Program Books, Festival Publications, and Ephemera
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
2010
General:
James Deutsch was Editor of the 2010 Program Book. Krystan MacGregor was Art Director; Josué Castilleja was Senior Graphic Designer; and Joan Erdesky was Production Manager.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2010 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Garden Dreams Urban Farm and Nursery (Pittsburgh, Pennsylvania)
United States of America -- Pennsylvania -- Allegheny -- Pittsburgh
Scope and Contents:
The folder includes worksheets and photocopies of articles.
General:
Three previously vacant city lots comprise this one-third acre urban farm and nursery garden focused on growing organically, providing a community gathering place, and teaching about sustainable land use. Ecologically sound practices are their main feature. The farm keeps bees for pollination and chickens for their eggs and to provide manure for the compost. Garden structures are fabricated from found or re-used objects and discarded building materials, such as PVC pipes that are too old to be used for their intended purpose but can serve as hoops for floating row covers. The business is recognized for its ingenuity, craftiness and thrift, as well as for creating a green space in a struggling neighborhood. They grow 100 varieties of tomatoes including heirlooms, dozens of sweet and hot peppers, many kinds of eggplants, greens and herbs. Flowers that are grown may be edible or are attractive to pollinating bees and other beneficial insects, including sunflowers, alyssum, coneflowers and native asters.
Since the urban lots contained detritus from demolished buildings and other debris, they had to be excavated, leaving craters that were filled with leaf mulch courtesy of the local public works agency. The organic matter decomposed into the degraded soil creating an excellent growing medium. Subsequent testing showed that the produce grown there was not contaminated and safe.
Persons associated with the garden include: Allegheny City vacant property program (former owners, 1996); Mindy J. Schwartz and Barbara K. Nicholas (former owners, 1996); Hannah Reiff (production manager, 2010- ); Robert Madden (outreach manager, 2008- ).
Related Materials:
Garden Dreams Urban Farm and Nursery related holdings consist of 1 folder (8 digital images)
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Main Image: American eagle carrying a gear next to silhouetts [[silhouettes]] of a fighter plane, tank, and ship
Local numbers:
Princeton Poster# 5978
General:
Issued by: Office of Production Management
Artist(s): Anon
Note:
Small card telling who to write to for more copies of this poster is attached by a metal paper clip
Printing Info:
Printer: (U.S.) G.P.O., , 1941
Other Printing Info: 304019
Property of Princeton [...] Received MAY 17 1941
Collection 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.
Collection Rights:
Copyright status of items varies. 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.
World War, 1939-1945 -- Posters -- United States Search this
Genre/Form:
Posters
Posters -- World War, 1939-1945 -- United States
Collection Citation:
Princeton University Posters Collection, Archives Center, National Museum of American History.
Sponsor:
Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.
Program Books, Festival Publications, and Ephemera
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
1998
General:
Carla M. Borden was Editor of the 1998 Program Book, with Peter Seitel as Associate Editor. Kenn Shrader was Art Director; Jen Harrington was Designer; and Kristen Fernekes was Production Manager.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The records of Sohmer & Co., date from 1872 through 1989. They fall into fourteen series based primarily on function. Legal, financial, inventory & appraisal, manufacturing, marketing, advertising, and sales are the major series. Photographs, awards, family papers, publications about Sohmer, general publications, "miscellaneous" and correspondence are the remaining series. The records are especially strong in the areas of advertising, finances, and marketing. The collection does not contain corporate records, articles of incorporation, executive records, minutes, annual reports, or personnel records such as payrolls or job descriptions.
Arrangement:
The collection is divided into 14 series.
Series 1: Stock and Legal Records, 1882-1985
Series 2: Financial Records, 1887-1962
Series 3: Inventory & Appraisal Records, 1891-1980
Series 4: Manufacturing Records, 1872-1967
Series 5: Marketing, 1901-1989
Series 6: Advertising Records, 1880-1983
Series 7: Sales Records, 1923-1982
Series 8: Photographs, circa 1920-1964
Series 9: Awards, 1876-1976
Serioes 10: Sohmer Family Papers, 1945-1970
Series 11: Publications about Sohmer, 1883-1986
Series 12: General Publications, 1912-1985
Series 13: Miscellaneous Records, 1894-1983
Series 14: Correspondence, 1892-1987
Historical:
When Sohmer & Co. was founded in 1872 by Hugo Sohmer and his partner Joseph Kuder, it became one of 171 piano manufacturers in New York City. Over the next 110 years, Sohmer & Co. was one of the few active and successful family-owned and operated piano-making ventures in the United States. Nationally known for tonal quality and fine craftmanship, the firm's product, in the music trade, came to be referred to as "The Piano-Maker's Piano."
Biographical:
Born to an eminent physician in Dunningen, Wurtemberg, Germany on November 11, 1846, Hugo Sohmer enjoyed a first class education. Riding the last major wave of German immigration, which had brought piano makers such as Albert Weber, George Steck, John and Charles Fischer, and Henry E. Steinway to America, Hugo arrived in New York City in 1862. He became an apprentice in the piano making house of Schuetze & Ludolf. To learn more about European piano making, Hugo returned to Germany in 1868 and travelled extensively throughout Europe. In 1870 he returned to New York and by 1872 the 26 year old Sohmer and his partner, Josef Kuder, began manufacturing pianos in the 149 East 14th Street factory previously utilized by J.H. Boernhoeft and most recently by Marschall & Mittauer.
Josef Kuder, originally from Bohemia, Austria Hungary, learned piano making in Vienna between 1847 and 1854. Kuder arrived in New York in 1854 and became a pianomaker with Steinway & Sons which had been founded in 1853. In 1861 he returned to Vienna; he worked there until returning to New York in 1864, where he worked for Marschall & Mittauer until joining Sohmer.
Concentrating on tonal quality and response, Sohmer & Co. began producing pianos which were recognized in 1876 by an award from the Centennial Exhibition in Philadelphia. In the waning years of the nineteenth century Sohmer & Co. received other awards including a diploma from the Exposition Provinciale in Montreal, Quebec in 1881, the gold medal at the Great New England Fair in Worcester, Massachusetts in 1889, and an award from the World's Columbian Commission in 1893 in Chicago.
By 1883 additional factory space, located on East 23rd Street and formerly used by Carhart & Needham, was occupied to accomodate increased production. In three years this space proved inadequate and forced the renting of an extension to the original factory. The main office and salesrooms were located at 31 West 57th Street in New York City. Meanwhile, in 1884 Sohmer invented the first five foot "baby" grand piano which was applauded for its musical brilliance and depth of tone. In the early 1900's Sohmer produced grand pianos in four sizes: Concert, Parlor, Baby & Cupid.
Limited space and increased production soon became issues again, and in 1887 the company moved its factory and special machinery to Astoria, Long Island. This factory, located at 31st Avenue and Vernon Boulevard, remained in continuous operation until 1982, when the Adirondack Chair Co. bought the building and Pratt Read acquired the company.
During the 1880s a number of letters patent were granted to Sohmer for such piano improvements as the agraffe bar for tone augmentation, and the aliquot string, which were auxiliary strings "arranged in conjunction with the regular strings for the purpose of giving forth reverberatory or sympathetic waves of sound, thus augmenting the general tone results of each unison." (Spillane, History, 256.)
In 1894 Hugo Sohmer took competitor Sebastian Sommer to court for stenciling the name "Sommer" on the fallboard of his pianos. Sohmer declared that "Sohmer" was a trademark used as an emblem to distinguish the piano from others, especially the Sommer piano which he considered inferior. The court in this equity case dismissed the case on the grounds that Sohmer had not proven damages accruing from the advertising and sale of the Sommer piano.
By 1907 Sohmer & Co. was producing 2,000 pianos per year. Additionally, with Farrand & Co. of Detroit, Sohmer was making the Sohmer Cecilian player piano. On June 8, 1913 Hugo Sohmer died in Scarsdale, N.Y.; 20 days later, Josef Kuder died as well. Hugo was survived by his wife, Elizabeth; a daughter, Adelaide S. Weber; and a son, Harry J. Sohmer, born in 1886. Company leadership was assumed by Harry J. Sohmer after Hugo's death.
During the 1920s Sohmer began a special department in its plant for the manufacture of period pianos. According to Harry Sohmer, the 1930s were difficult. He recalled that, once only one piano in 29 days was shipped. The number of American piano manufacturers dropped from 140 to 22 during this time. It was during this time that Harry's cousins, Frank and Paul Sohmer joined the company as consultants. However, through its pioneering efforts in the introduction of a console vertical piano known as a "Spinet," Sohmer revitalized the industry. (Taylor, "Piano Family.") This console vertical piano has been called "The Musicians' Console.
Primarily because of its concentration on the console vertical pianos Sohmer & Co. never cultivated famous performers in the way that Steinway and Baldwin did. While publicly acknowledging that it never entered into the competition for artistic endorsement (an acknowledgement which perhaps worked to its favor), Sohmer & Co. relied upon a most comprehensive and innovative advertising strategy stressing integrity, quality and craftsmanship in the pursuit of the ideal tone and touch.
In 1940 Harry incorporated the company as Sohmer & Co. and led it, with his sons Harry J. Sohmer, Jr., (born 1917) as production manager and Robert H. Sohmer (born 1920), as process engineer. By 1969 Harry Jr. was vice president in charge of production and Robert was production engineer/
treasurer. In 1971 Harry Sr. died and Harry Jr. became president.
In 1982 Pratt Read Corporation, a long established manufacturer of piano keyboards, acquired Sohmer & Co. for an undisclosed amount, and moved the operations to its Ivoryton, Connecticut factory, while retaining the Sohmer name. The Sohmer brothers retained their positions in the company. At the time of its purchase Sohmer & Co. employed 120 people, produced 2500 pianos yearly, and grossed $5 million in sales. Harry J. Sohmer, Jr., grandson of the founder, in expressing his feelings about the move and the Sohmer piano, compared his piano to old New York beers saying that "they were strictly New York products and in a way so were we." He concluded by saying, "We were always identified with this city. Sohmer was a New York piano." (Prial, "Sohmer Piano.")
By July 1983 under Pratt Read's management Sohmer was producing 6 pianos per day, only 50% of the expected capacity according to H.B. Comstock, president of Pratt Read. In 1986 the Ivoryton factory was sold to a group of investors organized as Sohmer Holding Co., who continued to make pianos there until a lack of skilled workers and financial losses forced its closing in December 1988. In an effort to fill the backlog of orders, Sohmer president Tom Bradshaw opened a new facility in Elysburg, Pennsylvania. A retail showroom was maintained in Ivoryton. In 1989, the Sohmer company was sold to the Falcone Custom Grand Piano Company of Haverhill, Massachusetts.
References
Cox, Erin. "Labor Woes a Main Factor in Sohmer Closing," The Pictorial Gazette West, 3 (December 8, 1988), 1, 22.
Dolge, Alfred. Piano and their Makers. 1911; rpt. New York: Dover Publications, 1973.
Loesser, Arthur. Men, Women and Pianos: A Social History. New York: Simon & Schuster, 1954.
Musical Merchandise Review. "Sohmer Pianos Underway at Conn. Pratt Read," July 1983, 91.
The Music Trades. "Pratt, Read Acquires Sohmer & Co. Piano Maker,"August 1982, 18.
Piano and Organ Purchaser's Guide, 1907, 1930. Prial, Frank J. "Sohmer Piano, and 110 Years of Craft, will leave Astoria," New York Times, August 13, 1982, B1, B4.
Purchaser's Guide to the Music Industries. 1956, New York: The Music Trades, 1956, 58 60.
Spillane, Daniel. History of the American Pianoforte: Its Technical Development, and the Trade. 1890; rpt. New York: Da Capo Press, 1969.
Taylor, Carol. "Piano Family Stays in Tune," New York World Telegram & Sun, August 15, 1958.
Materials in the Archives Center, National Museum of American History:
Pratt Read Corp. Records (AC0320)
Chickering & Sons Records (AC0264)
Steinway Piano Co. Collection (AC0178)
Provenance:
Collection donated by Pratt Read Corporation, August 11, 1989.
Restrictions:
Collection is open for research.
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 Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 2014 Smithsonian Folklife Festival. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 4 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: China: Tradition and the Art of Living
Series 3: Kenya: Mambo Poa
Series 4: Special Events
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 2014 Smithsonian Folklife Festival was produced by the Smithsonian Center for Folklife and Cultural Heritage and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
For forty-eight years, the Smithsonian Folklife Festival has gathered people from around the globe on the National Mall to celebrate the best of the human spirit. In response, millions of visitors have been inspired, challenged, and delighted by culture bearers manifesting the ordinary and the astounding. The Folklife Festival's history is a remarkable one in which creativity and culture have transformed grass, gravel, and trees into a vibrant landscape for exploration and exchange.
The 2014 Festival added another chapter to that history with programs illuminating the cultural heritage of China and Kenya. With song and story, movement and craft in tow, exemplars of traditional genres demonstrated practices that continue to resonate in our modern world. The alchemy of their presence and the curiosity of visitors is what drives the Festival.
The 2014 Festival took place for two five-day weeks (June 25-29 and July 2-6) between Madison Drive and Jefferson Drive and between 9th Street and 12th Street, south of the National Museum of Natural History (see site plan). It featured two programs and special events including the Rinzler Concert.
The 2014 guide included participant lists for each program, a site plan, and daily schedules.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife and Cultural Heritage.
Center for Folklife and Cultural Heritage
Michael Atwood Mason, Director; Smithsonian Folklife Festival: Sabrina Lynn Motley, Festival Director; Cristina Díaz-Carrera, Production Manager; Education and Program Support: Betty Belanus, Education Specialist, Evaluation Coordinator; Olivia Cadaval, Cross-Cultural Programs Coordinator; Marjorie Hunt, Family Activities Consultant (Kenya); Diana N'Diaye, Curator; Arlene Reiniger, Intern Coordinator; Arnie Malin, Foodways Coordinator; Ralph Rinzler Folklife Archives and Collections: Jeff Place, Archivist; Stephanie Smith, Photo Documentation Coordinator; Dave Walker, Audio Documentation Coordinator; Cecilia Peterson, Project Archivist; Greg Adams, Processing Archivist
Center for Folklife and Cultural Heritage Advisory Council
Ellen McCulloch-Lovell, Chair; Cathy Sulzberger, Co-Chair; Bill Ivey, Dawn McCall, Susan Norton, Anna Maria Ochoa, George Papagiannis, Frederik Paulsen, Jennifer Cover Payne, Ann Elizabeth Sheffer, Deborah Wong, Council Members; Libby O'Connell, J. Scott Raecker, Honorary; Patricia Shehan-Campbell, G. Wayne Clough, Richard Kurin, Michael Atwood Mason, Daniel Sheehy, Ex Officio
National Park Service
Jonathan B. Jarvis, Director; Robert Vogel, Superintendent, National Mall and Memorial Parks
The Festival was supported by federally appropriated funds; Smithsonian trust funds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and craft sales.
Forms Part Of:
Smithsonian Folklife Festival records: 2014 Smithsonian Folklife Festival forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
B. C. May was interviewed by Margie Gibson on June 26, 1996. May worked for the Smithsonian from 1972-1977 as the Production Manager for the Folklife Festival; he also produced concerts for the Division of Performing Arts. Since leaving the Smithsonian...
The Smithsonian Videohistory Program, funded by the Alfred P. Sloan Foundation from 1986 until 1992, used video in historical research. Additional collections have
been added since the grant project ended. Videohistory uses the video camera or digital recorder as a historical research tool to record moving visual information. Video works
best in historical research when recording people at work in environments, explaining artifacts, demonstrating process, or in group discussion. The experimental program recorded
projects that reflected the Institution's concern with the conduct of contemporary science and technology.
Smithsonian historians participated in the program to document visual aspects of their on-going historical research. Projects covered topics in the physical and biological
sciences as well as in technological design and manufacture. To capture site, process, and interaction most effectively, projects were videotape recorded in offices, factories,
quarries, laboratories, observatories, and museums. Resulting footage was duplicated, transcribed, and deposited in the Smithsonian Institution Archives for scholarship, education,
and exhibition. The collection is open to qualified researchers.
Descriptive Entry:
Ramunas Kondratas, curator at the National Museum of American History, documented the history, development, commercialization and applications of diagnostic ultrasound.
Session One was recorded between January 20 through January 24, 1997 at Acuson Corporation located at Mountain View, California. Interviewees included scientists, engineers,
managers, and a patent attorney from Acuson. The session took place at several sites on the Acuson campus. Interviews focused on the history of the company, the development
of ultrasound and transducer technologies, design and commercial development of the equipment, the manufacturing process, clinical applications, education of clinicians, and
the patenting process.
Kondratas also interviewed several of the participants on audiotape. The tapes and transcripts complement the videotape sessions and are also available through the Institutional
History Division, Smithsonian Institution Archives.
This collection consists of one interview session, totaling approximately 12:00 hours of recording and 203 pages of transcript.
Historical Note:
Medical diagnostic ultrasound systems use high-frequency sound waves to produce images of soft tissues and internal body organs. First introduced to the medical world
in the 1950s, it is a widely used diagnostic imaging modality today. Ultrasound exams are non-invasive and generally considered safe at the power levels used for diagnostic
exams. Ultrasound is used in obstetrical, abdominal, urological, vascular and cardiac applications.
Sonar - the technique of sending sound waves through water and observing the returning echoes to characterize submerged objects - inspired early ultrasound investigators
to explore ways to apply the concept to medical diagnosis. Early on, ultrasound was used to detect gallstones, breast masses, and tumors. During the early 1970s, the technology
advanced to gray scale ultrasound systems that produce static images of internal organs easily recognizable to physicians. Later in the 1970s, the development of real-time
ultrasound imaging enabled physicians to see continuous live-action images of the area under investigation. The 1980s saw the introduction of spectral Doppler and later color
Doppler which depicts blood flow in various colors to indicate speed of flow and direction.
In 1979, Samuel H. Maslak, Sc.D., began developing a new approach to medical ultrasound imaging. The scanners used in the existing ultrasound technology produced satisfactory
diagnostic images from the returning echoes through sixty-four electrical channels, but the machines could not refine the images because computers for ultrasound imaging did
not exist. Dr. Maslak's work in applying computer technology to ultrasound led to the founding, with Robert Younge and Amin Hanafy, of Acuson Corporation in 1982. Acuson introduced
its first product in 1983, the Acuson 128 Computed Sonography System which applied computer technology to diagnostic ultrasound. The 128 channel software-controlled image
formation process provided black-and-white and color ultrasound images with high resolution and clarity.
Acuson continued to develop ultrasound technology. The introduction of the Sequoia 512 system in 1996 provided clinicians with twice the amount of image information in
half of the time. Acuson's development of a new way to form ultrasound images called Coherent Image Formation used both the phase and the amplitude information from ultrasound
echoes to produce images. Conventional ultrasound systems produced images based only on the amplitude information. This discovery offered the user increased spatial and temporal
image resolution.
Bradford C. Anker was educated at Purdue University receiving the B.S. degree in industrial engineering in 1968. Anker joined the Hewlett-Packard Automatic Measurement
Systems Division in 1968. During his six years there, Anker progressed through the materials management function and was master scheduling manager when he left Hewlett-Packard
to join Spectra-Physics, where he held several senior manufacturing and management positions during his ten years at the company. Anker was Vice President, manufacturing,
for Margaux Controls before joining Acuson in 1983, as Vice President, manufacturing.
Corinne Augustine was educated at the University of Florida where she received the B.S.I.E. degree in 1980, and the M.B.A. degree in 1991 at Stanford University. Augustine
joined Frito Lay Company in 1980 as the Industrial Engineering Department Manager. She then joined Intel Corporation in 1984 as the Industrial Engineering and Production Manager.
From 1986 through 1989, Augustine was the New Products Project Manager at Sun Microsystems. In 1991, Augustine joined Acuson Corporation as a project manager and was promoted
to Director of manufacturing in 1994.
Amin Hanafy, Sc.D., was educated at Alexandria University in Egypt where he received the bachelor's degree in electrical engineering in 1965. He attended the New Jersey
Institute of Technology receiving the M.S. in electrical engineering in 1971 and the Sc.D. in acoustical optical imaging in 1977. His professional experience included four
years with Alexandria University Faculty of Engineering, where he was an instructor in the electrical engineering department. He spent six years as a design engineer at L
& R Manufacturing Company. He then joined Hewlett-Packard Company as Technical Director of transducer activity, from 1975 until 1981. Hanafy was one of the founders, with
Robert Younge and Samuel Maslak, of Acuson Corporation in 1981. He was the transducer division director at Acuson until 1988, and continued his association as Principal Fellow.
Thomas Jedrzejewicz received the B.S. degree in electrical engineering from Northeastern University in 1958. After ten years as a field application engineer with Raytheon
Company, Jedrzejewicz worked as product development specialist at Corning Glass Works and then as product manager at American Optical. From 1975 to 1978, he served as Marketing
Manager for ultrasound for Picker Corporation. Then, following two years at SmithKline Instruments and one year at Technicare, Jedrzejewicz became Marketing Manager for ultrasound
and nuclear medicine at Toshiba America Medical Systems. From 1983 to 1989, he performed various tasks for Acuson, including the commencement of Acuson's marketing and communications
plans. He then worked as Director of ultrasound marketing for Toshiba America Medical Systems for two years before again joining Acuson as Director of technical programs in
1992.
Hugh G. Larsen received the B.S.E.E. degree from Brown University in 1965. He received the M.S.E.E. at the University of Cincinnati in 1971 and the Ph.D. in Electrical
Engineering at the University of Vermont in 1976. From 1976 to 1983, Larsen worked at Hewlett-Packard on their phased-array cardiac ultrasound system. In 1983, he joined Acuson
working in a variety of technical and managerial roles to advance ultrasound technology. In 1991, he was promoted to Director of Imaging Technology on the Sequoia program
and then served as Director of the Sequoia Engineering.
Samuel H. Maslak, Sc.D., was educated at the Massachusetts Institute of Technology (M.I.T.), receiving the degree of Sc.D. in 1975 and the degrees of E.E., S.M. and S.B.
in electrical engineering in 1971. Maslak's dissertation was on ultrasound design. His professional experience included four years with Hewlett-Packard Company, where he was
a member of the technical staff and project manager at Hewlett-Packard Laboratories. While at Hewlett-Packard, Maslak invented a unique scanner architecture which was subsequently
patented and assigned to Hewlett-Packard. In 1979, Dr. Maslak began developing a new and proprietary approach to medical ultrasound imaging. This work led to the founding,
with Robert Younge and Amin Hanafy, of Acuson Corporation in 1982. Maslak served as President and Chief Executive Officer from the inception of the company until June 1995,
when he was elected to Chairman of the Board. Maslak retained his position as Chief Executive Officer.
After receiving her law degree from Ohio State University in 1982, Liza K. Toth first worked in the Chicago patent law firm of Hume Clement. She helped start the Intellectual
Property group in the San Jose, California, law firm of Hopkins & Carley. After July 1994, Toth served as Acuson's Chief Patent Counsel responsible for the patent, trademark
and copyright portfolio of the company.
J. Nelson Wright received the B.S. in 1976 and the M.S. in 1978 in electrical engineering from the Massachusetts Institute of Technology. Prior to joining Acuson, Wright
was a member of the technical staff at the MIT Lincoln Lab from 1976 to 1981. Wright joined Acuson as Project Manager during the development of the Acuson 128 ultrasound system.
Beginning in 1987, Wright initiated and subsequently contributed to and managed the development of Sequoia ultrasound technology.
Additional interviewees included David Burris and Marketing Communication Manager Jackie Ferreira. Also included are Gelston Howell, Manager of transducer development,
Alan Kirby, 128 XP Production Manager, Jon Knight, Production Manager of Sequoia manufacture, Vaughan Marian, Mechanical Engineering Senior Fellow, Rick Sperry, Process Engineer,
and Worth Walters, New Products Development Engineer.
Program Books, Festival Publications, and Ephemera
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
1996
General:
Carla M. Borden was Editor of the 1996 Program Book, with Peter Seitel as Associate Editor. Kenn Shrader was Design Director, with Karin Hayes and Marcus Johnson, Jr., as Designers; Reynald Searles was Production Manager.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1996 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Massachusetts Institute of Technology, vol. 32, no. 8, July 1930; vol. 63, no. 7, May 1961; and vol. 64, no. 1, November 1961.
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Arthur Raymond Brooks Collection, NASM.1989.0104, National Air and Space Museum, Smithsonian Institution.
Program Books, Festival Publications, and Ephemera
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
2006
Note:
Frank Proschan was Editor of the 2006 Program Book. Krystyn MacGregor Confair was Art Director; Joan Erdesky was Production Manager; and Zaki Ghul was Graphic Designer.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or
rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2006 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Program Books, Festival Publications, and Ephemera
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
1999
General:
Carla M. Borden was Editor of the 1999 Program Book, with Peter Seitel as Associate Editor. Kenn Shrader was the Art Director; Kristen Fernekes the Production Manager; and Caroline Brownell the Design Assistant.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1999 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Program Books, Festival Publications, and Ephemera
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
2003
General:
Carla Borden was Editor of the 2003 Program Book, with Frank Proschan and Peter Seitel as Associate Editors. Denise Arnot was Art Director; Joan Erdesky was Production Manager; and Krystyn MacGregor Confair was Design Assistant.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2003 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Program Books, Festival Publications, and Ephemera
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
2007
General:
Mary Sebold was Editor of the 2007 Program Book. Krystyn MacGregor Confair was Art Director; Joan Erdesky was Production Manager; and Zaki Ghul was Graphic Designer.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2007 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
