appeal. Unencumbered by height and width restrictions, its floats grew to fantastic proportions, characterized by animated mechanical figures, features such as "outriggers" (pontoon-like appendages from the main body of the float, like water skiers), and self-contained electrical lighting and sound systems. The latter anticipated Disney's "Electrical Parade." Similar attention was given to the staging of the Orange Bowl half-time show, whose multi-story telescoping towers and platforms have since become a Super Bowl staple. The production of Orange parade floats and special effects was a year-round job, which placed it in league with Macy's Thanksgiving Day Parade, Pasadena's Tournament of Roses, and New Orleans' Mardi Gras.
The Committee ended its annual parade and festival in 2002 but the Orange Bowl football game continues.
Materials in the Archives Center
Carvel Ice Cream Records
Pepsi-Cola Advertising Collection (AC092)
Materials Held by the National Museum of American History, Division of Political History
Vaughn's Parade Float File
The collectioon was donated by the orange Bowl Committee, through Jeffrey T. Roberts, President, 2011.
Collection is open for research.
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.