Publicity photographs of musicians and entertainers, mostly jazz musicians, such as Duke Ellington, Louis Armstrong, Miles Davis, and Dizzy Gillespie, but including many rock and even a few classical performers. The collection also contains tape recorded radio interviews conducted between 1970 and 2003. In addition there are posters relating to musical performances.
Scope and Contents:
This collection was formed by W. Royal Stokes in the course of his professional work as a music and arts critic. It is composed primarily of publicity portraits of musical performers, both single acts and groups. The emphasis is on jazz musicians and singers, although many rock stars and groups, and other popular musical performers are included. Even a few classical musicians are represented. The pictures are primarily mass-produced black and white publicity photographs distributed to newspapers, writers, etc., by agents for entertainment personalities. Some prints were made from the original negatives, while others clearly were made from copy negatives after typography was stripped together with a print and re-photographed. However, there are some rarer original photographs included in the collection, such as personal color snapshots, higher quality prints by art photographers, etc. Nearly all the prints are unmounted, and are 8 x 10 inches or smaller in size. The bulk of the photographs date from circa 1970 to 2000, however, a number of the earlier photographs are included as well as slightly later examples.
Arrangement:
The collection is divided into nine series.
Series 1, Photographs of Musicians and Ensembles, circa 1970-2000; undated
Subseries 1.1, Musicians and Ensembles
Subseries 1.2, Recording Company Photographs
Subseries 1.3, Unidentified Musicians
Series 2, Photographs of Performances, 1987-2002; undated
Subseries 2.1, Music Festivals, 1987-2002; undated
Subseries 2.2, Concerts, Music Clubs and Other Venues, 1920s-1940s and circa 1980s-1990s; undated
Series 3, Formal and Informal Groups, circa 1980s-2000; undated
Series 4, Photographs of Musicians in Films, Radio, Television and Theater, 1940s-2000; undated
Series 5, Photographs of Subjects and Products related to Musicians and Music, 1970-2000; undated
Series 6, Photographs of Non-Musicians, circa 1980s-2000; undated
Series 7, Interviews with Musicians, 1970-2003
Series 8, Audiovisual Materials, 1970-2003
Subseries 8.1, Audio Recordings - Audiocassettes
Subseries 8.2, Audio Recordings-Audiotapes
Series 9, Posters, 1976-1990; undated
Biographical / Historical:
Born in Washington, D.C., W. Royal Stokes served in the Army and then embarked on an academic career, teaching at the University of Pittsburgh, Tufts University, Brock University and the University of Colorado. He left the academic profession in 1969 and become a writer, broadcaster and lecturer, journalist, and critic and authority on jazz music. A follower of jazz since his teens in the 1940s, Stokes has written about music for such publications as Down Beat, Jazz Times, and the Washington Post, and hosted the public radio shows "I Thought I Heard Buddy Bolden Say . . ." and "Since Minton's". Today he is the editor of the quarterly Jazz Notes, and is the author of The Jazz Scene: An Informal History From New Orleans to 1990 and Swing Era New York: The Jazz Photographs of Charles Peterson.. He is also the author of Living the Jazz Life: Conversations with Forty Musicians about Their Careers in Jazz (Oxford; New York: Oxford University Press, 2000). Dr. Stokes lives in Silver Spring, Maryland.
Materials in the Archives Center, National Museum of Ameican History:
Duke Ellington Collection, 1928-1988 (AC0301)
Herman Leonard Photoprints, 1948-1993
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copyprints], 1923-1972
Jazz Oral History Collection, 1988-1990
Ernie Smith Jazz Film Collection, 1910s-1970s (mostly 1930s-1960s)
Jeffrey Kliman Photographs
Stephanie Myers Jazz Photographs, 1984-1987, 2005
Chico O'Farrill Papers
Paquito D'Rivera Papers, 1989-2000.
Louis Armstrong Music Manuscripts, undated
Tito Puente Papers, 1962-1965.
Audrey Wells "Women in Jazz Radio Series, 1981-1982
Mongo Santamaria Papers, 1965-2001
Ramsey Lewis Collection, 1950-2007
Earl Newman Collection of Monterey Jazz Festival Posters, 1963-2009
James Arkatov Collection of Jazz Photographs, 1995-2003
Francis Wolff Jazz Photoprints, 1953-1966
Floyd Levin Jazz Reference Collection, circa 1920s-2006
Jazz Oral History Program Collection, 1992-2009
Leslie Schinella Collection of Gene Krupa Materials
Provenance:
Donated by W. Royal Stokes to the Archives Center in 2001.
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:
Jazz musicians -- 1950-2000 -- United States Search this
Papers, oral history, and transcripts relating to Emiliano Martinez, a Cuban immigrant.
Scope and Contents:
Papers and photographs related to the immigration experience of Cuban refugee Martinez: a story from the Washington Post, March 12, 1984; a 45-minute cassette recording of an interview (in Spanish) by Richard E. Ahlborn with Martinez; a transcription in Spanish of the interview; six photographs of the hut taken by a zoo photographer; a covering memorandum from Ahlborn; a copy of Martinez's earnings from the sale of cans; and a diagram of his hut. Ahlborn, a curator in the Division of Community Life, was assisted by Juana Martin, a social worker.
Biographical / Historical:
The story of Emiliano Martinez, a Cuban refugee, was publicized as an example of the ingenuity and survival skills of recent immigrants to this nation. Martinez fled Cuba in one of the freedom flotillas of 1980. After a year in a refugee camp at Fort Chaffee, Arkansas, he arrived in Washington, D.C. in April 1981. He shared apartments with other Cuban refugees until October 1982. Using his carpentry skills, he constructed a hut on undeveloped land at the National Zoo, where he lived from December 1982 until March 1984. He then moved into a boarding house in the Adams-Morgan neighborhood. He made his livelihood by selling aluminum cans to a Safeway grocery store for an average of sixty-five dollars a month.
Provenance:
Collection donated by Emilio Martinez.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection is comprised of 139 audiocassettes (original copies only), 80 transcripts and tape summaries, and photographs (including some negatives). The transcripts and photographs also exist in single copies only, but they may be used with care by researchers.
Arrangement:
The collection is arranged in four series.
Series 1: Original Audio Cassette Tapes, 1983-1986
Series 2: Transcripts/Tape Summaries, 1984-1986
Series 3: Photographs, 1984-1986
Series 4: Reference Tapes and CDs, undated
Biographical / Historical:
In 1985, Joan and Robert Morrison conducted approximately 100 oral history interviews with a wide variety of Americans about their experiences during the 1960s. They also collected photographs of each of their interviewees—one taken during the 1960s and the other taken at the time of the interview. Portions of fifty-nine of those interviews were published in their 1987 book, From Camelot to Kent State: The Sixties Experience in the Words of Those Who Lived It (Times Books). Some of the new photographs, which were taken by Barbara Beirne, also were exhibited at The New School in 1989.
The interviewees include civil rights activists, anti-war activists, Vietnam War soldiers, Gold Star mothers, Peace Corps members, Weathermen, black leaders, and counter culture figures. Some of the narrators are members of the rank-and-file, others played leading roles. The in-depth interviews focus on three main questions: 1) What motivated you to act as you did in the Sixties? 2) What actions did you take and what were the results? 3) How did your experiences in the Sixties affect the way your life has developed since then?
Source Information taken from memo to National Museum of American History Collections Committee.
Provenance:
The Morrison's donated this collection of audiocassettes, transcripts, and photographs to the National Museum of American History Archives Center in 1989.
Restrictions:
Tape recordings not available for playback until researcher copies are made; researchers must use transcripts until then.
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.
Some original interviews have restrictions; these have been withheld by the Morrisons' until they can get clearances from the interviewees.
Head, Howard, 1914-1991 (inventor, business executive) Search this
Extent:
4 Cubic feet (11 boxes, 5 map folders)
21 Film reels
Type:
Collection descriptions
Archival materials
Film reels
Drawings
Correspondence
Photographs
Business records
Audiovisual materials
Financial records
Blueprints
Date:
1954 - 1977
Summary:
Papers relate to John Bucheimer's work as manager of new product manufacturing in the Engineering Department at Head Ski Company.
Scope and Contents:
These records were assembled and saved by John Bucheimer in conjunction with his work at Head Ski Company. The bulk of the records relates to engineering matters and detail how the skis were manufactured. The records also provide insight into the daily operations and activities of the Head Ski Company factory.
Series 1, Operational Records, 1967-1973, include an organizational chart, company and management profile, annual reports, inter office correspondence, memoranda, management notes, the Management News Bulletin, and plant information. The organizational chart of 1969 provides the job title and name of the employee for specific positions within Head Ski Company, Head Ski and Sportswear, American Athletic Equipment, Wayne Plastics, Wing Archery, and Head International AG.
This series contains the Management News Bulletin, 1967-1970. An internal communication from the president, the news bulletin provided a forum for announcements, resignations, work plans, reorganizations, organizational charts, employee changes, and general work flow issues. While small in size, the content is rich for getting a sense of the management style at Head Ski Company.
The management notes, 1968-1971, are handwritten by Bucheimer and contain information on training, responsibilities, manufacturing expenses, production schedules, regional sales meetings, and job postings. There are a few management pamphlets published by the Economic Press, Inc. These pamphlets provided "tips" to managers. Also, the management notes contain two union fliers addressing the issue of union dues. Both fliers urge employees to "keep your take home pay free from Union dues. Vote no union." Other materials include inventories of office surplus and plant information. There are instructions of how to conduct a tour of the plant and ADT protective service documentation. Bucheimer was the designated ADT card holder for the company.
Series 2, Employee Records, 1957-1973, consist of employee handbooks and insurance materials, a job description for manager of manufacturing projects, and vacation schedules for several employees. Some salary information is here.
Series 3, Marketing/Sales Records, 1969-1972, includes one catalog from 1972, three news releases, sales information, and ski show and shipment information. The ski show materials document specific shows—Canada, Chicago, Los Angeles, and New York—and the ski models displayed and, in some instances, orders placed. The special shipments, 1969-1971, include invoices, correspondence, notes, and material move tickets for companies such as Cell Pack, Ltd., Standard Metalwerke, Dura Fiber Corp., and United Shoe Machinery Corp.
Series 4, Financial/Accounting Records, 1967-1971, contains reports, inventories, expenses, and some payroll information. The majority of these records date from September 1969 to October of 1969. The expense statements reveal how much was budgeted and spent for materials, direct labor, payroll taxes, Christmas bonuses, travel, postage, maintenance, and ski parts, to name a few categories. There is some payroll information with the payroll control sheets.
Series 5, Engineering/Manufacturing Records, 1956-1977, comprise the largest and richest series within the collection. The records are subdivided into seven subseries: inventories, instructions, repair information, reports, drawings and specifications, testing information, and miscellaneous.
The inventories provide valuable information on the types of materials used, the quantities, and in some instances the cost. The raw material inventory of 1967 details material types (e.g. glue, plywood, aluminum, poles, saw blades), account numbers, date, quantity, price and actual cost. Like the raw material inventory, the perpetual inventory of 1966 is divided according to material type (e.g. aluminum, plastic, cloth tape, wood, rubber, steel) unit measure (typically in pounds), conversion factor, dates, and a balance amount.
The instructions include detailed information on "how to" for a variety of operations such as aluminum sandblasting bottom ski skin assembly, degreasing nosepieces, and sanding, gluing, and cutting "L" steel edges. The instructions consist of a workplace layout diagram, tools needed, and step by-step instruction elements. Of note is the material flow processes for the company. There are flow charts for each operational sequence performed. There are photographs of equipment with the flow charts, but they are not keyed to specific operational tasks.
The repair information contains procedures and lists of parts for skis. The repair procedures describe the repair needed and what model ski is affected. A detailed description of the repair is documented along with the materials required, tools, and how effective the repair was. The repairs documented here include finishing, grinding, bottom waxing, replacing edges, inlays, and remolding. The company had a program titled "rework" that handled returned skis. Many of the skis documented appear to have had cavity problems and were sent back to be remolded. There is some ski rejection analysis documentation citing why skis are being sent to the rework program. Additional information on cavity problems and production is also here. The parts list, 1969-1970, details various parts used on ski models JR-90, JR-60, 720-TA, 320-W, 240-B, K-short ski, deep powder-DP, Giant Slalom, slalom, 360-AR, 320-E and the downhill models. The part number and name, quantity, and any remarks are provided.
The reports, logs, and notes subseries contain manufacturing and production notes, and a variety of reports documenting engineering department activities. The inter-shift reports, 1963-1967, were maintained in spiral bound shorthand notebooks. They detail daily activities, operational suggestions, reminders to staff, materials available, and what work needs to be completed. Other reports include accidents, 1958-1961, and quality control reports, 1970-1971, which were created daily to provide detailed information on all aspects of the skis at final inspection time. The number of skis inspected with percentage information is summarized. The non-conforming material recovery reports, 1970, give the reasons why skis were rejected and indicate if skis were returned to vendors or used "as is."
The drawings and specifications, 1964-1970, are comprised of oversize drawings ranging from 8" x 10" to 34" x 43 _". The drawings are copies and include information on the short, slalom, giant slalom, downhill, and deep powder skis. The finished ski specifications, 1964-1967, document material types, assembly and subassembly procedures, ski data, ski poles, packaging material, and miscellaneous material. For each specification there is a corresponding instruction/narrative and, in some instances, a drawing.
The testing documentation is material specific (rubber, steel, plastic, adhesives) or ski model specific. It provides some insight into what materials the company worked with and under what conditions, such as, pulling, heating, or actual pilot ski runs. The suppliers, 1971-1973, include forms, receipts, bills, invoices, correspondence, receiving tickets, and descriptive inventories from companies that Head Ski Co. purchased supplies from.
Series 6, The General Files, 1954-1977, cover a variety of miscellaneous topics, such as the National Ski Patrol and postage, and are arranged alphabetically.
Series 7, Moving Image, no date, consists of twenty-one reels of 16 mm film which are unprocessed.
Series 8, Personal Materials, circa 1960s, contain greeting cards and notes and a photograph of Bucheimer with Howard Head.
Arrangement:
Collection organized into eight series.
Series 1: Operational Records, 1967-1973
Series 2: Employee Records, 1957-1973
Series 3: Marketing/Sales Records, 1969-1972
Series 4: Financial/Accounting Records, 1967-1971
Series 5: Engineering/Manufacturing Records, 1956-1977
Subseries 1, Inventories, 1966-1971
Subseries 2, Instructions, 1967-1970
Subseries 3, Repair Information, 1969-1971
Subseries 4, Reports, logs, and notes, 1956-1971
Subseries 5, Drawings and Specifications, 1964-1970
Subseries 6, Testing Information, 1963-1970
Subseries 7, Miscellaneous, 1967-1973
Series 6: General Files, 1954-1977
Series 7: Moving Image, no date
Series 8: Personal Materials, circa 1960s
Biographical / Historical:
John Bucheimer was born on December 7, 1919. During the 1940s, he worked with Howard Head at Glenn L. Martin Company, an aircraft company founded by aviation pioneer Glenn L. Martin (1886-1955) in Middle River, Maryland. At Martin, Bucheimer supervised work on planes and oversaw structural testing. Primarily self taught, he learned electronics and drafting skills on the job. Head left the Glenn L. Martin Company to start his own company, Head Ski Company in 1948, and Bucheimer joined him.
Head, a former aircraft engineer, developed, designed, manufactured, and marketed the first metal laminate skis in 1950 called the "Head Standard. These skis revolutionized the industry. They 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.
At Head Ski Company, Bucheimer held the position of manager of new products manufacturing. He trained employees on every aspect of work flow.
Related Materials:
Materials in the Archives Center
Howard Head Papers, 1926-1991, AC0589
Materials in the National Museum of American History
The Division of Culture and the Arts (now Division of Cultural and Community Life), formerly the Division of Music, Sports, and Entertainment, holds artifacts related to the Howard Head Papers. These artifacts include downhill skis, ski poles, ski boots, ski bindings, and cross sections of downhill skis.
Provenance:
The collection was donated by John Bucheimer on April 26, 2005.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
6.5 Cubic feet (16 boxes, 188 pieces of original artwork)
Type:
Collection descriptions
Archival materials
Photographs
Pastels (visual works)
Advertisements
Business records
Date:
circa 1936-1995
Summary:
The collection documents the development and evolution of the Breck Girl, a highly successful and long-lived advertising campaign whose hallmark was its vision of idealized American womanhood through correspondence, photographs, paintings, and print advertisements.
Scope and Contents:
188 pieces of original advertising art (mostly pastel drawings), and photographs, correspondence, and business records, documenting the development and evolution of the Breck Girls advertising campaign. Original advertising art includes portraits of famous models, such as Cheryl Tiegs, Brooke Shields, Kim Basinger, and Erin Gray. Artists represented include Charles Sheldon and Ralph William Williams. The 2006 addendum consists of approximately one sixth of one cubic foot of papers relating to Cynthia Brown's selection as a Breck Girl, 1988 and her induction into the Breck Hall of Fame.
Arrangement:
Collection divided into four series.
Series 1: Company history, 1946-1990
Series 2: Photographs, 1960-1995
Series 3: Print ads, 1946-1980
Series 4: Original artwork, 1936-1994
Biographical / Historical:
Dr. John Breck is credited with developing one of the first liquid shampoos in the United States, in Springfield Massachusetts in 1908; Breck is also credited with introducing the first ph-balanced shampoo, in 1930. During the early years of the business, distribution remained localized in New England, and the product was sold exclusively to beauty salons until 1946. Advertising for the brand began in 1932, but appeared only in trade publications, such as Modern Beauty Shop.
Edward Breck, son of the founder, assumed management of the company in 1936. Breck became acquainted with Charles Sheldon, an illustrator and portrait painter who is believed to have studied in Paris under Alphonse Mucha, an artist noted for his contributions to Art Nouveau style. Sheldon had achieved some measure of fame for his paintings of movie stars for the cover of Photoplay magazine in the 1920s, and had also done idealized pastel portraits for the cover of Parents magazine. He created his first pastel portraits for Breck in 1936, launching what would become one of America's longest running ad campaigns. When the company began national advertising (and mass distribution) in 1946, the campaign featured Sheldon's 1937 painting of seventeen-year old Roma Whitney, a spirited blonde. Ms. Whitney's profile was registered as Breck's trademark in 1951. When he retired in 1957, Sheldon had created 107 oil paintings and pastels for the company. Sheldon was known to favor ordinary women over professional models, and in the early years of the campaign, the Breck Girls were Breck family members, neighbors or residents of the community in which he worked; company lore holds that nineteen Breck Girls were employees of the advertising agency he founded in 1940. A Breck advertising manager later described Sheldon's illustrations as, "illusions, depicting the quality and beauty of true womanhood using real women as models." The paintings and pastels form a coherent, if derivative, body of work which celebrates an idealized vision of American girlhood and womanhood, an ideal in which fair skin, beauty and purity are co-equal.
Ralph William Williams was hired to continue the Breck Girls campaign after Sheldon's retirement. Between 1957 and his death in 1976, Williams modified the Breck Girl look somewhat through the use of brighter colors and a somewhat heightened sense of movement and individuality. The advertising manager during his tenure recalled that Aat first Williams continued in Sheldon' manner, but in later years, as women became more independent, he would take care to integrate each girl' particular personality; he studied each girl and learned her special qualities. During these years, Breck Girls were identified through the company's sponsorship of America's Junior Miss contests. Williams work includes pastels of celebrities Cybil Shepard (1968 Junior Miss from Tennessee), Cheryl Tiegs (1968), Jaclyn Smith (1971, 1973), Kim Basinger (1972, 1974) and Brooke Shields (1974) very early in their careers.
By the 1960s, at the height of its success, Breck held about a twenty percent share of the shampoo market and enjoyed a reputation for quality and elegance. Ownership of the company changed several times (American Cyanamid in 1963; Dial Corporation in 1990). The corresponding fluctuations in management of the company and in advertising expenditures tended to undermine the coherence of the national advertising campaign. In addition, despite William's modifications, the image had become dated. Attempts to update the image misfired, further limiting the brand's coherence and effectiveness. Finally, increased competition and an absence of brand loyalty among consumers through the 1970s and 1980s helped push Breck from its number one position into the bargain bin. The Breck Girl campaign was discontinued around 1978, although there have been at least two minor revivals, first in 1992 with the Breck Girls Hall of Fame, and again in 1995 when a search was begun to identify three new Breck Women.
Scope and Content: The 188 pieces of original advertising art (62 oil paintings on board, 2 pencil sketches on paper, and 124 pastels on paper) and related photographs, correspondence and business files in this collection document the development and evolution of the Breck Girl, a highly successful and long-lived advertising campaign whose hallmark was its vision of idealized American womanhood. The collection is a perfect fit with other 20th century Archives Center collections documenting the efforts of American business to reach the female consumer market. The Estelle Ellis Collection (advertising and promotions for Seventeen, Charm, Glamour and House & Garden and many other clients) the Cover Girl Collection (make-up), the Maidenform Collection (brassieres), and the Tupperware Collections offer a prodigious body of evidence for understanding the role women were expected to play as consumers in the 20th century.
These advertising images also offer fertile ground for research into the evolution of popular images of American girlhood and womanhood. The research uses of the collection derive primarily from its value as an extensive visual catalog of the ideal types of American women and girls, arising and coalescing during a period in which 19th century ideals of womanhood were being revisited (the depression, the war years, the immediate post-war period) and continuing, with slight modifications and revisions, through several decades during which those historical ideals were being challenged and revised.
Related Materials:
Several items of packaging, 1930s-1980s are held in the former Division of Home and Community Life (now Division of Cultural and Community Life); an 18k gold Breck insignia pin is in the former.
Provenance:
The Dial Corporation through Jane Owens, Senior Vice President, Gift, June 1998.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Older Luther Davis, undated. Photo damaged on his left earlobe.
Arrangement:
Box No.(Davis Business)
Local Numbers:
AC1148-0000006.tif (AC Scan No.)
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
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.
Undated photograph. On back: Bill Mitchell, Photography, E. 106 Ridgewood Ave., Paramus, N.J. 07652, 212-283-4113,201-664-1373.
Local Numbers:
AC1148-0000010.tif (AC Scan No.)
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
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.
Four people talking. Woman on the right is Eartha Kitt, the man standing right next to her is Luther Davis. Undated photo. On back: Bill Mitchell, Photography, E. 106 Ridgewood Ave., Paramus, N.J. 07652, 212-283-4113, 201-664-1373
Local Numbers:
AC1148-0000011.tif (AC Scan No.)
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
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.
Undated photo. On back: Photo by Sam Siegel, Metropolitan Photo Service, Inc., 1501 Broadway, N.Y.C., N.Y. 10036,Tel. 575-5905-6.
Local Numbers:
AC1148-0000012.tif (AC Scan No.)
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
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.
Ralph H. Baer was a German-born ordnance specialist, inventor, and engineer. He was a pioneer of early videogame technology. The papers include autobiographical materials; firearms notes, manuscripts, and photographs; and videogame and television engineering notes, diagrams, schematics, and video documentation.
Scope and Contents:
The Ralph Baer Papers include autobiographical materials and an extended oral history interview. The Papers also include materials about military small arms created by Baer during his World War II service. The largest portion of the collection documents Baer's work on video games.
Arrangement:
The collection is arranged into 12 series.
Series 1: Autobiographical Documents, 1962-2006
Subseries 1.1: Manuscript, book and other documents, 1962-2006
Subseries 1.2: Other Media: CDs, VHS videos, periodical, 1991, 2000-2003
Series 2: WW II Small Arms Documents, 1943-1953
Subseries 2.1: Correspondence, 1950-1953
Subseries 2.2: Writings and notes, 1943-1948
Subseries 2.3: Drawings and schematics, undated
Subseries 2.4: Manuals and encyclopedias, 1943
Subseries 2.5: Photographs, 1945
Series 3: Hans Otto Mauksch Materials, 1944-1964
Subseries 3.1: Personal background information, 1944, 1945, 1946, 1964
Subseries 4.4: TV game development documentation, 1966-1968
Series 5: Sanders Associates, Transitron, and Van Norman Industries, 1952-2003
Series 6: Product Development Documents, 1974-2015
Series 7: Product Guides and Technical Support, 1943-2011
Series 8: Legal and Patent Documents, 1966-2014
Series 9: Writings and Notes, 1946-1999
Series 10: Miscellaneous, 1961-2012
Series 11: Correspondence, 1983-2014
Series 12: Publicity and Awards, 1979-2015
Biographical / Historical:
Ralph H. Baer (1922-2014) was born in Germany and immigrated to the United States with his family in 1938. A graduate of the National Radio Institute (1940), Baer worked as a radio technician in the New York City area, servicing all types of home and auto radios. During World War II, Baer served in the United States Army, one year stateside, and two years in Europe. He was assigned to Military Intelligence and became an expert on military small arms. Baer returned to the United States with eighteen tons of foreign small arms for use in exhibits at Aberdeen, Maryland; Springfield, Massachusetts Armory; and Ft. Riley, Kansas.
After the war, Baer attended the American Television Institute of Technology in Chicago, graduating with a BS in television engineering. In 1949, Baer joined a small electro medical equipment firm, Wappler, Inc., as their chief engineer. He designed and built surgical cutting machines, epilators, and low frequency pulse generating muscle-toning equipment. In 1951, Baer moved to Loral Electronics of Bronx, New York as a senior engineer, designing power line carrier signaling equipment for IBM. During 1952-1956, Baer worked at Transitron, Inc., in New York City as a chief engineer and later as vice president. In 1956, Baer joined Sanders Associates in Nashua, New Hampshire building airborne radar components. He became manager of the Electronic Design Department at Sanders and eventually Division Manager and Chief Engineer for Equipment Design. Baer retired in 1987.
At Sanders in 1966, Baer began an independent project experimenting with ways for consumers to interact with standard home television sets. Development of interactive TV Game (TVG) ideas became a company-supported project continued by Baer and assisted by William H. Harrison and William T. Rusch (download the TV Game chronology prepared by Ralph Baer in 2006). By mid-1967, ping pong videogames were played inside Sanders, patent disclosures were applied for, and hardware was designed. Baer and his associates called the devices they were developing "boxes" and numbered the various versions one through seven. In 1971, Magnavox became Sanders Associates's first videogame licensee. Between 1972 and 1975, Magnavox produced and sold over 700,000 units of Odyssey, a set of games played on its television receivers. Atari became a licensee in 1976 after the first of many lawsuits won by Sanders in pursuit of patent infringements.
During his tenure at Sanders and thereafter, Baer was a prolific inventor. His creations included many electronic toys and games and other consumer electronic products. Among the better known products based on Baer's work are Milton Bradley's Simon, Galoob's Smarty Bear Video, and Kenner's Laser Command. In 2004 President George W. Bush awarded Baer the National Medal of Technology.
Baer married Dena Whinston in 1952 and they had three children, James, Mark, and Nancy. Ralph Baer died on December 6, 2014, at the age of 92.
Related Materials:
Materials at the Archives Center, National Museum of American History
Ralph H. Baer Innovative Lives Presentation, August 15, 2009 (AC1179)
The presentation documents a moderated conversation about Baer's life and work. Baer reenacts, with his partner William Harrison, the first time he played "Odyssey," the first home video game for the consumer market, which he invented, and answers questions from the audience. Materials include original video (born digital), master videos, and reference videos.
Materials at Other Organizations
Brian Sutton-Smith Library and Archives of Play at The Strong
Ralph H. Baer Papers, 1968-2010 inclusive; 1975-1998 bulk
The Ralph H. Baer papers are a compilation of correspondence, game designs, drawings, notes, reference materials, photographs, product descriptions, digital videos, schematics, electronic components, and manuals utilized by Ralph H. Baer throughout his lengthy career in the toy and game industry. The bulk of the materials are from 1975 through 1998.
U.S. Ordnance Museum, Fort Lee, Virginia
Materials consist of data on foreign small arms brought back from Europe in 1946 by Ralph H. Baer.
Museum of the Moving Image, Astoria, New York
Holdings include set of seven recreations of "TV game" prototypes originally created between 1966 and 1969, donated by pioneering game developer Ralph Baer. One of Baer's game prototypes, known as the "Brown Box," was licensed by Magnavox and released in 1972 as the Magnavox Odyssey, the world's first commercial home video game console.
University of Texas, Austin, Briscoe Center for American History
Ralph H. Baer "Brown Box" replica, 1952-1983, 2006-2012
The Ralph H. Baer "Brown Box" replica includes a fully-functional replica of Ralph Baer's "Brown Box," the prototype video game console that was used as the basis of the Magnavox Odyssey in 1972. The collection also contains related research materials.
Separated Materials:
The Division of Medicine and Science holds artifacts related to this collection including early video game prototypes and TV Game products.
TV Game Unit #1 (TVG#1); 1966; vacuum tube spot generator with Heathkit IG-62 Generator (See Accession 2006.0102.01)
Heathkit IG-62; used with TVG #1 (See Accession 2006.0102.02)
TV Game Unit #2 (TVG #2), aka the "Pump Unit," 1967; large aluminum chassis with wooden "pump" handle (See Accession 2006.0102.03)
TV Game Unit #7 (TVG#7), aka "Brown Box," 1967/1968; prototype for Magnavox Odyssey (See Accession 2006.0102.04)
Cardboard program cards for use with Brown Box (See Accession 2006.0102.05)
Lightgun, 1967/1968; game accessory for Brown Box (See Accession 2006.0102.06)
TV Game Unit #8, 1968; "de/dt" (velocity responsive) ballgame chassis for use with Brown Box (See Accession 2006.0102.07)
Magnavox Odyssey (Model ITL200) video game unit, 1972; with all accessories in the original carton (See Accession 2006.0102.08)
Milton-Bradley Company SIMON handheld microprocessor-control game, 1978 (See Accession 2006.0102.09)
Ideal Toy Company MANIAC microprocessor-control game, 1979, in original box with game instructions (See Accession 2006.0102.10)
Golf Game accessory, 1968; golf ball mounted on joystick handle for use with Brown Box (See Accession 2006.0102.11
"Brown Box" programming card, target shooting, 1967 (See Accession 2006.0102.12)
Provenance:
The collection was donated by Ralph H. Baer in 2003.
Restrictions:
The collection is open for research use. Gloves must be worn when handling unprotected photographs and negatives.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions. Copyright held by the Smithsonian Institution.
Contact print: Single-weight Kodak paper. Marked on verso: "A 183 / 'Scottsboro Case' Mothers / 5. w/ Julia West Hamilton." Also marked with studio rubber stamp (zip code 20009).
Enlarged print: Double-weight, warm-tone paper; studio stamp with zip code on verso. marked: "'Scottsboro' mothers, photographed on a visit to 'Phyliss Wheatley' [sic]--Y.W.C.A. 9th & Rhode Island Av. N.W. / greeted by Mrs. Julia West Hamilton, president of 'Y' / Photo by Addison N. Scurlock"
Enlarged print, framed: Cat. No. 1998.0011.096, approx. 11" x 14".
Biographical / Historical:
A version of this photograph was printed in the national edition of the Afro American on May 19, 1934 with the caption, "Four of the Alabama mothers who were greeted by Mrs. Julia West Hamilton (center) chairman of the board of directors of the Phyllis Wheatley Y.W.C.A., as they arrived at the D.C. Y where they stayed until arrangements were made to see Marvin H. McIntyre, secretary to President Roosevelt. Left to right, Ruby Bates, white, Mrs. Mayme Williams, Mrs. Viola Montgomery, Mrs. Julia W. Hamilton, Mrs. Janie Patterson and Mrs. Ida Norris. The mothers are seeking the aid of President Roosevelt in an effort to save their sons lives." The image was taken May 13, 1934 at the Phyllis Wheatley YWCA, 901 Rhode Island Ave. N.W., Washington. Bates was an accuser of the "Scottsboro Boys" who recanted, Williams, Montgomery, Patterson and Norris were mothers to five of the accused. Prints probably made by Robert S. Scurlock much later, ca. 1960s-1970s? Caption and reproduction of photograph from the Baltimore Afro American provided by Craig Simpson after Pro Quest search.
General:
2 prints: In Box 80. Framed print stored separately.
Negative: In freezer storage, box no. 1.
Exhibitions Note:
Corcoran Gallery of Art, Washington, D.C.: "The Historical Photographs of Addison N. Scurlock," 1976. (Catalog published.)
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.
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.
The Cover Girl Make-Up Advertising Oral History and Documentation Project, 1923-1991, is the result of a year-long study in 1990, which examined the advertising created for Noxell Corporation's Cover Girl make-up products from 1959 to 1990. The objective of the project was to document, in print and electronic media, the history of Cover Girl make-up advertising since its inception in 1959.
Scope and Contents:
Twenty-two oral history interviews (conducted by Dr. Scott Ellsworth for the Archives Center) and a variety of print and television advertisements, photographs, scrapbooks, personal papers, business records and related materials were gathered by the Center for Advertising History staff. The objective was to create a collection that provides documentation, in print and electronic media, of the history and development of advertising for Cover Girl make-up since its inception in 1959.
Collection also includes earlier material related to other Noxell products, including Noxzema, with no direct connection to the Cover Girl campaign.
Arrangement:
The collection is arranged into eight series.
Series 1: Research Files
Series 2: Interviewee Files
Series 3: Oral History Interviews
Series 4: Television Advertising Materials
Series 5: Print Advertising Materials
Series 6: Company Publications and Promotional Literature
Series 7: Photographs
Series 8: Scrapbooks
Biographical / Historical:
George Avery Bunting founded the Noxzema Chemical Company in Baltimore, Maryland in 1917. In the 1890s, he left behind a teaching job on Maryland's Eastern shore to move to Baltimore, where he hoped to pursue a career as a pharmacist. He landed a job as errand boy and soda jerk at a local drugstore, where he worked while attending classes at the University Of Maryland College of Pharmacy. Valedictorian of the Class of 1899, Bunting was promoted to manager of the drugstore, which he purchased. Bunting began to experiment with the formulation of medicated pastes and compounds, which he marketed to his customers. In 1909, he began refining a medicated vanishing cream, which he introduced in 1914. "Dr. Bunting's Sunburn Remedy," an aromatic skin cream containing clove oil, eucalyptus oil, lime water, menthol and camphor, was mixed by hand at his pharmacy. Marketed locally as a greaseless, medicated cream for the treatment of a variety of skin conditions, including sunburn, eczema, and acne, the product was renamed "Noxzema" for its reputed ability to "knock eczema." By 1917, the Noxzema Chemical Company was formed. During the 1920s, distribution of the product was expanded to include New York, Chicago, and the Midwest and, by 1926, the first Noxzema manufactory was built in northwest Baltimore to accommodate the demand for nearly a million jars a year.
Having achieved a national market by 1938, Noxzema Chemical Company executives pursued product diversification as a means to maintain the corporate growth of the early years. In the 1930s and 1940s, line extensions included shaving cream, suntan lotion and cold cream, all with the distinctive "medicated" Noxzema aroma.
In the late 1950s, Bill Hunt, director of product development at Noxzema, suggested a line extension into medicated make-up. Creatives at Sullivan, Stauffer, Colwell & Bayles, Incorporated (SSC&B), Noxzema's advertising agency since 1946, suggested that the advertising for the new product focus on beauty and glamour with some reference to the medicated claims made for other Noxzema products. In contrast to other cosmetics, which were sold at specialized department store counters, Noxzema's medicated make-up would be marketed alongside other Noxzema products in grocery stores and other mass distribution outlets. After experimenting with names that suggested both glamour and the medicated claims (including Thera-Blem and Blema-Glow), Bill Grathwohl, Noxell's advertising director, selected Carolyn Oelbaum's "Cover Girl," which conveyed the product's usefulness as a blemish cover-up, while invoking the glamorous image of fashion models. These three elements of the advertising, wholesome glamour, mass marketing, and medicated make-up, remain central to Cover Girl advertising nearly a half-century later.
Beginning with the national launch in 1961, American and international fashion models were featured in the ads. The target audience was identified as women between eighteen and fifty-four and, initially, the "glamour" ads were targeted at women's magazines, while the "medicated" claims were reserved for teen magazines. Television ads featured both elements. Cover Girl advertising always featured beautiful women -- especially Caucasian women, but the Cover Girl image has evolved over time to conform to changing notions of beauty. In the late 1950s and 1960s, the Cover Girl was refined and aloof, a fashion conscious sophisticate. By the 1970s, a new social emphasis on looking and dressing "naturally" and the introduction of the "Clean Make-up" campaign created a new advertising focus on the wholesome glamour of the "girl next door," a blue-eyed, blonde all-American image. In the 1980s, the Cover Girl look was updated to include African-American, Hispanic and working women.
In January 1970, SSC&B bought 49% of the Lintas Worldwide advertising network. After SSC&B was acquired by the Interpublic Group of Companies in 1979, the entire Lintas operation was consolidated under the name SSC&B/Lintas in 1981. With the Procter & Gamble buy-out of the Noxell Corporation in September 1989, the cosmetics account was moved to long-time P&G agency Grey Advertising, in order to circumvent a possible conflict of interest between P&G competitor Unilever, another Lintas account. In 1989 SSC&B/Lintas, Cover Girl's agency since its launch in 1961, lost the account it helped to create and define, but the brand continues to dominate mass-marketed cosmetics.
This project is the result of a year-long study of advertising created for the Noxell Corporation's Cover Girl make-up products, 1959-1990. The effort was supported in part by a grant from the Noxell Corporation. The target audience was identified as women 18-54, and initially, the "glamour" ads were targeted at women's magazines, while the "medicated" claims were reserved for teen magazines. Television ads featured both elements. Cover Girl advertising has always featured beautiful women (especially Caucasian women), but the Cover Girl image evolved over time to conform with changing notions of beauty. In the late 1950s-1960s, the Cover Girl was refined and aloof, a fashion conscious sophisticate. By the 1970s, a new social emphasis on looking and dressing "naturally" and the introduction of the "Clean Make-up" campaign created a new advertising focus on the wholesome glamour of the "girl next door," a blue-eyed, blonde all-American image. Through the 1980s, the Cover Girl look was updated to include African-American and Hispanic models and images of women at work.
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060)
N W Ayer Advertising Agency Records (AC0059)
Separated Materials:
"The Division of Home and Community Life, Costume Collection (now Division of Cultural and Community Life) holds eighty-six cosmetic items and one computer that were also donated by the Noxell Corporation in 1990 in conjunction with the oral history project. These artifacts include lipstick, manicure sets, brushes, make-up, eye shadow, blush, powder puffs, eyelash curler, nail polish, and mascara. See accession number 1990.0193.
"
Provenance:
Most of the materials in the collection were donated to the Center for Advertising History by the Noxell Corporation, 1990. All storyboards and videoscripts, and a large collection of business records and proofsheets were donated by George Poris in June 1990. All mechanicals were donated by Art Weithas in June 1990. (These contributions are noted in the finding aid).
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Washington (D.C.) -- Small business -- 20th century
Date:
1946-2004
bulk 1970-2004
Summary:
Nathaniel Mathis is a Washington, D.C., hairstylist, inventor, motivational speaker, and entrepreneur. His papers document his business life and community involvement.
Scope and Contents:
The collection documents the work of a hairstylist, inventor, entrepreneur, and public figure whose career reflects significant changes in the African American community in the later 20th century. It is rich in visual imagery created by and for this community. Business papers, correspondence, publicity, photographs, awards and certificates documenting Mathis's work as a highly regarded barber and hairstylist in Washington, D.C., and as member of the D.C. Board of Barbering and Cosmetology are included. Business papers offer insight into the workings of a small privately-owned business. Numerous publicity items and photographs offer evidence of African American style and fashion in New York and Washington, D.C., from the late 1960s through today. Additional material documents Mathis's activities as a community activist, motivational speaker and distance runner. The collection also includes photographs, oral history interviews, and audio-visual materials.
Arrangement:
The collection is arranged into ten series.
Series 1: Biographical Information and Activities, 1946-2001, undated
Series 2: Beauty Business Documents and Advertising, 1969-2002, undated
Series 3: Publicity, 1963-2002
Series 4: Washington, D.C. Barbering and Cosmetology Boards, 1966-1997, undated
Series 5: Correspondence, 1967-2002, undated
Series 6: Awards and Certificates, 1969-2001, undated
Series 7: Photographs, 1966-1989, undated
Series 8: Video Materials, 1983-2002, undated
Series 9: Audio Tapes, 1998-2004, undated
Series 10: Memorabilia, 1992-1998, undated
Biographical / Historical:
"Nat Mathis (b. 1946) is a native Washingtonian. He is a man of many talents and measures his success in many ways: innovative hairstylist, entrepreneur, inventor, community activist, motivational speaker and distance runner. Mathis opened his first barber shop in 1969. He is the winner of many national and international hairstyling awards and competitions and was the first African American to win the International Hair Styling competition in Cairo, Egypt in 1981. Mathis was among the first African American hairstylists to embrace and popularize the Afro and, later, cornrows -- hairstyles which many view as expressions of black empowerment. Mathis himself seldom expresses a political ideology of hair, but by 1970, Nat was known among his many satisfied clients and peers as "the Bush Doctor" for his expertise in Afro style and maintenance. He has styled hair for many celebrities; made numerous television appearances; and has been a stylist for several productions at the Kennedy Center, and for two major motion pictures, including Nixon, for which he re-created period hairstyles. He is active in community affairs, gives motivational speeches throughout the Washington, D.C., area, and is particularly interested in mentoring young people. He currently operates a barber shop adjacent to his home in Capitol Heights, Maryland."
*Biographical information provided by Nat Mathis's Official Website, "A Man of Many Talents." http://www.natmathis.com (accessed 02 August, 2006).
Separated Materials:
Mr. Mathis donated three of his patented barbering vests (See Accession # 1998.0114) to the Division of Home and Community Life (now Division of Cultural and Community Life).
Provenance:
Collection donated to the Archives Center, National Museum of American History by Nathaniel Mathis on April 9, 1998.
Restrictions:
The copllection is open for research.
Physical Access: Researchers must handle unprotected photographs with gloves.
Technical Access: Series 8, Video materials and Series 9, Audiotapes may not be used by researchers unless reference and viewing copies are made available.
Rights:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use. The Archives Center does not own rights to the patent, trademark or any related interest in the artifacts.
Papers relating to Duke Ellington, once owned by Ellington's publicist Joe Morgen: Morgen's correspondence, much of it relating to appearances by Ellington; photographs; some financial records; some music manuscripts of Ellington's; concert and theater programs; a film of Ellington at the White House in 1969 when he was awarded the Presidential Medal of Freedom by President Nixon; and press releases and newspaper and magazine articles.
Scope and Contents note:
The collection consists of material compiled by Joe Morgen as an employee of Duke Ellington from 1957 to 1979. This includes correspondence, some of Morgen=s personal financial records, photographs, magazine articles, and newspaper clippings about Ellington. In addition there are public relations and biographical sketches about Ellington, a 35mm film of Ellington at the White House when he was awarded the Presidential Medal of Freedom by President Nixon, and an acetate reference recording of AAfro-Bossa.@ There are also materials not related to Ellington that include miscellaneous sheet music from the AJudy Garland Show,@ documents for the 1960s program AYouth Wants to Know,@ some 45 rpm commercial and test sound recordings of Mary Lou Williams performing some of her music, broadsides of various jazz musicians printed on black cloth, and other unidentified documents.
Arrangement:
The collection is organized into eleven series:
Series 1: Joe Morgen Correspondence and Personal Papers
Series 2: Photographs, Slides, and Negatives
Series 3: Judy Garland Show Sheet Music
Series 4: Ellington Materials
Series 5: Sound Recordings
Series 6: Biographical and Press Related Materials
Series 7: Programs, Invitations, and Flyers
Series 8: Publications
Series 9: Magazine and Newspaper Clippings
Series 10: Film Reel, Duke Ellington at the White House
Series 11: Miscellaneous
Biographical/Historical note:
Rev. John Garcia Gensel, a Lutheran minister at St. Peter's church in New York City, 1956-1993, was a close confidant and spiritual presence within the New York jazz community. Conducting evening jazz vespers from 1965 until 1993, Gensel was able to develop close ties with New York's jazz musicians and their families. He believed that jazz was the best music for worship because it spoke to the existential nature of the person playing it. Along with conducting his jazz vespers, Gensel also officiated at weddings, baptisms, and funerals for much of the jazz community, including those of Duke Ellington, Thelonious Monk, John Coltrane, Miles Davis, and Dizzy Gillespie. Duke Ellington, a close friend and confidant, dedicated part of his Second Sacred Concert, The Shepard (Who Watches Over the Night Flock) to Gensel.
Joe Morgen, described as a fast talking Broadway-beat publicist, was hired by Ellington in 1957 to manage his public relations. Although he was disliked by Billy Strayhorn and perceived by others as graceless and aggressive, Ellington nonetheless overlooked Morgen's weaknesses. In his memoir Music Is My Mistress Ellington wrote, "I think he does a great job. He is an extraordinary individual, and I always say he is a man who doesn't have the tiniest facet of the devious in his makeup". Regardless of his reputation, Morgen proved highly adept at regaining media attention for Duke Ellington's music through features published in publications such as Look, the New York Times, and Newsweek. Phoebe Jacobs, head of promotion for the Basin Street Nightclub, said, "Joe Morgen made all of that happen. He sold everybody on Ellington." Morgen remained loyal to Ellington long after his death by working with his foundation to produce a benefit show and tribute to Duke to help raise money for the Ellington Cancer Foundation.
Sources
Fuller Up: The Dead Musicians Directory. Rev. John Gensel, 80, Pastor of Jazz Community'
www.geocities.com/SoHo/Lofts/7219/revjohngensel.html.
Ellington, Edward Kennedy Duke. Music is My Mistress. New York: Double Day, 1978. 435.
Hajdu, David. Lush Life, A Biography of Billy Strayhorn. New York: Farrar, Strauss,& Giroux, 1996. 166-169.
Provenance:
The collection was donated to the Smithsonian Institution in 1993 by John Gensel. The collection was turned over to the Archives Center in October 2000, with the Deed of Gift being signed in January 2001 by Gensel's widow. It is unknown clear how the materials came into the possession of Father Gensel from Joe Morgen.
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.
Subjects are shown with drinks in hand, standing in front of a bar, probably at a reception.
Local Numbers:
AC0584.0000002.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
Collection is open for research. Only reference copies of audiovisual materials can be used.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photograph of Sinatra rehearsing for Kennedy Inaugural Gala, January 1961. Ella Fitzgerald, possible photographer.
Local Numbers:
AC0584.0000003.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
Collection is open for research. Only reference copies of audiovisual materials can be used.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photograph of Sinatra reheasing for Kennedy Inaugural Gala, January 1961. Ella Fitzgerald possible photographer.
Local Numbers:
AC0584.0000004.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
Collection is open for research. Only reference copies of audiovisual materials can be used.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photograph of Frank Sinatra rehearsing for Kennedy Inaugural Gala, January 1961. Ella Fitzgerald, possible photographer.
Local Numbers:
AC0584.0000005.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
Collection is open for research. Only reference copies of audiovisual materials can be used.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Presidents -- Inauguration -- Washington (D.C.) Search this
Photograph of Frank Sinatra rehearsing for Kennedy Inaugural Gala, January 1961. Ella Fitzgerald, possible photographer.
Local Numbers:
AC0584.0000006.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
Collection is open for research. Only reference copies of audiovisual materials can be used.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photograph of Gene Kelly rehearsing for Kennedy Inaugural Gala, January 1961. Ella Fitzgerald, possible photographer.
Local Numbers:
AC0584.0000007.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
Collection is open for research. Only reference copies of audiovisual materials can be used.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
