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
Goodman, Benny (Benjamin David), 1909-1986 Search this
Container:
Box 4, Folder 8
Type:
Archival materials
Date:
1978
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Frenzy (2:00) -- I want to know (2:00) -- Skin flowers (2:20) -- Group grope (3:40) -- Coming down (3:46) -- Dirty old man (2:49) -- Kill for peace (2:07) -- Morning, morning (2:07) -- Doin' all right (2:37) -- Virgin forest (11:09).
Track Information:
101 Frenzy / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
102 I Want to Know / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
103 Skin Flowers / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
104 Group Grope / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
105 Coming Down / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
106 Dirty Old Man / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
201 Kill for Peace / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
202 Morning, Morning / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
203 Doin' All Right / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
204 Virgin Forest / Fugs (Musical group), Ed Sanders, Tuli Kupferberg. Guitar,Percussion instruments.
Local Numbers:
FW-ASCH-LP-1464
ESP.1028
Publication, Distribution, Etc. (Imprint):
New York ESP 1966
Date/Time and Place of an Event Note:
Recorded in: New York (N.Y.), New York, United States.
General:
Program notes on container by Allen Ginsberg.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 Mi Unico Camino / Conjunto Bernal. Bajo sexto,Accordion.
102 La Cuquita / Narciso Martínez. Bajo sexto,Accordion.
103 Feliz Sin Ti / Lydia Mendoza.
104 Cuatro o Cinco / Tony de la Rosa. Accordion.
105 Ausensia / Narciso Martínez. Accordion.
106 Por Tu Ausensia / Carmen y Laura.
107 Mi Pecosita / Beto Villa. Bajo sexto,Accordion.
108 Gregorio Cortez / Maya y Cantu. Bajo sexto,Accordion.
109 Recuerdo Quedo, Un / Trio San Antonio. Bajo sexto,Accordion.
110 Tres Consejos / Hermanas Mendoza. Bajo sexto,Accordion.
111 La Primavera / Juan Lopez. Bajo sexto,Accordion.
112 La Tijerita / Juan Lopez. Bajo sexto,Accordion.
113 Mujer Hermosa / Valerio Longoria. Accordion.
114 Pensamiento / Conjunto Bernal. Bajo sexto,Accordion.
115 Qiereme Vidita / Chelo Silva.
116 Pachuca Blues / Beto Villa. Accordion.
117 La Novia Antonia / Conjunto Bernal.
118 Corina, Corina / Freddie Fender. Guitar.
119 Que Mala / Shades (Rock music group). Bajo sexto,Accordion.
120 Corazon del Pueblo / Isidro Lopez. Accordion.
121 Tarde Pa' Arrepentirnos / Isidro Lopez. Accordion,Saxophone.
122 Porque me Abandonas / Agapito Zúñiga. Accordion.
123 Tu Destino / Lydia Mendoza. Accordion,Twelve string guitar.
124 Nubes, Las / Wally Almendarez. Accordion.
Local Numbers:
FP-ARH-CD-0013-7
FLP.122427
FLP.122427 ;.Arhoolie.341
Publication, Distribution, Etc. (Imprint):
El Cerrito, California Arhoolie 1991
Date/Time and Place of an Event Note:
Recorded in: Texas, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Recorded in: Wilkesboro (N.C.), United States, North Carolina, April 30, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Shanghaid (2:33) -- Hold on baby (3:01) -- No time (3:13) -- Lady luck (2:40) -- Disadvantage (3:34) -- Lean on me (3:18) -- End of the line (3:07) -- New Orleans (2:32) -- Tijuana (3:52) -- That kind of thing (3:17) -- Who's talking (3:26) -- Change your mind (2:25) -- Humdinger (3:23) -- River boat song (3:06).
Local Numbers:
FP-RINZ-CT-0041
Publication, Distribution, Etc. (Imprint):
New York Silvertone 1990
Participant or Performer Note:
J.J. Cale, guitar, vocals and bass ; with instrumental and vocal accompaniment.
Date/Time and Place of an Event Note:
Recorded between 1984 and 1989 at Capitol Studios, The Complex & Sound City, Los Angeles.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
In 1990, curators at the National Museum of American History began a project to develop a traveling exhibition about American music, and in the course of research, curators repeatedly returned to the Mississippi Delta area and Memphis, Tennessee to conduct interviews. A group in Memphis organized to raise the funds to complete the research, to acquire objects and artifacts, and the project ultimately became the Smithsonian-affiliated Memphis Rock 'n' Soul Museum, which opened in 2000 at 191 Beale Street.
Scope and Contents:
The collection consists of oral and video history interviews conducted by curators at the National Museum of American History with musicians, recording executives, disc jockeys, and others involved with the development of rock'n'soul music. Complete transcripts of all of the interviews exist.
Arrangement:
The collection is arranged in four series.
Series 1, Original Interviews
Series 2, Reference Copies
Subseries 1: Umatic Videos
Subseries 2: Reference DVDs
Series 3: Audio Cassettes
Series 4: Transcripts
Biographical / Historical:
In 1990, National Museum of American History curators Dr. Pete Daniel and Dr. Charles McGovern, began conducting research with the intention of creating a traveling exhibit about "American music." Their investigations led them to the Mississippi delta and ultimately to Memphis Tennessee, which had developed as a crossroads where people and musical traditions met beginning in the 1930s. Based on their discoveries they refined their scope in order to focus on the music that grew out of the traditions that met and mixed in Memphis. They weren't able to secure funding for the originally proposed exhibit, but instead partnered with the Memphis Rock'n'Soul Museum to develop the exhibit Rock'n'Soul: Social Crossroads. The museum and exhibit opened in 2000 and explores the influential musical form that has its roots in Memphis.
Much of the basic research for the exhibit as well as the production elements for the companion radio series, "Memphis: Cradle of Rock'n'Soul" came from oral and video history interviews conducted with musicians, record producers, radio disc jockeys and others involved with the development and popularization of rock'n'soul during 1992 and 1999. Daniel and McGovern partnered with John Meehan of Smithsonian Productions to create high-quality, informative interview tapes. The Rock'n'Soul Video History Collection is comprised of these unedited interviews.
Provenance:
Made at the National Museum of American History for the Smithsonian-affiliated Memphis Rock 'n' Soul Museum in 1992 and 1999.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Only refrence DVDs and digital reference copies in the Smithsonian Institution's Digital Asset Management System (DAMS) may be used. 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.
Consist of materials presented by Cummings at conferences, meetings, and seminars to organizations including the American Dairy Association, Newsweek Sales Managers, Philadelphia Chamber of Commerce, Magazine Promotion Group, Association of National Advertisers, Kappa Tau Alpha Society, Central American Tourism Council, American Advertising Federation, Advertising Education Foundation, American Academy of Advertising, and Better Business Bureau. Materials document Cummings travels to major cities including Paris, France, San Jose, Costa Rico, and San Juan, Puerto Rico.
In his speeches Cummings addresses topics relating to color newspaper advertising, advertising careers, international markets, social injustice, crime, drugs, pornography, disregard for natural resources, rock music, women in the work force, growth of cable television, and teen age drinking and driving. In addition, publicity materials, awards, and photographs can be found among these materials. Materials are arranged first by speeches in chronological order followed by photographs, awards, and newspaper clippings.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Barton Cummings Collection, 1938-1990, Archives Center, National Museum of American History.
"Rock Music -- Good or Evil? Or Something's Happening Out There, But You Don't Know What it Is. Do You, Mr. Adman?", American Advertising Federation Western Regional Conference, Bakersfield, California
Reviews the rise of Rock Music and pays tribute to composers and musicians, but fears some of the music featured on radio encourages drug use. Asks: Is there something advertising people can and should do to persuade station owners, managers and disc jockeys to get this stuff off the air?
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Barton Cummings Collection, 1938-1990, Archives Center, National Museum of American History.
An interview with George Condo conducted 2017 May 5 and June 20, by Christopher Lyon, for the Archives of American Art, at Condo's studio in New York, New York.
Condo speaks of his childhood and adolescence in New England; his Italian grandparents and heritage; his early obsession with drawing; the mathematical dimension of his mind; his Catholic upbringing and its influence on his art; exposure to literature, art, and music through his family; his decision to pursue visual art rather than music; the influence of jazz on his approach to making art; his understanding of tradition and originality; the influence of a wide range of literature on his approach to making art; dropping out of Mass College of Art; playing in a Boston punk rock band called The Girls in the late 1970s; moving to New York in 1981; working on Andy Warhol's silk-screening assembly line; moving to Los Angeles in 1982; being shown in Ulrike Kantor's gallery with Roger Herman's help; formative trips to Europe in the 1980s; important romantic relationships; changes in the New York art world in the 1990s; developing the concept of Artificial Realism; and his appreciation for the old masters of painting. Condo also recalls Dawn Clements, Keith Haring, Jean-Michel Basquiat, Devo, Mark Dagley, Rupert Smith, Fred Hughes, Susan Tyrrell, Gene Kelly, Willoughby Sharp, Walter Dahn, Bruno Bischofberger, and others.
Biographical / Historical:
George Condo (1957- ) is a contemporary visual artist working in New York, New York. Christopher Lyon (1949- ) is a publisher and writer in Brooklyn, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Smothers Brothers Collection, Archives Center, National Museum of American History.
Images document the Smothers brothers' creative work for film and theater. The images document motion picture films including Get to Know Your Rabbit starring Tom Smothers (1972), Another Nice Mess produced by Tom Smothers (1973), There Goes the Birdie starring Tom Smothers (1979), and Pandemonium also starring Tom Smothers (1982).
Theater productions include Hair: The American Tribal Love-Rock Musical produced by Tommy Smothers and performed at the Aquarius Theatre in Los Angeles, California (1969) and I Love My Wife a musical starring the Smothers brothers at the Ethel Barrymore Theatre in New York (1978). Materials are arranged in chronological order.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Smothers Brothers Collection, Archives Center, National Museum of American History.
101 Onandoga Blues/Rock / White Boy & the Wagon Burners (Musical group). Guitar,Keyboards (Music).
102 Tohono O'odham Waila Music / Alex Gomez. Guitar,Accordion,Saxophone.
Local Numbers:
FP-1992-CT-0006
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 25, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
102 Onandoga Blues/Rock / White Boy & the Wagon Burners (Musical group). Guitar,Keyboards (Music).
Local Numbers:
FP-1992-CT-0008
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
