Includes Wilson and Harris article in October 1978 issue of The Sciences.
Access to student records (consisting of graded materials and student recommendation letters), grant proposals sent to Harris for review by grant agencies, and part of his faculty recruitment files are restricted until 2081. Series 10. Computer Files are also restricted due to preservation concerns.
Marvin Harris papers, National Anthropological Archives, Smithsonian Institution.
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if listening copies are not currently available. Listening copies can be made for a fee. Contact reference staff for details.
Smithsonian Institution Archives, Record Unit 591, Smithsonian Institution. Office of Telecommunications, Productions
This series, dated 1971-2007 and undated, consists of materials relating to Ortner's professional activities. These include notes, correspondence, drafts, newsclippings, photographs, and computer disks.
Subseries 6.1, Lectures, conferences, symposia, 1975-1986 and undated, includes Ortner's notes and research materials for these lectures or talks at conferences. Ortner's lecture addressing science and culture in modern society was for the Smithsonian Resident Associate Program in 1984. The research materials that accompany Ortner's notes for his lecture on science and religion follow the controversy and lawsuit over the National Museum of Natural History's exhibit on evolution, which opened in 1979. The materials from the Smithsonian's Seventh International Symposium, How Humans Adapt: A Biocultural Odyssey include files from Ortner's participation in the 1981 symposium. Drafts, book reviews, and public relations materials for the book that accompanied the symposium, which Ortner edited, are also included.
Subseries 6.2, Forensic work, 2002, 2007, includes correspondence, notes, photographs, CD-Roms, and floppy discs relating to forensic cases from outside agencies on which Ortner was asked to collaborate. In these cases Ortner used remains to determine cause of death, verify identity, or provide other information for the case.
Subseries 6.3 Other professional activities, 1971-2005, includes NMNH Research Associate Rebecca Ferrell's NIH grant proposal for a project titled "The Biology of Striae of Retzius in Human Tooth Enamel" that Ortner supervised in 2005; case reports Ortner organized and edited for the Paleopathology Newsletter; workshops he organized for the annual meetings of the Paleopathology Association from 1997-2002; and Ortner's short-courses in paleopathology. The material from the short-courses in paleopathology includes planning and correspondence from when they were offered as a lecture series at the Smithsonian Institution with Walter G. J. Putschar during the years 1971-1974 and 1985. The file also includes short-courses at the University of Bradford during the years 1988, 1994, 1998, 2001, 2003, 2005.
Subseries 6.4 Photographs, 1960s-2000s, includes slides, negatives, and prints depicting professional events, such as conferences and awards ceremonies; Ortner at work in his office or lab with colleagues and interns; and a few prints of unidentified specimens. Notable people included in these images are Thomas Dale Stewart and John Lawrence Angel. Also included are negatives of photographic portraits of children, probably Ortner's.
This series is arranged in 4 subseries: 6.1 Lectures, conferences, symposia, 1975-1986, undated; 6.2 Forensic work, 2002, 2007; 6.3 Other professional activities, 1971-2005; 6.4 Photographs, 1960s-2000s.
The floppy discs and CD-Roms are restricted for preservation reasons.
Requests to view forensic files are subject to review by the NAA. Forensic files can only be viewed in the National Anthropological Archives reading room. No copies are permitted unless permission is granted by the agency the report was written for.
Donald J. Ortner Papers, National Anthropological Archives, Smithsonian Institution.
The papers of Donald J. Ortner were processed with the assistance
of the Smithsonian Institution's Collections Care and Preservation Fund.
Records in this series document Ojeda's professional relationships with museums, galleries, and civic and international organizations, as well as specific solo exhibitions and group exhibitions in which Ojeda participated.
Records include correspondence with individuals and organizations relating to arrangements for exhibiting, selling, or taking Ojeda's work on commission, as well as records of sales and exhibition-specific material such as price lists, contracts and legal records, printed matter, and scattered photographs.
Ojeda's relationship with Franz Bader, whose Franz Bader Gallery represented the artist for almost twenty years, is documented through files including detailed balance sheets, inventories, price lists, and receipts documenting sales and consignments of Ojeda's work, as well as records of four exhibitions and correspondence and memoranda documenting Ojeda's relationship with the gallery through location and management changes spanning over a decade. Also found is a video recording of an interview broadcast on television, probably related to the 1995 Inter-American Development Bank exhibition In Honor of Franz Bader.
Other galleries, museums, and organizations represented include several in Washington D. C., including The Phillips Collection; the Smithsonian's National Museum of American Art, which purchased prints by Ojeda for it's permanent collection; the Smithsonian's Resident Associate Program Tour, in which Ojeda participated; and the Gala Hispanic Theater, for whom Ojeda designed sets and produced posters for many years. The Gala Hispanic Theater records include documentation of Ojeda's protest over a GSA sponsored exhibition. Ojeda protested when eight panels with photos and texts describing present day Chile, Argentina, and Uruguay were pulled from the show, by removing his fourteen woodblock prints from the exhibition.
Also represented are international galleries and organizations, including embassies, and other cultural and municipal organizations in Colombia, Greece, Nicaragua, Puerto Rico, and Uruguay; U Galeria de Arte in Montevido, where Ojeda had exhibitions in the 1960s; Galerie les Lumières in Paris where Cristina Pareja organized exhibitions for Ojeda in the 1990s; and the International Monetary Fund Art Society.
Records are arranged alphabetically by name of individual, business, organization, or name of exhibition.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after
approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no
manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead.
Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from
1907 to 1946 and can be useful.
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called
the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the
Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of
Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives;
two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents
of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded
to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice
since that time.
The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A.
Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard
Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas
R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A.
Wallace, William A. Wheeler, Henry Wilson.
Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White,
William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.
Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell,
Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin,
Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey,
Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull,
Wallace H. White, Jr., Robert Enoch Withers.
Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth,
Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel
Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton,
Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce,
Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R.
Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards
Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.
Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George
Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings,
John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward
H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius
Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley,
John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston
Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton
Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton,
Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson,
Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
Collection documents the career of noted American jazz musician Dizzy Gillespie, through a donation from his former manager, Charles Fishman.
Scope and Contents:
The collection primarily documents Charles Fishman's tenure as Gillespie's manager, 1985-1993, and is composed of business records. There is also a significant amount of personal material and photographs from the 1940s-1980s, much of which was saved by Mr. Fishman when Dizzy Gillespie wanted to throw these materials away or take them home.
Born in South Carolina in 1917, John Birks "Dizzy" Gillespie was a master jazz trumpeter, bandleader, singer, and composer. In the 1940s, he was one of the principal developers of both bebop and Afro-Cuban jazz. Through the multitudes of musicians with whom he played and who he encouraged; he was one of the most influential players in the history of jazz.
The youngest of nine children, Gillespie was exposed to music by his father, a part-time bandleader who kept all his band's instruments at home, where young Gillespie tried them out. At age twelve, he received a music scholarship to the Laurinburg Institute in North Carolina, where he played trumpet in the school band. In 1935, at age eighteen, he moved to Philadelphia and joined his first band, where his clownish onstage behavior and sense of humor earned him his nickname, "Dizzy." Thereafter, he was almost constantly joining and leaving, or forming and disbanding, bands of various size and style, as he set out to first hone his talent, then to develop his own creative innovations and to publish his recordings, and then to fulfill his lifelong desire to lead his own band. Along the way, he played with, collaborated with, encouraged, and influenced, all the major – and most of the minor – jazz musicians of his age, including Charlie Parker, Duke Ellington, Ella Fitzgerald, Benny Carter, Billy Eckstine, Cab Calloway, and John Coltrane.
In 1937, Gillespie moved to New York, where he joined Teddy Hill's band; with Hill he made his first overseas tour, to England and France. By 1939, he had joined Cab Calloway's band and had received his first exposure to Afro-Cuban music. In 1940, Gillespie met Charlie "Bird" Parker, Thelonious Monk, and Kenny Clarke and together they began developing a distinctive, more complex style of jazz that became known as bebop or bop. In the early 1940s, Gillespie made several recordings of this new sound. In 1945, he formed and led his own big band, which was quickly downsized into a quintet due to financial problems. He was able to reform the band the next year and keep it together for four years, but it was disbanded in 1950. During this time, he began to incorporate Latin and Cuban rhythms into his work. In 1953, a dancer accidentally fell on his trumpet and bent the bell. Gillespie decided he liked the altered tone and thereafter had his trumpets specially made that way.
In 1956, after leading several small groups, the United States State Department asked Gillespie to assemble a large band for an extensive cultural tour to Syria, Pakistan, Turkey, Greece, and Yugoslavia; a second tour, to South America, took place several months later. Although he kept the band together for two more years, the lack of government funding prevented him from keeping such a large group going and he returned to leading small ensembles. In 1964, displaying the humor for which he was well-known, Gillespie put himself forward as a candidate for President.
Gillespie continued to tour, perform, record, and to collaborate with a wide range of other musicians throughout the 1970s and 1980s. He continued to encourage new styles and new talents, such as Arturo Sandoval, whom he discovered during a 1977 visit to Cuba. In 1979, Gillespie published his autobiography, To Be or Not to Bop. In the late 1980s, he organized and led the United Nations Orchestra, a 15-piece ensemble that showcased the fusion of Latin and Caribbean influences with jazz. In these later years, although still performing, he began to slow down and enjoy the rewards of his extraordinary talent. He received several honorary degrees, was crowned a chief in Nigeria, was awarded the French Commandre d'Ordre des Artes et Lettres, won a Grammy Lifetime Achievement Award, and received both the Kennedy Center Medal of Arts and the ASCAP Duke Ellington Award for Fifty Years of Achievement as a composer, performer, and bandleader. Dizzy Gillespie passed away on January 6, 1993.
Materials held in the Archives Center
John and Devra Hall Levy Collection NMAH.AC1221
Paquito Rivera NMAH.AC0891
James Moody Papers NMAH.AC1405
Chico O'Farrill Papers NMAH.AC0892
Boyd Raeburn Papers NMAH.AC1431
William Claxton Photographs NMAH.AC0695
Ray Brown Papers NMAH.AC1362
Earl Newman Collection of Monterey Jazz Festival Posters NMAH.AC1207
Graciela Papers NMAH.AC1425
Leonard Gaskin Papers NMAH.AC0900
Ella Fitzgerald NMAH.AC0584
Herman Leonard Photoprints NMAH.AC0445
Stephanie Myers Jazz Photographs NMAH.AC0887
John Gensel Collection of Duke Ellington Materials NMAH.AC0763
Duke Ellington Collection NMAH.AC0301
Benny Carter Collection NMAH.AC0757
Chuck Mangione NMAH.AC1151
Bill Holman Collection NMAH.AC0733
Duncan Schiedt Photograph Collection NMAH.AC1323
Fletcher and Horace Henderson Music and Photographs NMAH.AC0797
Ernie Smith Jazz Film Collection NMAH.AC0491
W. Royal Stokes Collection of Music Publicity Photoprints, Interviews, and Posters NMAH.AC0766
William Russo Music and Personal Papers NMAH.AC0845
Pat and Chuck Bress Jazz Portrait Photographs NMAH.AC1219
Milt Gabler Papers NMAH.AC0849
Floyd Levin Reference Collection NMAH.AC.1222
Materials held in the Division of Culture and the Arts
Includes Dizzy Gillespie's iconic "bent" trumpet (1986.0003.01); sound recordings, a button, and a sculpture.
Materials held in the Smithsonian Institution Archives
National Museum of American History. Office of Public Affairs Accession 95-150
Smithsonian Institution. Division of Performing Arts Accession 84-012
Smithsonian Institution. Office of Telecommunications Record Unit 296
Smithsonian Institution. Office of Telecommunications Record Unit 590
Materials held in the Archives of American Art, Smithsonian Institution
Gertrude Abercrombie AAA.abergert
Materials at Other Organizations
Dizzy Gillespie Collection, circa 1987-2000, University of Idaho Library, Special Collections and Archives
The collection was donated by Charles Fishman, Dizzy Gillespie's manager, in 2007.
The collection is open for research. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
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.