Shown in "Stonewall" display, Archives Center display case, June-July 2000.
Collection Restrictions:
The collection is open for research use.
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.
Do not use original materials when available on reference video or audio tapes.
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.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
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.
Do not use original materials when available on reference video or audio tapes.
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.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Chicago Tribune newspaper, November, 1985. Cover illustration: photograph of Aidan Quinn and Ben Gazzara.
Local Numbers:
AC1146-0000041.tif (AC Scan No.: cover).
Exhibitions Note:
Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.
Collection Restrictions:
The collection is open for research use.
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.
Do not use original materials when available on reference video or audio tapes.
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.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
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.
Do not use original materials when available on reference video or audio tapes.
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:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Postcard with reproductions of color portraits. "Our Sixth Annual Queer People of Color Dance."
Local Numbers:
AC1146-0000069.tif (AC Scan No.)
Collection Restrictions:
The collection is open for research use.
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.
Do not use original materials when available on reference video or audio tapes.
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.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Illustrations of three figures in female Indian costume. Printed in red. Advertises benefit at 416 W. 14th St., New York City.
Local Numbers:
AC1146-0000070.tif (AC Scan No.)
Collection Restrictions:
The collection is open for research use.
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.
Do not use original materials when available on reference video or audio tapes.
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.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
7.38 Cubic feet (consisting of 12 boxes, 2 folders, 11 oversize folders, 1 map case folder, 3 boxes (1 full, 2 partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Advertising
Advertising fliers
Advertising cards
Advertising mail
Advertisements
Beverage labels
Business cards
Business letters
Business ephemera
Business records
Caricatures
Catalogues
Commercial catalogs
Commercial correspondence
Correspondence
Ephemera
Invoices
Illustrations
Labels
Instructional materials
Legal documents
Legislation (legal concepts)
Letterheads
Mail order catalogs
Manuals
Manufacturers' catalogs
Menus
Periodicals
Printed ephemera
Print advertising
Publications
Recipes
Receipts
Sales catalogs
Sales letters
Sales records
Signs (declaratory or advertising artifacts)
Trade catalogs
Trade cards
Trade literature
Date:
1743-1963
bulk 1846-1962
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents note:
In 1953, Warshaw launched a year-long collecting campaign, soliciting material on whiskey and wine. He expanded this effort to also include items related to the drinking habit of notable persons. This category was originally labeled "whiskey" but has been retitled as the content covers a wide variety of distilled beverages, spirits, liquors, liqueurs, and hard alcohol.
The bulk of the content is print material in the form of advertising, circulars, price lists, marketing and promotional items with also a sampling of business records consisting of transactional documents such as receipts, invoices, correspondence, and import/export paperwork. Some bottle labels and a couple of packaging examples are present, as are drink recipe booklets and entertainment/pairing guides. Only a small portion of this series covers regulatory aspects such as licensing and taxation, including a Prohibitionists' Text-Book from 1880. The rich volume of advertising provides much in the way of visuals regarding the culture of drinking and entertainment through several 19th and 20th Century eras.
The Warshaw Survey Campaign Records series provides insight to his collection building strategy. Samples of his outbound solicitations exist and to a greater extent, the inbound replies help demonstrate his process and some of the relationships he had with institutions, businesses, and individuals. Of particular note are some of the anecdotal responses, plus several essays and memoir pieces related to the effects of alcohol consumption; not always positive, not always negative.
See also Warshaw Collection of Business Americana, Series 2: Other Collection Divisions, Liquor & Wine Labels and Advertisements, 1893-1905, which contains two additional boxes of scrapbooks filled with printed advertisements, dealers' receipts, labels and drink recipe books.
Arrangement note:
Whiskey, Liquor, and Spirits is arranged in five subseries.
Business Records and Marketing Material
Genre
Subject
Warshaw's Whiskey and Wine Survey and Collecting Campaign Records
Oversize Material
Brand Name Index:
The following is a list of brand names for various alcoholic beverages and related names that appear on this list is a compilation of those found on materials in the vertical document boxes. It is not a complete list of all the brand names for whiskey.
Brand Name Index
Brand Name -- Manufacturer
Adam Schneider's Dutch -- Seagram Distillery
Alleghany -- Phoenix Mills Dist.Co.
Ambassador -- Taylor & Ferguson
Ancestor -- John Dewar & Sons
Anderson Co. Club -- Phoenix Mills Dist. Co.
Angostura Bitters -- Philip Goldberg
Antiquary -- Jas. Hardie
Apry -- Schieffein & Co.
Arkansas Traveler -- Seagram Distillers
B & B -- Wright & Taylor
Bailey' s -- Huey & Christ
Banquet -- Ginter Co.
Barton -- Revere Distilling Co.
Bay State -- Revere Distilling Co.
Beechwood -- Applegate & Sons
Beefeater -- Kobrand Corp.
Big Cat -- General Distillers Corp.
Black & White -- Fleischmann Dist.
Black Warrior, The -- Seagram Distillers
Blue Blood Club -- Kentucky Liquor Co.
Blue Ribbon -- Altschul Distilling Co.
Bombay -- A. M. Penrose
Bond & Lillard -- W.H. McBrayer
Bonnie Brae -- Cobb Hersey Co.
Bos -- Pease Son & Co.
Bottoms Up -- Brown-Forman Distillery Co.
Briar Mint -- Cincinnati Distillers
Briar Mint -- General Distillers Corp.
Brunswick Club -- H.& H.W. Catherwood
Buckingham -- Venable & Heyman
Burks Spring -- Thos. L. Smith & Sons
Cabinet -- Woodrow & George
Canadian Club -- Hiram Walker & Son
Cap'n Jack -- Cincinnati Distillers
Carioca -- Schenley Co.
Carstairs -- Stewart Distilling Co.
Cedar Brook -- Wm.H. McBrayer
Cedar Valley -- Weideman, Holmes & Co.
Cee Bee Sloe Gin -- Cook & Bernheimer Co.
Celery -- Cook & Bernheimer Co.
Charteuse -- Shieffein & Co.
Cherry Heering -- Schenley Import Co.
Chivas Regal -- General Wine & Spirits Co.
Churchill 88 -- Fleischmann Distilling Corp.
Clover Club -- Boyle & McGlinn
Club, The -- G.F. Heublein & Bros.
Club House -- M. Shaughnessy & Co.
Cold Spring Jockey Club -- John Kissel & Son
Commodore -- J. Brown & Co.
Commonwealth Club -- Cobb Hersey Co.
Corby's -- Jas. Barclay & Co.
Cordon Bleu -- Martell
Coates Plymouth -- Schiefflin & Co.
County Chairman -- General Distillers Corp.
Courvoisier -- W.A. Taylor & Co.
Crcaker Jack -- General Distillers Corp.
Creme Yvette -- Sheffield Co.
Cuckoo -- Rex Distilling Co.
Cutty Shark -- Berry Bros . & Rudd Ltd.
Dekuyper -- National Distillers Products
Dewey's Victory -- A.B. Sheaffer
Dews of Erin -- Cobb Hersey Co.
D.J.A. -- David & John Anderson Ltd.
D.O.M. Benedictine -- Julius Wile Sons
Drambuie -- W.A.Taylor & Co.
Drip Rock -- Cold Spring Distilling
Duff Gordon -- Munson G. Shaw Co.
Eagle Liqueur -- Rheinstrom Bros .
Early Times -- Brown-Forman Distillery
Gold Dust -- A.R. Champney Co.
El Bart -- Camberwell Distillery
Embassy Club -- Continental Distilling
Empire Club -- G.F. Coshland & Co.
Everett Spring -- Cobb Hersey Co.
Fairfax County -- Austin, Nichols & Co.
Fairview -- Schmidt & Ziegler, Ltd.
Fellsglen -- John E. Fells
Fenbrook -- Charles S. Gove Co.
Fig Rye -- F. Madlener
Four Roses -- Frankfort Distilleries
Fulton -- Myers & Co.
Fundador -- Canada Dry Import Co.
Gair Loch -- Stromness Dist. Co.
Galliano -- McKesson & Robbins
Gaston Fontaine's -- Cobb Hersey Co.
Geneva -- United Dist. Co.
George Mills -- Woodrow & George
Geyser -- Peoples Distilling Co.
Gilbey' s Gin -- National Distillers Prod.ucts
Gold Fax -- Clune & Torpy
Golden Seal -- W. Scott Gillespie
Golden Truth -- Despres Distilling Co.
Grand Marnier -- Carillon Importers Ltd.
Grant 63 -- Revere Distilling Co.
Grandpa' s Delight -- Pembrook Distilling Co.
Grant's Stand Fast -- Austin, Nichols & Co.
Green River -- McCulloch
Greensboro -- Cobb Hersey Co.
Grouse -- Seggerman Slocum
Harrisville -- Cobb Hersey Co.
Harvest Home -- Seagram Distillers
Hazel Dell -- Rheinstrom Bros.
Heather Blossom -- B.H.R. Distilling Co.
Hennessy -- Schieffein & Co.
Hillside -- Steinhardt Bros. & Co.
Hine Cognac -- 21 Brands Inc.
Hoffman House -- P.H. Hamburger
Holland Process -- Rosenberger Bros.
Home Comfort -- Max Stiner & Co.
House of Lords -- Wm.Whitely & Co.
House of Lords -- W.A. Taylor & Co.
Hunter -- Wm. Lanaham & Sons
Imperial -- Hiram Walker & Sons
Inverness Club -- J.W. Cheesman Co.
Irish Mist -- Munson G. Shaw Co.
Jackson Club -- O'Bryan Bros.
Jefferson -- Seagram Distillers
Jessie Moore -- General Distillers Corp
Joel Hill -- Woodrow & George
Jockey Club -- Excelsior Distilling Co.
J.& F. Martell's Brandy -- G.S.Nicholas & Co.
Kenton Belle -- Simon Kenton Co.
Kentucky Favorite -- United Dist. Co.
Kentucky Gentleman -- Barton Distilling Co.
Kentucky Nectar -- General Distillers Corp
Kentucky Tavern -- Glenmore Distillers
Keuka Club -- O'Dea Home Supply Co.
Keystone -- Wm.H.Graham & Co.
Kilty -- R.Thorne & Sons, Ltd.
King -- Brown-Forman Distillery
King's Ransom -- Edradour Distillery
King's Ransom -- Wm. Whitely & Co.
Kuban -- General Distillers Corp
Laganda Club -- Altschul Distilling Co
Lamplighter -- J.& w . Nicholson Co.
Latonia Club -- Sheldon Co.
La Rojena (Jose Cuervo) -- Young' s Market
Lechmere -- Doyle, F.M. & Co.
Lemon Hart -- Julios Wile Sons
Lick Run -- General Distillers Co.
Lindenwood -- Spiess & Bachenheimer
London Dry -- Sir Robert Burnett & Co
London Gin -- Wm. Reed
Lorraine Club -- Felix Coblentz & Co.
MacNaughton -- Schenley Co.
Maker' s Mark -- Star Hill Distilling Co
Mammoth Cave Springs -- Seagram Distillers
Manhattan Club -- Mac Stiner & Co.
Maryland Club -- John Belt & Co.
Mentor -- Ginter Co.
Monitor -- J.C. Childs & Co.
Mosaic -- People's Distilling Co.
Mount Vernon -- Cook & Bernheimer
Mount Vernon -- Mannis Distilling
Mouquin -- Austin, Nichols & Co.
Myers -- General Wine & Spirits Co. Thos. Smith Co.
M & Z -- Thos. Smith Co.
Nectar -- Woodrow & George
Nelson County -- Wm.S.Turner Dist.Co.
Novena -- Rheinstrom Bros.
Number 30 -- General Distillers Corp.
O.F.C. -- Geo. T. Stagg Co.
O.F.C. -- Schenley Co.
Old Amor Rye -- H.W .Huguley Co.
Old Angus -- Train & Mcintrye, Ltd.
Old Anvil -- General Distilleries Corp.
Old Benton -- Excelsior Distilling C
Old Boone -- Wm.S.Turner Dist.Co.
Old Charter -- Wright & Taylor
Old Chuck -- General Distilleries Corp.
Old Crow -- Hermitage Distillery
Old Crow -- H.B.Kirk & Co.
Old Elk -- Stoll, Vanatta & Co.
Old Fitzgerald -- Stitzel-Wellwe Distillery
Old Forester -- Brown-Forman Distillery Co.
Old Goodenough -- United Distributing Co.
Old Grain Belt -- Pure Food Dist. Co.
Old Grist Mill -- John F.Gillespie
Old Hickory Hollow -- Wm. S.Turner Dist.Co.
Old Homestead -- Seagram Distillers
Old Home Still -- Sheldon co. Cocktail
Old Hundred -- Wm.S.Turner Dist.Co.
Old Judge -- Altschul Distilling Co.
Old Lanark -- York Distilling
Old Maid -- Irene Parker Co.
Old Maysville -- Manufacturer Unknown
Old Minden -- Revere Distilling
Old Pilgrim -- Revere Distilling Co.
Old Prentice -- J.T.S.Brown & Sons
Old Pugh -- R.S.Strader & Son
Old Rampart -- General Distillers Corp.
Old Richmond -- Thos. L. Smith Co
Old Rip -- J.C. Childs & Co
Old Saratoga -- Rosskam, Gerstley & Co.
Old '67 Rye -- Wm.S.Turner Dist. Co
Old Star -- A & G J.Caldwell
Old Talent -- Cobb Hersey Co
Old Time -- John N.Thomas & Co.
Old Tom -- Wm.Reed
Old Tom Gin -- DuVivier & Co.
Old Underoof -- Chas.Dennehy & Co
Old Valley -- Woodrow & George
Owl Club -- Wm.S.Turner
Oxford -- Simon Kenton Co.
Paddy -- Cork Distributer
Paddy -- York Distilleries
Paddy -- Austin, Nichols & Co
Paul Jones -- Frankfort Distilleries
Perfection -- D.& J. Mc Callum's
Pernod -- Julius Wile Sons
Pilgrimage -- W.H.McBrayer
Pioneer, The -- Seagram Distillers
Pimm's Cup -- Julius Wile Sons
Pointer -- Gottschalk Co.
Pot Still Gin -- Milshire
Prince Hurbert Polignac -- Dennis & Hippert
Private Stock -- Cincinnati Distillers
Queen Louise -- Rose City Importing Co
Ramshead -- Hannah & Hogg
Red Top Rye -- Ferdinand Westheimer & Sons
Remy Martin -- Renfield Importers Ltd
Richwood -- W.H. McBrayer
Robin Olg -- Geo. Beer & Son
Rock Hill -- Wm.S.Turner
Rock Spring -- Dudley P.Ely
Rock & Rye -- Sheldon co.
Rogers -- United Distributing Co
Ronrico -- General Wine & Spirits Co
Rose Annoo -- Henry Hollander
Rosebud -- Applegate & Sons
Rose Wood -- General Distillers Corp.
Royal Club -- John N.Thomas & Co.
Secrestat Bitters -- G.S.Nicholas & Co.
Sheridan Club -- Despres Distilling Co
Silver Lake -- Seagram Distillers
Silver Thistle -- Hannah & Hogg
Stag -- A.M. Bininger & Co
Stand Fast -- Grant's
Standard -- Steinhardt Bros. & Co.
Sterling -- Steinhardt Bros, & Co.
Storm King -- J.C. Childs & Co.
Strega -- Canada Dry Imprt Co.
Summerfield -- Cobb Hersey Co.
Sunbeam -- Cobb Hersey Co
Sunny Valley -- Revere Distilling Co.
Susquehanna -- W.H. McBrayer
Swan Gin -- Ferd.Ruttman & Son
Sweet Home -- Altschul Distilling Co
Tea Kettle -- W.H.McBrayer
Tia Maria -- W.A.Taylor & Co.
Trimble -- White, Hentz & Co.
Tullamore Dew -- Munson G.Shaw Co.
Upper Ten -- H.& H.W Catherwood
Usher's Whiskey -- G.S.Nicholas & Co.
Virginia Gentleman -- Austin, Nichols & co.
Waterfill & Frazier -- W.H. McBrayer
Whipple Creek -- General Distillers Corp
White Dove -- Revere Distilliing Co.
White Label -- John Krissel & Son
White Label -- John Dewar & Sons
White Lily -- Cobb Hersey Co.
White Horse -- Mackie & Coy
White Seal -- Carstairs
Wild Cat -- Seagram Distillers
Wolf Creek -- Frankfort Distilleries
Woodland -- Crigler and Crigler
w.w.w -- Angela Myers
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Whiskey, Liquor, and Spirits is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Whiskey, Liquor, and Spirits, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
An extensive collection of advertisements, club cards, ephemera, and invitations publicizing venues and events at entertainment clubs and venues in New York City, New York, New Jersey, and Florida. The materials make use of a variety of graphic arts styles.
Scope and Contents:
The collection is rich in examples of the graphic arts and event advertising in the era before the prevalence of the internet. Marketing tactics, use of urban space, and entertainment offerings may be gleaned from this material. The venues represented catered to homosexual and heterosexual patrons, some being exclusively gay or straight, but many catered to both communities of all ethnic groups. Venues may be represented by one item or many.
The collection is organized into three series.
Series 1: Venue Advertisements and Invitations, 1983-2004, undated. This series contains advertisements, invitations, and posters for nightclubs, dance clubs, restaurants, and musical and comedy events located in Manhattan and the boroughs of New York City. There is minimal material relating to clubs located in New Jersey and Florida. The nightclubs include large and small venues, mainstream as well as "fringe" clubs, clubs catering predominately to African-American, Latino, gay and lesbian communities, and venues featuring other types of music and entertainment (both adult and mainstream) in addition to disco styles, like jazz, hip-hop, and popular music.
Series 2: Correspondence and Personal, 1988-2000, undated. This series contains a small amount of correspondence and personal material for David H. Rockwell, his family, and unidentified others. Within this series are letters, cards, postcards, and business related materials.
Series 3: Other Advertisments and Ephemera, 1983-2002, undated. This series contains material related to special themed events, art openings, restaurant events, and a variety of specialized "happenings" as well as private parties and birthdays. There are also advertisements for dance studios, records, stores, and theaters.
Arrangement:
The collection is organized in three series.
Series 1: Venue Advertisements and Invitations, 1983-2004, undated
Series 2: Correspondence and Personal, 1988-2000, undated
Series 3: Other Advertisements and Ephemera, 1983-2002, undated
Biographical / Historical:
These invitations were collected by the donor, David H. Rockwell. He also was responsible for printing many of them. Rockwell was resident in Manhattan during the time many of these invitations were created. He describes the invitations and his collecting, "Disco invitations are generally printed on heavy paper and can vary in size from 2x3 inches to 8x12 inches to full size posters. They are extremely colorful, and have very artistic graphics. They were often themed (Model's Ball, New Year's Eve, Drag Nights), or invited you to a celebrity's birthday bash. They were very prominent in New York City during the '80s and '90s, and were sent to exclusive mailing lists to announce the day, date, time, place and prices for all the differnt parties and dances held every night at New York's discos: Studio 54, Xenon, Magique, Danceteria, Limelight, The Palladium, Webster Hall, Underground and The Tunnel-over a hunderd clubs in all. The art on the invites was either created by some of Manhattan's most talented graphic artists, or those employed by the clubs. My role was to print 5000 or 10,000 lots of these invites, often five or six lots a day. I thought they were so cool I kept samples of many, were mailed many more (yes, I went to the parties and survived), and collected many others from 'invitation shelves' at Manhattan records shops, video rental stores, etc.".
The New York City club scene reached a zenith over the three decades following the 1970s emergence of disco music. The blossoming of what has been termed "club culture" followed the upheavals and advancements of the 1960s, the Civil Rights Movement, the Stonewall Riots, Vietnam War and other cultural touchstones. During the 1980s and 1990s clubs regularly opened and closed as public patronage waxed and waned. On occasions clubs would close and reopen under a new name and/or location. Some clubs were notorious gathering places for the drug culture of the late twentieth century. The emergence of HIV/AIDS and a general decline in dance and music venues as an agent for dating and socializing, in part due to the internet, spelled the demise of many of the venues represented here. Many well-known New York clubs are represented in this collection.
Clubs catering to a variety of musical tastes, ethnic and social groups, as well as restaurants and adult oriented clubs used club cards, postcards, mailings, hand-outs and what are generically known as flyers to advertise their particular offerings. The graphic arts used in these various advertisements not only imparted the necessary information about the event or place but reflected the personality of the club. They also provided a venue for a variety of graphic designers to utilize their talents in formats both large and small. This phenomenon was recently explored in the 2015 exhibition, "The Last Party," curated by the author Anthony Haden-Guest at WhiteBox in New York City.
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060)
Archives Center Collection of Business Americana (AC40404)
The Shamrock Bar: Photographs and Interviews (AC0857)
Lesbian, Gay, Bisexual, and Transgender Collection (AC1146)
John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)
DC Cowboys Dance Company Records (AC1312)
Corbett Reynolds Papers (AC1390)
Provenance:
Collection donated by David Hadley Rockwell in 2015.
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.
Archives Center, National Museum of American History Search this
Extent:
3 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Gocards
Picture postcards
Date:
20th-21st centuries
Scope and Contents:
Postcards, arranged by geographical area or by the subjects. Collection includes two boxes of "GoCards" (freely distributed commercial postcards) as well.
Arrangement:
The collection is arraned into three series.
Series 1: Subjects
Series 2: Geographical, United States
Series 3: Geographical, Foreign
Series 4: Advertising Postcards
Provenance:
The collection consists of materials found in collections, gifts from museum staff, and unsolicited gifts from the public.
Donated by Gloria A. Rupp (1980); purchased from Calvin R. Flautt Antiques (1987); donated by Marjorie Johnson (1990); donated by Susan elsass (1993); donated by Dolores Scott (1994); donated by Morrill B. Donnald (1999); donated by Claire Reilly (1999) donated by Michael Ravnitzky (2007); Gretchen Redd (2007); Ruth Ann Empie Groves (2008); Robert E. Fry (2008); Daniel Eudaily (2008); Byron Jeffrey Fogel (2008); Sue Franklin (2009); and Carlin Otto (2013)
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.
Papers of Leonard P. Hirsch, founder of Federal GLOBE, the Gay, Lesbian, Bisexual, and Transgender employee advocacy group for the federal government. Hirsch was also the founder of the Smithsonian Institution's chapter of Federal GLOBE. Papers include organizational material as well as newsletters, educational, and lobbying materials. There is a small amount of personal material for Hirsch and his husband Kristian Fauchald.
Scope and Contents:
The Leonard P. Hirsch Federal GLOBE Records, 1985-2015, undated, contains materials related to Federal GLOBE and chapters of Federal GLOBE. The papers include correspondence, e-mail, publications, financial records, newsletters, photographs, two cassette tapes, one video tape, and computer floppy discs. The papers also include material from individuals and groups that opposed expanded rights for LGBT persons within the federal government and society. The papers also contain one of Hirsch's day books and memorial service memorabilia for Hirsch and his partner Fauchald. These papers include very little to no personal material or material relating to Hirsch's work with the Smithsonian Institution's Office of International Relations and no material relating to Fauchald's work with the Smithsonian's National Museum of Natural History.
The collection is organized in six series.
Series 1: Organizational Records, 1985-2014, undated, includes correspondence, e-mail, election ballots and materials, founding documents and related materials, financial and fundraising materials, papers related to individual cases of discrimination, copies of legal documents relating to LGBT related cases, National Coming Out Day advertisements and solicitations, newsletters, by-laws, tax-exempt applications, lobbying documents, awards, copies of executive orders and proclamations, informational papers and pamphlets.
Series 2: Chapters, 1991-1996, undated, includes material related to Federal GLOBE chapters in various agencies of the federal government. Folders may include newsletters, correspondence, e-mail, advertising for gatherings and fundraisers, and election materials.
Series 3: Subject Files, Conferences, and Other Organizations, 1993-2011, undated include materials and informational packets for conferences attended by Federal GLOBE members and materials from conferences co-sponsored by Federal GLOBE. This series also includes materials from organizations and individuals that opposed expanded rights for LGBT persons within the federal government and society such as Jerry Falwell, Family Research Council, and others.
Series 4: Publications, 1990-2000, undated, includes a variety of publications related to LGBT issues.
Series 5: Hirsch, Leonard P., 1991-2015, undated, contains one day book, and memorial service memorabilia and tributes. It also contains a program for Kristian Fauchald's memorial service.
Series 6: Photographs, Slides, and Audio-Visual Materials, 1993-2009, undated, includes photographs of GLOBE participation in Pride parades and other marches. There are photographs from an unidentified costume event. It also includes two casette tapes from LGBT related talks, one VHS video tape, and computer floppy discs most likely containing documents related to Federal GLOBE.
Arrangement:
The collection is arranged in six series.
Series 1: Organizational Records, 1985-2014, undated
Series 2: Chapters, 1991-1996, undated
Series 3: Subject Files, Conferences, and Other Organizations, 1993-2011, undated
Series 4: Publications, 1990-2000, undated
Series 5: Hirsch, Leonard P., 1991-2015, undated
Series 6: Photographs, Slides, and Audio-Visual Materials, 1993-2009, undated
Biographical / Historical:
Leonard P. Hirsch (1955-2015) was born in Queens, New York. He graduated from Benjamin Cardozo High School in Bayside, Queens and from Pomona College with a B.A. degree in International Relations (1976). He received his M.A. (1978) and a Ph.D (1980) in political science from Northwestern University. He accepted a teaching position at the University of South Florida and while there assisted in the founding of the LGBT faculty organization. He also helped organize the first meeting of the American Political Science Association's Lesbian, Gay, Bisexual, and Transgender Caucus. In 1983, Hirsch met Kristian Fauchald, a marine biologist with the Smithsonian's National Museum of Natural History. In 1985 Hirsch moved to Washington, D.C. to join Fauchald, whom he later married.
After moving to Washington, D.C., Hirsch worked for a data management firm. He founded a company that produced a personal computer. At the Prince George's County Community College he conducted research under a grant from the U.S. Department of Education. Hirsch, "accepted what was originally a one-year appointment in the Smithsonian Institution's Office of International Relations in 1988, beginning more than two decades of service to the arts and humanities and science communities with a special emphasis on environmental issues--biodiversity, global change, carbon tracking, and ecological systems." At the Smithsonian, Hirsch, "--was a senior policy representatitve for supporting the Smithsonian's international scientific work." He was a member of the U.S. Global Change Research Program and co-chaired the U.S. Group on Earth Observations. He was the USGEO representative to the Forest Carbon Tracking Task Force. He participated in the Subcommittee on Ecological Systems, the U.N. Convention on Biological Diversity (as part of the U.S. delegation); the coordination processes of the Conventions on Combating Desertification and Climate Change; and the U.N. Commission on Sustainable Development. He represented the Smithsonian on the U.S. Interagency Process for CITES, the Convention on Trade of Endangered Species." Hirsch was also, "the Smithsonian member of the White House Office of Science and Technology Policy, Committee on Environment and Natural Resources and responsbile for matching opportunities for scientific and cultural work and exchanges for Smithsonian researchers." Hirsch believed emerging technologies could be used to make museum information and programs relevant to the broader society and pursued that goal in all facets of his work.
Hirsch was the founder and head of both Federal GLOBE and the Smithsonian GLOBE chapter. In February 1988, he organized the first gathering of what would develop into Federal GLOBE. He served as GLOBE's first president and was elected to that post over the course of the next ten years. It was the mission of GLOBE--and Hirsch personally--to eliminate discrimination in the federal government based on sexual orientation. GLOBE's accomplishments were many, including an executive order on non-discrimination issued during the Clinton administration and later the Obama administration's memorandum extending certain federal employee benefits to same-sex couples. GLOBE worked for the repeal of the Department of Defense's "Don't Ask, Don't Tell" policy. GLOBE was an advocate for federal LGBT persons not only in Washington, D.C. but elsewhere in the nation through its many chapters. GLOBE also produced a newsletter and became a clearing house for information on LGBT rights. Hirsch co-organized the "Fragments of Our History" exhibit during the 1993 March on Washington for Gay and Lesbian Rights and advocated for inclusion of LGBT content in Smithsonian programs.
Hirsch and Fauchald married in California in 2008. By the time of his death in April 2015, Fauchald was emeritus curator and former chair of Invertebrate Zoology at the Smithsonian's National Museum of Natural History. Hirsch died on June 12, 2015 of a rare form of cancer just two months after the death of his husband. In addition to other awards and certificates, Hirsch was given the Rainbow History Project's Community Pioneer Award in 2012.
Sources:
Memorial program for Leonard P. Hirsch and Obituary for Leonard P. Hirsch, The Washington Blade, June 2015
Related Materials:
Materials in the Archives Center
Michio and Aveline Kushi Macro-Biotics Collection (AC0619)
The Shamrock Bar: Photographs and Interviews (AC0857)
Archives Center Wedding Documentation Collection (AC1131 )
Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)
Lesbian, Gay, Bisexual, and Transgender Collection (AC1146)
John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)
Joan E. Biren (JEB) Queer Film Museum Collection (AC1216)
World AIDS Institute (WAI) Collection (AC1266)
Servicemembers Legal Defense Network (SLDN) Records (AC1282)
Helping Persons with AIDS (HPA) Records (AC1283)
DC Cowboys Dance Company Records (AC1312)
Bil Browning and Jerame Davis Papers (AC1334)
Separated Materials:
Materials at the National Museum of American History
The Division of Political History (now Division of Political and Military History) holds artifacts related to gay activist Franklin Kameny and a variety of political buttons. They also hold LGBT related artifacts from Joan E. Biren (JEB).
The Division of Medical Science holds objects donated from Dr. Renee Richards, Sean O. Strub, and Leonard P. Hirsch.
The Division of Entertainment and the Arts holds objects donated by The Fosters and Will & Grace.
Provenance:
Donated to the Archives Center by the estate of Leonard P. Hirsch, Nancy Gray, Esq., Executor, 2015.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: reproduction fees may apply. All duplication requests must be reviewed and approved by Archives Center staff.
The collection documents Spanish language television stations in America, and the Telemundo network.
Scope and Contents:
The collection documents Spanish language television stations in America, and the Telemundo network. The WNJU portion includes photographs of reporters and other station personnel; portrait shots of on-air personalities, both negatives and prints; photographs of the reporters at the anchor desk, including both negatives and pritns; a reel of motion picture film of a children's show.
Arrangement:
The collection is organized into four series.
Series 1: Gilda Mirós
Subseries 1.1: Personal Papers
Subseries 1.2: Audiovisual Materials
Series 2: Hector Aguilar
Subseries 2.1: Personal Papers
Subseries 2.2: Audiovisual Materials
Series 3: Telemundo Group, Incorporated.
Subseries 3.1: WKAQ Television Station
Subseries 3.3.1: Maria Kapetanakis Files
Subseries 3.3.2: Ariel Lipiz Files
Subseries 3.3.3: Alicia Soriano Files
Subseries 3.3.4: Susan Solano Vila Files
Subseries 3.3.5: Maria Cristina Barros Files
Subseries 3.3.6: Marilys Llanos Files
Subseries 3.3.7: Manuel M. Martinez Files
Subseries 3.3.8: Audiovisual Materials
Subseries 3.2: WNJU Television Station
Subseries 3.3: WSCV Television Station
Series 4: Univision
Subseries 4.1: Edgardo Gazón Files
Subseries 4.2: Mayda Delgado Files
Subseries 4.3: Ismael Moctezuma Files
Subseries 4.4: Eduardo Kachscovsky Files
Biographical / Historical:
WNJU was the second television station to broadcast in Spanish in the United States. It eventually was owned by Telemundo. WKAQ was the first television station to broadcast in Spanish in the United States. Telemundo stations provide diverse programming, including variety shows, telenovelas, sports, reality television, news programming, and films. Their target audience is the Hispanic and Latin American population in America.
Provenance:
Initial donation by by Jose Cancela, President of WNJU, 2016. The 2016 accrual was donated by station WKAQ. The television stations WKAQ, WNJU, and WSCV also donated materials in 2017.
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 records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Scope and Contents:
The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Administrative files consist of some general correspondence, building lease material and rent payments, insurance policies, board and staff meeting notes, marketing plans, and memberships in various print organizations. Also included are inventory lists, calendar books, and binders on printing techniques.
Financial records consist of appraisals, general budgets for the company, financial statements and reports, and receipts. Also included are general invoices from 1992 to 2013, invoices for advertising, sales, shipping, and some supplies; and invoices for legal and financial services.
Artist files consist of artist statements, correspondence, inventory of works, resumes, and printed materials for artists represented by the publishing company. Some of the represented artists include: Claudia Bernardi, Edward Curtis, Dan Rizzie, Victor Ramirez, and Alberto Rios. Also included are files on James Turrell and his Roden Crater project such as the project journal, proposal and agreement, site studies, and notes.
Exhibition and project files consist of exhibitions featuring artist represented by the publishing company and various art festivals and graphic design conferences that the publishing company participated in. Materials include correspondence, loan agreements, clippings, brochures, and some shipping receipts. Also included are two VHS tapes produced by the Segura Publishing Company. Events include the Art on Paper Fair Los Angeles, International Contemporary Art Fair 1997, Impact conference South Africa, the Arizona International Latina/o Art Festival, and the US Latino Printmaking in the 21st Century Consejo Grafico Conference.
Commission files consist of agreements the Segura Publishing Company made with various organizations and individuals to exhibit and sell prints of artwork for a percentage of the profits. Materials include correspondence, consignment agreements, some invoices and price lists, slides of artwork, and some printed material. Some of the partnered organizations include: George Adams Gallery, Art in Embassies Program, Aldo Castillo Gallery, Jean Efron Art Consultants, Hispanic Research Center, Microsoft, Museum of Latin American Art, Santa Clara University, Walker Art Center, and Yale University Art Gallery.
Printed material consists of clippings, exhibition announcements and catalogs for exhibitions featuring the company's prints, press releases, "Photographic Methods in Lithography During the Nineteenth Century" by Beauvais Lyons, articles related to Albert Rios and articles on the James Turrell Roden Crater project, newsletters produced by the company, and material related to certain organizations such as the Institute for Latino Studies and Scottsdale Museum of Art.
Photographic material consists of photographs of Segura Publishing Company and some of its workers, photographs of Joe Segura and Lisa Sette, photographs and slides of artwork, and photographs of prints on display.
Joe Segura papers consist of documentation on Joe Segura's work outside of the Publishing Company, primarily related to his teaching career at Arizona State University in the 1990s. Materials include correspondence, letters of recommendations, faculty schedules, and materials for courses such as "Photo Processes for Printmaking," "Photogravure," and "Collotype Printing." Also included are a resume, lecture note cards, and a small sketchbook.
Arrangement:
The collection is arranged into eight series.
Series 1: Administrative Files, 1979-2013 (2.2 linear feet; Boxes 1-3)
Series 2: Financial Records, 1988-2013 (1.5 linear feet; Boxes 3-5)
Series 3: Artist Files, 1984-2014 (0.8 linear feet; Boxes 5-6)
Series 4: Exhibition and Project Files, 1994-2008 (0.4 linear feet; Box 6)
Series 5: Commission Files, 1988-2012 (4.0 linear feet; Boxes 6-10)
Series 6: Printed Material, 1981-2009 (0.3 linear feet; Box 10)
Series 7: Photographic Material, circa 1983-2004 (0.2 linear feet; Box 11)
Series 8: Joe Segura papers, 1976-2013 (1.2 linear feet; Boxes 11-12)
Biographical / Historical:
Joe Segura (1946- ) is a printmaker currently residing in South Bend, Indiana. Segura completed his studies at Southern Illinois University earning both a BFA and MFA in Painting and Drawing in 1975 and 1977. Segura, along with Lisa Sette, founded the Segura Publishing Company, Tempe, Arizona, in 1981. The company produced fine-art limited edition prints and monotypes by leading contemporary artists. In addition to his work at Segura Publishing Company, Segura has also taught and served as the studio manager for the print facility at Arizona State University.
Provenance:
Donated in 2018 and 2022 by Joe Segura.
Restrictions:
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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers document Norniella's life and career in the advertising field, and her Ole Television Network, and include business records, photographs, scrapbooks, photograph albums, advertising, clippings and articles, awards, newsletters, and publicity materials.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Isabel Norniella was born in Cuba in 1938. She graduated with a degree in advertising management from the University of Puerto Rico. After working for several advertising firms, including McCann Erickson, she founded her own, Publitec, in 1969. Her firm has been much awarded, and has had clients including Stokely Van Camp, Cutty Sark, Uncle Ben's, and others. She has also done publicity work with several charities. In 1994 she founded the Ole Television Network.
Provenance:
Donated by Isabel Norniella to the Archives Center in 2017.
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.
This collection consists of materials documenting the Castor Advertising Corporation, Castor SG&B, and Castor Spanish International, which specialized in reaching Hispanic audiences.
Content Description:
Archival materials documenting the Castor Advertising Corporation, Castor SG&B, and Castor Spanish International. This collection includes correspondence, business records, awards, a copy of Fernández's MBA thesis, photographs, newspaper clippings, magazines, a DVD containing an interview with Fernández, and advertising reels recorded on VHS tapes, cassettes, and 16mm film.
Arrangement:
This collection is arranged into four series.
Series 1: Background Materials, 1961-2001, 2018
Series 2: Advertising Materials, 1969-1987
Series 3: Newspaper Clippings and Publications, 1968-2000
Collection donated to the Archives Center in 2018 by Castor Fernández.
Restrictions:
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.
The collection documents the history of the Cozy Inn and Restaurant in Thurmont, Maryland.
Scope and Contents:
Collection documents the management, day-to-day operations, activities, and history of the Cozy Inn business. Materials include registration records; accounting papers and other business records; correspondence, including some fan mail; internal employee newsletters; the restaurant's menus for ordinary days, and for special occasions and holidays; take-out and catering menus; recipes; placemats; handbooks for employees; internal memos and instructions about hiring procedures, employee comportment and protocol; and advertising and promotional materials. It is evident that the Cozy Inn's owners were aware of its historical significance and they saved advertising brochures from various time periods, newspaper clippings and magazine advertisements, certificates, honors and awards, photograph albums, a scrapbook, and voluminous amounts of clippings. The photographs contained in the collection are extremely rich, documenting both the physical changes in the hotel and restaurant over the years, entertainment activities, and several celebrity guests who stayed there. The collection is arranged into five series: Series 1, Administrative Files, 1885-2014, undated; Series 2, Menus, 1943-2015, undated; Series 3, Printed Advertisements and Ephemera, 1932-2014, undated; Series 4, Magazine Articles and Newspaper Clippings, 1935-2013, undated; and Series 5, Photographic Materials, 1920-2009, undated.
Arrangement:
The collection is arranged into five series.
Series 1, Administrative Files, 1885-2014, undated
Series 2, Menus, 1943-2015, undated
Series 3, Printed Advertisements and Ephemera, 1932-2014, undated
Series 4, Magazine Articles and Newspaper Clippings, 1935-2013, undated
Series 5, Photographic Materials, 1920-2009, undated
Biographical / Historical:
The Cozy Inn was an eighty five year old business when it closed in 2014. Located on a major highway near Gettysburg and the Catoctin Mountains, Wilbur Freeze started what was then called Camp Cozy in 1929, with just three cabins, later adding a gas station to attract tourists, and in the 1930s, he added in a small lunch counter, and eventually a full service restaurant. It is an excellent example of a 20th century business that started small and grew large, increasing the services offered over time. The Inn grew both in size and popularity, and the Freezes added entertainment attractions in order to increase business, including festivals and special offerings for various holidays. Some of the attractions were eccentric, such as hot air balloons and live animal shows.
In 1942, the presidential retreat Camp David (then known as Shangri-La) was established just six miles away. This led to the Cozy Inn becoming the headquarters for Secret Service agents, reporters and photographers during events that occurred at Camp David. Sometimes foreign dignitaries stayed there. State and local politicians such as members of the Senate, governors of states, cabinet members, and Presidents' family members, also were guests.
The Freezes were fond of boasting that they were the oldest family-run restaurant in the state. They also capitalized on their proximity to Camp David, using the fact in their advertising and naming the Inn's rooms after presidents. In 2005, they started a small Museum on the history of the Inn, its famous guests, and its connection to Camp David. They also sold souvenirs that related to that connection. They regularly hosted weddings and other events and were famous for their lavish holiday decorations. At Christmas they set up gingerbread houses, multiple Christmas trees, a miniature railroad village, etc. The Cozy Inn's restaurant cultivated a large number of repeat, loyal customers with its family atmosphere and comfort food. Some of its dishes became locally famous, like its clam chowder.
Provenance:
Collection donated by Gerald G. Freeze, 2015
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.
Collection documents the development and marketing of the Chef's Choice brand of knife sharpeners.
Scope and Contents:
The collection documents the development, marketing, and sales of the Chef's Choice brand of knife sharpeners to a home-based consumer market. Materials include both American and foreign print advertisements, press releases, press kits, point-of-purchase displays, magazine articles, catalogs, photographs, trade literature, audiovisual materials including VHS recordings of demonstrations, design drawings, business records, and scrapbooks. Of interest is the materials relating to chefs and food service industry professionals and EdgeCraft Corporation's evolution from serving the home cook to manufacturing products for commercial use. The collection is arranged in two series: Series 1, Company Records, 1984-1993, undated and Series 2, Product Information, 1984-2016, undated.
Arrangement:
The collection is arranged into two series.
Series 1, Company Records, 1984-1993, undated
Series 2, Product Materials, 1984-2016, undated
Biographical / Historical:
EdgeCraft Corporation, founded by Daniel Denwood Friel (1920-2012), introduced the Chef's Choice brand to the consumer market in 1984. Chef's Choice brand's first product was the electric knife sharpener which debuted in 1985. The electric knife sharpener was the invention of Friel, a retired chemical engineer. Born to Samuel Edward Whiting Friel and Martha Reynolds Friel in Queenstown, Queen Anne's, Maryland, Friel received a Bachelor of Science degree in Chemical Engineering from Johns Hopkins University in 1942. He began his career on the Manhattan Project at the University of Chicago in 1943. Mr. Friel's career path continued with thirty-nine years of experience as a chemical engineer with the DuPont Company. His retirement from DuPont was short lived as he turned his attention to the development of his new company, EdgeCraft Corporation, and an ever-increasing line of products. EdgeCraft Corporation, located in Avondale, Pennsylvania, continues to manufacture a large selection of electric and manual knife sharpeners, kettles, electric food slicers, waffle makers, electric grills, grinders, and hot beverage makers.
Related Materials:
Archives Center, National Museum of American History
Julia Child Award Winners Collection NMAH.AC.01371
Collection donated by the Edgecraft Corporation, 2016.
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 Hector and Norma Orcà Advertising Agency Records document the history, educational, and creative output produced by Hector and Norma Orcà throughout their extensive career in advertising. The OrcÃs founded their own independent agency in 1986 in Los Angeles. The Orcà Advertising Agency successfully introduced various products to Latinos in the United States and developed a reputation as one of the top advertising agencies to understand the US Latino market. The collection showcases the agency's history and awards, advertising and marketing campaigns, and its role in educating advertising agencies on the importance of the US Latino market.
Scope and Contents:
The collection documents the Orcà Advertising Agency and its work in helping clients market their products to U.S. Latinos, its marketing methods and creative philosophy, and its role in educating other advertising companies about the Latino consumer market in the United States. The collection includes the founding and history of the agency, business records, awards and press clippings, training materials for staff, reports on the US Latino market for various products, training and curriculum materials for a UCLA Extension course on advertising in the US Latino market, account reports, conference materials, slides and photographs, and campaigns and advertising materials developed for clients such as Allstate, Honda, and Pepsi. Video footage of Spanish-language commercials developed by the Orcà Advertising Agency is also part of the collection.
Arrangement:
The collection is divided into five series.
Series 1: Background Materials, 1979-2010, undated
Series 2: Advertising and Marketing Materials, 1986-2003, undated
Series 3: Teaching Materials, 1985-2012, undated
Series 4: Conference Materials, 1984-1999, undated
Series 5: Audiovisual Materials, 1986-2016
Biographical / Historical:
Once employees of La AgencÃa de McCann-Erickson advertising company, Hector and Norma Orcà founded their own independent agency in 1986. The Orcà Advertising Agency, also known as La AgencÃa de Orcà & Asociados, is based in Los Angeles. Since its inception, the Orcà Advertising Agency has devoted itself to US Latino marketing and teaching other advertising agencies how to effectively advertise and sell products to US Latinos. The OrcÃs quickly developed an impressive roster of successful campaigns for major clients and continue to be a well-respected agency in the advertising sector.
Separated Materials:
The Division of Work and Industry holds the following artifacts related to this collection:
Virgin of Guadalupe Painting, Accession #: 2015.0306.01
INS Eagle Painting, Accession #: 2015.0306.02
Don Quixote Figurine, Accession #: 2015.0306.03
Provenance:
Collection donated by Hector and Norma OrcÃ, 2016.
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 consists of newslettersDodgers Line Drives, Brooklyn Dodgers Fan Club Newsletter, and Gabe-o-gram, albums of trading cards and Hall of Fame postcards, many of which have been autographed. There are also photographs of teams, individual players, and a photograph of Ronald Gabriel with Babe Ruth. There is a large scrapbook containing over 1000 autographs and several items of baseball ephemera, including placemats, magnets, scorecards, team schedules, programs, and posters.
Scope and Contents:
The collection includes baseball memorabilia acquired over Ronald Gabriel's lifetime as a fan, especially of the Brooklyn Dodgers.
Series 1, Newsletters, 1944-2008, includes newsletters for the Dodgers Line Drives which Gabriel published, as well as the Brooklyn Dodgers Fan Club, which he founded in 1975. He also authored a newsletter called the Gabe-o-gram.The Brooklyn Bums was a newsletter to which Gabriel subscribed.
Series 2, Photographs, circa 1947-2006, consists of one oversize photo of Babe Ruth, a folder containing collectible photographs, and five packs of team photographs of the Brooklyn and Los Angeles Dodgers. Notably in this series is the photograph of Ronald Gabriel as a child standing with the "Great Bambino," Babe Ruth.
Series 3, Baseball Ephemera, 1912-1990, contains five subseries: Subseries 1, Trading Cards; Subseries 2, Postcards; Subseries 3, Scrapbook; Subseries 4, Posters; and Subseries 5, Ephemera. There are two albums of baseball trading cards dating from 1912 to 1973 and two albums of autographed Hall of Fame postcards. The scrapbook contains 144 pages and over 1000 autographs acquired by Gabriel as a boy. There are oversize posters documenting Duke Snider Restaurant & Bar (autographed by Duke Snider), 1989 and "Catch Baseball Fever," undated. The ephemera includes game tickets, a letter from Dodgers' long timeradio broadcaster Vin Scully, advertising, product packaging, baseball placemats, programs, team schedules, programs, scorecards, magnets, and several other small items.
Ronald Gabriel (1941-2009) grew up in Brooklyn, just two miles from Ebbets Field, home of the Dodgers. He quickly became engrossed in the baseball atmosphere around his home and developed a passion for the sport that would shape his entire life. He regularly wrote letters to baseball teams asking for player autographs. As a result he compiled a massive collection of signatures, including those from Joe DiMaggio, Warren Spahn, Mickey Mantle, Leo Durocher, Bob Feller, and hundreds more. He continued collecting baseball memorabilia for the rest of his life. The Dodgers were his team. He was born in 1941, just in time to watch the Dodgers become one of the greatest franchises in baseball history, winning pennants in 1941, 1947, 1949, 1952, and 1953. Finally, after losing to the New York Yankees in their previous five World Series, Ronald Gabriel witnessed the Brooklyn Dodgers win the 1955 World Series.
Even after his team moved from Brooklyn to Los Angeles in 1958 Gabriel remained passionately devoted to the Brooklyn Dodgers. He published a newsletter called Dodgers Line Drives that lasted until 2009 and started the "Worldwide" Brooklyn Dodgers Fan Club in 1975 in honor of the twentieth anniversary of their World Series victory. He was also a guest speaker at George Washington University for a class called Race, Sports, and the American Dream, where he talked about Jackie Robinson. His baseball knowledge extended far beyond the Dodgers. He became a widely known baseball historian, acted as vice-president of the Society for American Baseball Research (SABR), and established the Washington Metro Chapter of the SABR. Later in his life Gabriel was honored by the Dodgers when they inducted him into the Brooklyn Dodgers Hall of Fame, an honor not usually given to fans. Gabriel was an important part of the Dodger community. He became close friends with a number of widows of former players and visited them often. Ronald Gabriel died in July, 2009 at the age of 68.
Related Materials:
Materials in the Archives Center
Archives Center Sports Memorabilia Collection, circa 1970 to present, #796
Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, AC0545
Lebanon Valley Baseball League Collection, 1936-1963, AC0067
Lou Newman Collection of Baseball Memorabilia, 1895-1999, AC0696
Sioux City Ghosts Collection, 1920s-1983, AC0634
Stall and Dean Company Records, 1898-1998, AC0669
Provenance:
Collection bequeathed to the National Museum of American History by Ronald Gabriel through Tom Cholis, October 15, 2008.
Restrictions:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from the Archives Center: reproduction fees may apply.
Rights:
Collections items available for reproduction but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproudction permission from the the Archives Center: reproduction fees may apply.
The collection documents Nick Reynolds, a member of the vocal music group, the Kingston Trio.
Content Description:
The collection documents the life and career of Nick Reynolds, one of the members of the Kingston Trio folk music group. Included in the collection are: a scrapbook approximately covering the years 1958-1970, and including such things as articles, photographs, and flyers announcing appearances by the Trio; letters, including fan mail, and a large set of letters and cards sent by member Nick Reynolds to his parents; postcards; business and legal papers, especially relating to a 1981 reunion; programs; songbooks and sheet music; posters advertising appearances; a book about the Trio; articles and miscellaneous printed materials.
Arrangement:
The collection is arranged into two series.
Series 1: Reynolds, Nick, Personal Papers, 1950-2014, undated
Series 2: Kingston Trio Papers and Ephemera, 1956-2013, undated
Biographical / Historical:
The history of the original Kingston Trio and its subsequent permutations has been well chronicled. The group came to national prominence in 1958 during the folk music revival of the 1950s and 1960s. At that time the trio consisted of Dave Guard, Bob Shane, and Nick Reynolds. Their first album released in 1958 contained their first gold record, Tom Dooley. Success continued for the trio but in 1961, Dave Guard left the group and John Stewart joined the group as his replacement. The group continued to have a successful run, their cover of Where Have All the Flowers Gone? and Greenback Dollar made the Billboard Top Ten chart in 1961 and 1963 respectively. The group in its configuration of Reynolds, Shane, and Stewart ceased actively performing in June 1967. Subsequent incarnations of the group performed into the twenty-first century.
Nicholas (Nick) Wells Reynolds, tenor, was a founding member of the Kingston Trio. He was born in San Diego, California on July 27, 1933. His parents were Stewart S. and Jane Keck Reynolds. His father was a commander in the United States Navy. Reynolds attended schools in Coronado, California graduating in 1951 from Coronado High School. He graduated from Menlo College, Atherton, California in 1956.
Reynolds, Bob Shane (1934-2020) and Dave Guard (1934-1991) formed the Kingston Trio in the 1950s. Reynolds left the Trio in 1967 moving to Oregon. He rejoined the Trio in 1988 after recording the album Revenge of the Budgie in 1983, and remained with the group until retiring in 2003. Reynolds died in San Diego, California on October 1, 2008 survived by his third wife, Leslie Yerger Reynolds, and four children.
Sources
Family Search, 1940 United States Census, accessed July 9, 2019.
Obituary, Nick Reynolds, The New York Times, October 2, 2008.
Obituary, Nick Reynolds, The Los Angeles Times, October 3, 2008.
Kingston Trio Legacy Project, (http://kingstontriolegacyproject.com) last accessed July 9, 2019.
Provenance:
Collection donated by the Kingston Trio Legacy Project to the Archives Center, National Museum of American History, Smithsonian Institution in 2018.
Restrictions:
The 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 records of the DC Cowboys Dance Company, an all-male, gay, non-profit dance company based in Washington, DC. that was active from 1994-2012. They peformed nationally and internationally live and on television, "celebrating diversity through dance."
Scope and Contents:
The DC Cowboys Dance Company Records contain the business and financial papers of the company, such as memoranda and correspondence; choreography routines; printed materials such as press releases and articles; fundraising materials; photographs; audiovisual materials; and the pre-recorded music used for their various dance routines. The records are arranged chronologically in three series.
Series 1: Company Files, 1994-2013, undated, is arranged chronologically by year and maintains the original order received from the donor. The files cover the entire life of the company and its peformances within the United States as well as internationally. The files contain correspondence, contracts, dance routines, fundraising initiatives, event information and advertising materials, travel and lodging arrangements, tourist information, and photographs.
Series 2: Financial, 1996-2011, undated, is arranged chronologically. The files contain receipts, money receipt books, financial statements, balance sheets and those materials related to the financial aspect of running the company.
Series 3: Audiovisual, 1994-2012, undated, contains compact discs (189) of pre-recorded music used for the company's various dance routines. The music was prepared for each booking and most often identified with the title of the booking and the date. Much of the music on these discs is under copyright since they are recordings done by original artists or professional covers of songs that were contemporary with the company's performance during any given year. There are also DVDs (five) detailing the production of varous fund raising DC Cowboys calendars and one audio cassette tape.
Arrangement:
This collection is divided into three series.
Series 1: Company Files, 1994-2013, undated
Series 2: Financial, 1996-2011, undated
Series 3: Audiovisual, 1994-2012, undated
Biographical / Historical:
"History of the DC Cowboys Dance Company - Celebrating diversity through dance"
The DC Cowboys Dance Company, an all-male, gay dance company, entertained audiences around the world from 1994 to 2012. Internationally acclaimed, the DC Cowboys specialized in providing exciting, high-energy, jazz-style, dance entertainment which spanned all musical genres, from contemporary country to club dance party, pop, to classic Broadway numbers for all types of occasions. Shows were customized to the venue—both gay-specific and mainstream events—and featured anywhere from one song to multiple sets of three to four songs each. Combining a little traditional country-western with jazz, musical theater and a masculine sex appeal, the DC Cowboys' high-energy choreography made the company one of the most-sought after gay dance groups in the world.
Founder and Artistic Director Kevin Platte started the dance company in August 1994 after seeing a similar gay, country-western dance group in California. Platte recruited 11 dancers—mostly friends—from a Washington, D.C., gay, country-western bar named Remington's. He approached the best dancers based on watching them two-step and line-dance at the bar. The dancers formed the troupe for the sole purpose of performing at the Atlantic States Gay Rodeo Association's (ASGRA) annual rodeo in Washington, D.C., in September 1994.
Platte thought the performance would be a one-time event. But based on an overwhelming reception, the dancers decided to continue the group. This required weekly rehearsals, the creation of a dance "repertoire" and a larger commitment from the dancers. Of the original 12 members, only six were up to the task. These six original members then had to find more dancers and identify other performance venues. Mainstay venues soon included the Capital Pride Festival every June and the Atlantic Stampede Gay Rodeo event every September.
In September 1995, Metro Weekly placed them on the cover of their magazine, giving them greater exposure and more clout. The Cowboys used this coverage as a catalyst to build the brand and identity. All the while, the DC Cowboys remained volunteers and amateurs, performing solely for the love of it. Each dancer maintained a "day job," and the group only rehearsed in the evenings once or twice a week. As the warmer months seemed to be their busiest, the dancers would use the colder months to build up the repertoire and practice. Every year, rehearsals would cease for the months of November and December for the existing dancers. However new recruits that were successful in the annual auditions attended "bootcamp" rehearsals during those months to learn some of the existing repertoire. In January, the existing and new members started rehearsing together as the new season began.
During the early years, the dancers paid for all expenses out of their own pockets, and monthly dues were collected to pay for group expenses. The group would often pay for the opportunity to perform. To supplement these expenses, the group began fundraising through a monthly bar night at different gay nightclubs. Once their reputation grew, venues and events began to pay for the company's entertainment services and patron club members donated funds to support the organization and their mission. These funds allowed the organization to pay for all of their expenses including dancer costuming. In addition, the group sold merchandise which included T-shirts, performance DVDs as well as their sexy DC Cowboys calendars. Three of the more popular calendars featured the dancers without clothes in artistic poses and included the "making of the calendar" DVD.
In 1996, Platte added a charitable element to the organization. He created a mission statement which said the company would provide free entertainment to any HIV/AIDS charitable organization. Over the years, the company also directly raised funds for HIV/AIDS organizations by sharing the profits of their calendar sales. The DC Cowboys raised millions of dollars through performances for national and local non-profit organizations such as:
Washington, D.C. AIDS Ride; Washington, D.C. AIDS Walk; Chase Brexton Clinic of Baltimore, Maryland; Northern Virginia AIDS Ministry; Human Rights Campaign; Whitman Walker Clinic of Washington, D.C.; Food and Friends of Washington, D.C.; Mautner Project; Gay Latino Benefits in Metro D.C.; Harford County AIDS/Cancer Benefit, Maryland; NYFD Benefit for the New York City Fire Department.
In 1996, the company received a grant from the D.C. Commission on the Arts and Humanities and the National Endowment for the Arts, honoring the company for its valued contribution to the Washington, D.C. arts community. The company always maintained a tax-deductible status as a 501c3 non-profit organization with a small board of directors.
During their 18-year tenure, the DC Cowboys provided an outlet for gay artists and performers in the Washington, D.C., metropolitan area. The company included 85 dancers, eight choreographers and three stage-managers. The company performed at 458 events in five countries. The DC Cowboys' crowd-pleasing, sexy dance style had been described as "Will Rogers Follies meets Bob Fosse." The group famously described themselves on America's Got Talent in 2008 as "Think Brokeback meets Broadway," which became a popular line echoed around the world. Their growth and popularity were attributed to their unique and high quality entertainment which was often copied in other cities but never equalled. In addition the dancers were talented, good-looking men who were friendly and approachable to their many fans. Their farewell season tour in 2012 visited all of their favorite performance venues and locations around the world and was dedicated to their fans who were instrumental to their success.
Typical performance venues included Pride Festivals in New York City, Washington, D.C., Baltimore, and Charlotte, North Carolina; Headliners on the Gay Rodeo circuit in Washington, D.C., Las Vegas, San Diego, Atlanta, Chicago, Calgary, and Texas; Halloween in New Orleans; Mr. Gay All-American Finals; Gay Men's Chorus of Washington, Washington, D.C., concerts and events; Whitman Walker Volunteer Appreciation at Constitution Hall, Washington, D.C.; PFLAG's Gala Dinner, Washington, D.C.; HRC (Human Rights Campaign) Leadership Dinner cruise aboard the Spirit of Washington, Washington, D.C.; Human Rights Campaign National Dinner, Washington, D.C. - special reception for major donors; Annual Chef's Best Dinner & Auction for Food and Friends, Washington, D.C..
Performance highlights included America's Got Talent television show, season 3, NBC, semifinalists (2008); Closing Ceremonies of the Gay Games VII at Wrigley Field in Chicago (2006); RSVP's Caribbean Fantasy gay cruise (2005); Arts grant recipient from the DC Commission on the Arts and Humanities and the National Endowment for the Arts (1996);The Sziget Festival in Budapest, Hungary (2009--012); Dales' Great Getaway television show, ITV London, England (2012); The Podge and Rodge television show, RTE, Dublin, Ireland (2010)."
Source
This history of the DC Cowboys Dance Company was supplied by its founder, Kevin Platte.
Provenance:
The collection was donated by Kevin P. Platte, founder and Artistic and Executive Director of DC Cowboys Dance Company in 2013.
Restrictions:
This collection is open for research use. Gloves must be worn when handling unprotected photographs, negatives, and slides.
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. Fees for commercial reproduction.
