Directed by

Garrett, Kent, American, born 1941

Produced by

Greaves, William, American, 1926 - 2014

National Educational Television, American, 1954 - 1970

Owned by

Bowser, Pearl, American, born 1931

Subject of

Bennett, L. Howard

Medium

16mm Film (a): acetate film;

Dimensions

Duration: 50 Minutes

Length (Film): 1,800 Feet

Type

motion pictures (information artifacts)

Place filmed

H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia

Camp Hansen, Okinawa, Japan, Asia

Arlington County, Virginia, United States, North and Central America

Place made

5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America

Date

1971

Caption

The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.

Description

This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.

Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).

2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.

2012.79.1.51.1b: Original 1,600 foot film reel.

2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.

Topic

African American

Film

Gesture

Mass media

Military

Race discrimination

Race relations

Television

Vietnam War, 1961-1975

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number

2012.79.1.51.2ab

Restrictions & Rights

© National Educational Television

See more items in

National Museum of African American History and Culture Collection

Collection title

Pearl Bowser Collection

Classification

Media Arts-Film and Video

Data Source

National Museum of African American History and Culture

Directed by

Garrett, Kent, American, born 1941

Produced by

Greaves, William, American, 1926 - 2014

National Educational Television, American, 1954 - 1970

Owned by

Bowser, Pearl, American, born 1931

Subject of

Bennett, L. Howard

Medium

16mm Film (a): acetate film;

Dimensions

Duration: 50 Minutes

Length (Film): 1,800 Feet

Type

motion pictures (information artifacts)

Place filmed

H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia

Camp Hansen, Okinawa, Japan, Asia

Arlington County, Virginia, United States, North and Central America

Place made

5708 Arundel Ave., Rockville, Montgomery County, Marlyland, United States, North and Central America

Date

1971

Caption

The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.

Description

This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.

Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).

2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.

2012.79.1.51.1b: Original 1,600 foot film reel.

2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.

Topic

African American

Film

Gesture

Mass media

Military

Race discrimination

Race relations

Television

Vietnam War, 1961-1975

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number

2012.79.1.51.3ab

Restrictions & Rights

© National Educational Television

See more items in

National Museum of African American History and Culture Collection

Collection title

Pearl Bowser Collection

Classification

Media Arts-Film and Video

Data Source

National Museum of African American History and Culture

Directed by

Garrett, Kent, American, born 1941

Produced by

Greaves, William, American, 1926 - 2014

National Educational Television, American, 1954 - 1970

Owned by

Bowser, Pearl, American, born 1931

Subject of

Bennett, L. Howard

Medium

16mm Film (a): acetate film;

Dimensions

Duration: 50 Minutes

Length (Film): 1,800 Feet

Type

motion pictures (information artifacts)

Place filmed

H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia

Camp Hansen, Okinawa, Japan, Asia

Arlington County, Virginia, United States, North and Central America

Place made

5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America

Date

1971

Caption

The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.

Description

This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.

Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).

2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.

2012.79.1.51.1b: Original 1,600 foot film reel.

2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.

Topic

African American

Film

Gesture

Mass media

Military

Race discrimination

Race relations

Television

Vietnam War, 1961-1975

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number

2012.79.1.51.4ab

Restrictions & Rights

© National Educational Television

See more items in

National Museum of African American History and Culture Collection

Collection title

Pearl Bowser Collection

Classification

Media Arts-Film and Video

Data Source

National Museum of African American History and Culture

Designed by

Holder, Geoffrey, Trinidadian American, 1930 - 2014

Created by

Grace Costumes Inc., founded 1966

Worn by

Hall, Carl, American, died 1999

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

leather, wood, paint, and metal

Dimensions

H x W x D (left (a)): 10 1/2 × 3 1/2 × 11 in. (26.7 × 8.9 × 27.9 cm)

H x W x D (right (b)): 10 1/2 × 3 1/2 × 11 in. (26.7 × 8.9 × 27.9 cm)

Type

boots

Place used

New York City, Manhattan, New York, United States, North and Central America

Date

ca. 1977

Description

This pair of white ankle-length platform boots are part of a costume worn by Carl Hall as the Wizard in the 1984 revival of "The Wiz: The Super Soul Musical 'Wonderful Wizard of Oz'" on Broadway. The boots are made from leather that is painted white. They have a rounded toe and a decorative seam along the top of the toe box that extends up the front of the ankle. The boots close at the inner side of each ankle with a metal zipper that has a long shoe string knotted as a pull tab. The wooden platforms are also painted white, with the foot platform measuring 1 1/2 inches and the heel platform measuring 3 inches. Black rubber non-skid soles are adhered to the bottoms of each platform. The word "Wiz" is handwritten in black ink on the bottom of the rubber sole of the foot on both boots. "Hall" is handwritten in purple ink on the arch of the sole of both boots.

Topic

African American

Actors

Clothing and dress

Costume

Musical Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.8.4ab

Restrictions & Rights

No Known Copyright Restrictions

See more items in

National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Data Source

National Museum of African American History and Culture

Created by

National Council for Black Studies, American, founded 1975

Subject of

Ford, Nick Aaron, American, 1904 - 1982

Medium

ink on paper

Dimensions

H x W: 8 1/2 x 5 1/2 in. (21.6 x 14 cm)

Type

programs

Place collected

Charlotte, Mecklenburg County, North Carolina, United States, North and Central America

Place used

Charlotte, Mecklenburg County, North Carolina, United States, North and Central America

Date

1976

Description

A program from the North Carolina Conference on Black Studies Second Annual Meeting in 1976. The theme of the conference, as indicated on the program, was "Black Studies Calling for a New Order." The cover is green with black text.

Topic

African American

Education

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Herman Thomas

Object number

2013.189.2

Restrictions & Rights

No Known Copyright Restrictions

See more items in

National Museum of African American History and Culture Collection

Classification

Documents and Published Materials-Published Works

Data Source

National Museum of African American History and Culture

Published by

Playbill, American, founded 1884

Used by

Imperial Theatre, American, founded 1923

Subject of

Peters, Brock, American, 1927 - 2005

Price, Gilbert, American, 1942 - 1991

Cowie, Margaret

Gwillim, Jack, British, 1909 - 2001

Jackson, Leonard, American, born 1928

Martin, Ian, Scottish, 1912 - 1989

Perry, Rod, American, born 1941

LeNoire, Rosetta, American, 1911 - 2002

Evans, Damon, American, born 1949

Medium

ink on paper

Dimensions

H x W: 9 x 6 in. (22.9 x 15.2 cm)

Type

theater programs

Place used

New York City, New York, United States, North and Central America

Date

1972

Description

Playbill for Lost in the Stars. White background with yellow box at top; white box below featuring a graphic of a man kneeling with his head resting on his fist, above a group of people. [Imperial Theatre/PLAYBILL/the national magazine for theatregoers/LOST IN THE STARS] White circular sticker on back, handwritten 1972.

Topic

African American

Actors

Broadway Theatre

Musical Theatre

Tragedy (Theatre)

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens

Object number

2011.45.56

Restrictions & Rights

Playbill used by permission. All rights reserved, Playbill Inc.

See more items in

National Museum of African American History and Culture Collection

Classification

Memorabilia and Ephemera

Data Source

National Museum of African American History and Culture

Published by

Playbill, American, founded 1884

Used by

Lunt-Fontanne Theatre, American, founded 1910

Subject of

Calloway, Cab, American, 1907 - 1994

Jordan, Marc, American, born 1948

de Beer, Gerrit

Waterman, Willard, American, 1914 - 1995

Miller, Sharron, American

Linden, Hal, American, born 1931

Catlett, Mary Jo, American, born 1938

Brummel, David, American, born 1942

Engstrom, Jon

Haynes, Tiger, American, 1914 - 1994

McNair, Barbara, American, 1934 - 2007

Coleman, Margret

Calloway, Chris, American, 1945 - 2008

Turner, Wyetta

Norman, Hal

Wilson, Baron

Medium

ink on paper

Dimensions

H x W: 9 x 5 5/8 in. (22.9 x 14.3 cm)

Type

theater programs

Place used

New York City, New York, United States, North and Central America

Date

1973

Description

Playbill for The Pajama Game. White background with pink, orange, and yellow vertical striped box at top; white box below with graphic of a man lifting a woman; pajama top on hanger on right side of cover. [PLAYBILL/MAGAZINE/LUNT-FONTANNE/THEATRE/THE/PAJAMA/GAME] White circular sticker on back, handwritten 1973.

Topic

African American

Actors

Broadway Theatre

Comedy (Theatre)

Musical Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens

Object number

2011.45.76

Restrictions & Rights

Playbill used by permission. All rights reserved, Playbill Inc.

See more items in

National Museum of African American History and Culture Collection

Classification

Memorabilia and Ephemera

Data Source

National Museum of African American History and Culture

Published by

Playbill, American, founded 1884

Used by

Imperial Theatre, American, founded 1923

Subject of

Berry, Eric, British, 1913 - 1993

Betty Buckley, American, born 1947

Lopez, Priscilla, American, born 1948

Stickney, Dorothy, American, 1896 - 1998

Vereen, Ben, American, born 1946

Rubinstein, John, American, born 1946

Medium

ink on paper

Dimensions

H x W: 9 x 5 5/8 in. (22.9 x 14.3 cm)

Type

theater programs

Place used

New York City, New York, United States, North and Central America

Date

1974

Description

Playbill for Pippin. White background with yellow box at top; black box below with title spelled out by contorting clowns. [PLAYBILL/IMPERIAL THEATRE/PIPPIN] White circular sticker on back, handwritten 1974.

Topic

African American

Actors

Broadway Theatre

Musical Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens

Object number

2011.45.78

Restrictions & Rights

Playbill used by permission. All rights reserved, Playbill Inc.

See more items in

National Museum of African American History and Culture Collection

Classification

Memorabilia and Ephemera

Data Source

National Museum of African American History and Culture