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The Black G.I. Black Journal segment

16mm motion picture film of The Black G.I. [Black Journal segment]

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

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 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: 2012.79.1.51.1a

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

The Black G.I. Black Journal segment

16mm motion picture film of The Black G.I. [Black Journal segment]

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

The Black G.I. Black Journal segment

16mm motion picture film of The Black G.I. [Black Journal segment]

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: 2012.79.1.51.3ab

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

The Black G.I. Black Journal segment

16mm motion picture film of The Black G.I. [Black Journal segment]

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

Peach dress and belt worn by Oprah Winfrey on The Oprah Winfrey Show

Designed by: Scott, L'Wren, American, 1964 - 2014
Worn by: Winfrey, Oprah, American, born 1954
Subject of: Harpo, Inc., American, founded 1986

Medium: a: silk twill, synthetic fiber, and metal fasteners;; b: silk chiffon, silk twill, and metal fasteners
Dimensions: H x W x D ((ab) on form): 43 1/2 × 26 × 14 in. (110.5 × 66 × 35.6 cm); H x W ((b) flat): 29 × 41 1/4 in. (73.7 × 104.8 cm)

Type: dresses

Place used: Chicago, Cook County, Illinois, United States, North and Central America

Date: 2011

Description: This peach dress (a) and pleated chiffon belt (b) were designed by L'Wren Scott and worn by Oprah Winfrey during the series finale of The Oprah Winfrey Show in May 2011. The dress is made from a peach twill silk and has a fitted bodice that ends at the natural waist. A band of self-fabric piping trims the scoop neckline. The sleeves are 3/4 length and straight cut. A band of self-fabric decorative piping is sewn near the hem of the sleeves. The pencil skirt falls to the mid-calf and has a 5 1/2-inch slit at the center back. The dress closes at the center back with a metal zipper painted peach to match the fabric, which extends from the neckline to the lower back. One (1) metal hook-and-eye is sewn above the zipper. The interior bodice and skirt of the dress are lined with a cream mesh synthetic fabric, while the sleeves are not lined. A length of peach thread is sewn at each interior top shoulder that can be closed with one (1) small metal snap each. The hem of the skirt is turned to the interior and edged with peach lace on the seam. The hem of the skirt lining is edged in cream lace. A white rectangular fabric label with plum embroidery reading "L'Wren Scott" is sewn at the interior proper left back side below the neckline.; This pleated chiffon belt accompanies the peach dress (a). The chiffon fabric is dyed in an ombre ranging from peach to mauve. The waistband of the belt is faced in the chiffon with only the peach to pale pink ombre. It closes at the proper right front side with three (3) flat metal hook-and-eyes and one (1) metal snap. The closure is behind a stiff rectangular material covered in the peach chiffon. Extending below the closure are three tiered flounces of the pleated chiffon featuring the full range of ombre colors. The interior of the waistband is lined in the same peach fabric used for the dress (a). Four (4) pieces of vertically-oriented boning are sewn inside the lining at intervals around the waistband. A white rectangular fabric label with plum embroidery reading "L'Wren Scott" is sewn at the interior proper left side.

Topic: African American; Actors; Clothing and dress; Communication; Costume; Entertainers; Fashion; Fashion design; Mass media; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Oprah Winfrey

Object number: 2016.7.2ab

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Clothing-Costume
Exhibition: A Changing America: 1968 and Beyond
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 1, C1 053

Data Source: National Museum of African American History and Culture

Horse saddle used by stuntman Ernest "Ernie" Robinson

Manufactured by: Unidentified
Used by: Robinson, Ernest, American, born 1932
Subject of: Black Stuntmen's Association, founded 1967

Medium: leather, cloth, wool, thread, metal
Dimensions: H x W x D: 40 1/2 × 26 × 23 1/4 in. (102.9 × 66 × 59.1 cm)

Type: saddles

Date: ca. 1971

Description: A horse saddle used by Ernest Robinson. It has two stirrups toward the front. Each stirrup is covered in leather where the foot rests. Each side has a leather fender covering the belted portion of the stirrup and hobble strap. The saddle horn has a small metal attachment on the inside in the shape of a shield with “11 INCH / SEAT” engraved on it. The cantle has three metal attachments fastened to the inside and outside with rectangular holes in the middle. Metal rings, buckles, fasteners, and other attachments are along the outside and lower portions of the saddle seat. The Seat has oblong holes running down the center from the horn to the cantle. The seat underside is lined with wool. Embossed on the proper left side of the saddle behind the seat is “RVP 4918.” Letters scratched below the embossed lettering appear to read “LEL.” A canteen is attached to the front proper left side of the saddle. The canteen is covered in brown canvas with “U.S.” stenciled on it. The canteen's cap is wood with a leather strap attached at the top. Attached to the proper left side of the saddle is a front cinch made of knotted rope and leather.

Topic: African American; Actors; Film; Labor; Men; Professional organizations; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Teresa Robinson Fisher in honor of Ernie Robinson

Object number: 2014.21

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Tools and Equipment-Agricultural; Tools and Equipment-Occupational
Exhibition: Taking the Stage
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054

Data Source: National Museum of African American History and Culture

Belt buckle for the Stuntmen's Association of Motion Pictures owned by Bob Minor

Created by: Shelton, Al, born 1920
Subject of: Stuntmen's Association of Motion Pictures, founded 1961
Owned by: Bob Minor, American, born 1944

Medium: metal
Dimensions: H x W x D: 2 3/8 × 3 1/2 × 5/8 in. (6 × 8.9 × 1.6 cm)

Type: buckles (strap accessories)

Place made: California, United States, North and Central America

Date: ca. 1972

Description: A metal belt buckle, oval, with a raised lip/edge around circumference. In relief on the front, at top reads [STUNTMEN'S ASSOCIATION], and at the bottom [OF MOTION PICTURES]. In the middle is a relief depiction of a movie camera with a banner underneath reading [HOLLYWOOD], and a five-point star at the left and right. The back is a loop and hook style buckle. Etched into the back, all vertically displayed, reads [THE STUNTMEN'S ASSOCIATION OF/MOTION PICTURES AND TELEVISION/WAS FOUNDED IN HOLLYWOOD CALIF./1961, BY PROFESSIONAL STUNTMEN], [SCULPTOR/AL SHELTON/STUDIO CITY, CA./IN/"WHO'S WHO IN THE WEST"], and a logo for the Stuntmen's Association. Handwritten in black marker, diagonally and upside-down near bottom center, reads [BOB].

Topic: African American; Actors; Film; Hollywood (Film); Labor; Professional organizations; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bob Minor, Stuntman, Stunt Coordinator, 2nd Unit Director, Actor

Object number: 2014.303.2

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Clothing-Historical
Exhibition: Taking the Stage
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054

Data Source: National Museum of African American History and Culture

Crew jacket from Buffalo Soldiers film production owned by stuntman Bob Minor

Created by: Five Percent
Owned by: Bob Minor, American, born 1944

Medium: nylon, leather, thread, plastic
Dimensions: H x W x D (On form): 35 × 33 1/2 × 18 1/2 in. (88.9 × 85.1 × 47 cm)

Type: jackets

Place used: Arizona, United States, North and Central America

Date: 1996-1997

Description: A navy blue lightweight crew jacket from the production of the film, Buffalo Soldier. Collared, long-sleeve, black plastic zipper running down center with adjustable drag strings along bottom (with adjustments coming out from each side at the bottom center of the front of the jacket), with four large pockets with sewn down flaps: PL stomach, PR stomach, PL arm, and PR arm. Across the upper back, a strip of yellow shiny plastic is sewn on. Large pocket on reverse, with sewn down flap, with yellow emblem sewn into center (an oval with two diagonal crossing swords in the center with [10] above the swords, and [H] below, with [BUFFALO] above the oval and [SOLDIERS] below. Interior is same windbreaker material, maroon in color. Handwritten in black marker on the inside center reads [Bob Minor], underlined. Interior tag, white with black type, reads [FIVE PERCENT/LOS ANGELES].

Topic: African American; Actors; Buffalo Soldiers; Clothing and dress; Film; Hollywood (Film); Labor; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bob Minor, Stuntman, Stunt Coordinator, 2nd Unit Director, Actor

Object number: 2014.303.5

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Clothing-Costume

Data Source: National Museum of African American History and Culture

O, The Oprah Magazine, Volume 12, Number 1

Created by: O Magazine, American, founded 2000
Published by: Hearst Corporation, American, founded 1887
Edited by: Oprah Winfrey, American, born 1954; Casey, Susan, Canadian; King, Gayle, American, born 1954
Photograph by: Afanador, Ruven, Colombian American, born 1959
Subject of: Oprah Winfrey, American, born 1954; Oprah Winfrey Network, American, founded 2011; Harpo, Inc., American, founded 1986

Medium: ink on paper
Dimensions: H x W x D (Closed): 10 7/8 × 9 1/8 × 1/4 in. (27.7 × 23.2 × 0.6 cm); H x W x D (Open): 10 7/8 × 15 13/16 × 1 1/16 in. (27.7 × 40.2 × 2.7 cm)

Type: magazines (periodicals)

Date: January 2011

Description: A copy of the January 2011, Volume 12, Number 1 issue of "O, The Oprah Magazine." The magazine cover features a full-page photograph of Oprah Winfrey in a red dress. Winfrey is seated in a white director's chair. On the back of the back rest are multi-colored letters and the text [OWN / OPRAH WINFREY NETWORK]. Winfrey is seated with her proper left elbow resting on the back rest and her proper left foot resting on the foot rest of the chair. She is smiling at the camera. In the upper left corner is the masthead, a multi-colored rectangle ranging in color from green in the center to red and purple with white text that reads [O / THE OPRAH / MAGAZINE]. Below the masthead is additional white text that reads [LIVE YOUR BEST LIFE]. Surrounding Winfrey are bylines in a variety of colors and sizes. The main byline is [What's Your Next Chapter?] in white text over the left side of Winfrey's image. The back cover features an advertisement for Olay Regenerist face serum.

Topic: African American; Actors; Business; Mass media; Television; Women

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kathleen M. Kendrick

Object number: 2015.64.7

Restrictions & Rights: © Harpo Print. Permission required for use.

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials-Published Works
Exhibition: Taking the Stage
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054

Data Source: National Museum of African American History and Culture

Tribute to Malcolm X Black Journal segment

16mm motion picture film of Tribute to Malcolm X [Black Journal segment]

Produced by: National Educational Television, American, 1954 - 1970
Edited by: Anderson, Madeline
Subject of: X, Malcolm, American, 1925 - 1965; Dr. Shabazz, Betty, American, 1934 - 1997
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;; Film Reel (b): metal;; Film Can (c): metal
Dimensions: Duration: 14 Minutes; Length (Film): 500 Feet

Type: motion pictures (information artifacts)

Place filmed: Harlem, Manhattan, New York City, New York County, New York, United States, North and Central America

Date: 1969

Caption: This 16mm film is a short documentary made by Madeline Anderson for National Education Television's Black Journal television program to commemorate the four year anniversary of the assassination of Malcolm X.
Description: This 16mm black and white film print is a short documentary made for the National Education Television's Black Journal television program. Editor Madeline Anderson compiled footage of Malcolm X to commemorate the four year anniversary of his assassination.; Consists of: 16mm Film (a), Original 600 foot metal Film Reel (b), and Original 600 foot metal Film Canister (c).; 2012.79.1.37.1a: 16mm film. This film opens with footage of the public attending the funeral/wake of Malcolm X, and a voice-over of a male narrator recounts the sentiments of some individuals describing what Malcolm X meant to the African American community during his life and after his assassination. Malcolm X's wife, Betty Shabazz, discusses Malcolm's early childhood roots, family, stints in foster care and boys' homes, and his struggle to stay on the straight and narrow in Boston, MA. The narrator then picks back up describing Malcolm X's biography and attitude towards race relations and integration in America. Excerpts from various television interviews with Malcolm X play. During the first interview clip, Malcolm explains why he believes integration has not been successful and cannot be successful (during that particular point in time) unless certain issues are addressed. In the second interview clip, Malcolm discusses why he was silenced by the Nation of Islam for a comment he made shortly after the assassination of President John F. Kennedy. He elaborates on what he actually meant by saying that "chickens are coming home to roost" amid an unaddressed climate of hate in the United States. The third interview is with Malcolm after he returned from his pilgrimage to Mecca. American reporters ask him about his feelings on integration in America, now that he has returned from Mecca, where Muslims from all over were participating in the pilgrimage to Mecca together. Malcolm states that his feelings on integration have not changed as a result of the brotherhood he experienced during his trip Mecca. An interview with Betty Shabazz picks up again, and she further explains her late husband's beliefs concerning integration and his wish to redirect the goal of the black struggle from civil rights to human rights by internationalizing the struggle and aligning African Americans with other marginalized groups around the world. Another interview with Malcolm X plays, and he explains, in his own words, how human rights is an international issue that should be addressed by the United Nations. Footage of a civil rights demonstration plays. Malcolm X addresses students in Selma, Alabama and talks about charging the United States with human rights violations. Further, he tells a story in which he defines what he believes to be the difference in mentality between what he calls a "field negro" and a "house negro". He states that he is a "field negro" ready to fight for his freedom.; 2012.79.1.37.1b: Original 600 foot film reel.; 2012.79.1.37.1c: Original 600 foot film canister. The metal can has two sticker labels, one on each side, with the name of the film and the film distribution company or organization.

Topic: African American; Black power; Civil Rights; Film; Mass media; Resistance; Social reform; Television; United States--History--1961-1969

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

Object number: 2012.79.1.37.1a

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

Alice Coltrane Black Journal segment

16mm motion picture film of Alice Coltrane [Black Journal segment]

Produced by: National Educational Television, American, 1954 - 1970; Greaves, William, American, 1926 - 2014
Directed by: Bourne, St. Clair, American, 1943 - 2007
Subject of: Coltrane, Alice, American, 1937 - 2007; Coltrane, John, American, 1926 - 1967
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;
Dimensions: Duration: 17 Minutes; Length (Film): 580 Feet

Type: motion pictures (information artifacts)

Place filmed: Dix Hills, Huntington, Long Island, New York, United States, North and Central America

Date: 1970

Caption: This 16mm film is a documentary segment focusing on the life of Alice Coltrane and her children in the wake of the death of her husband, famed jazz magician John Coltrane.
Description: The 16mm color film print is a short documentary made for a segment of National Education Television's Black Journal television program. The segment focuses on the life of Alice Coltrane and her children in the wake of the death of her husband, famed jazz magician John Coltrane. This film was shot sometime during 1970; three years after the death of John Coltrane.; Consists of: 16mm Film (a).; 2012.79.1.16.1a: 16mm film. This film opens with a collage of photos of jazz musician John Coltrane with a voice-over of a male narrator communicating the musical genius and personal demeanor of the renowned music artist. The voice-over ends with an open-ended statement on John Coltrane's family; leading into an interview with his wife, Alice Coltrane. Alice Coltrane discusses the influence her late husband has had on her life, both musically and spiritually. She speaks of him being a spiritual person, although not tied to one organized religion, his vegetarian diet, and the how he carved time out of his days to meditate. There is footage of their children playing in the yard and walking with their mother. Alice plays the harp and talks about how her music is a manifestation of her spirituality. She discusses her musical career and how she balances that with being a mother and paying tribute to her late husband, but also not wanting to be defined as an extension of John Coltrane's music. Instead, when she finds herself playing some of the music he wrote, she sees herself as sharing in what he produced throughout his career. Footage of her playing the piano at a small jazz concert with a few other musicians plays for two minutes. In the final minutes of the segment, Alice Coltrane explains her relationship with a higher power and the personal enlightenment she has felt and gained through meditation. The film ends with a dolly-out/zoom-out long shot of Alice Coltrane and her children waving from their home.

Topic: African American; Families; Film; Jazz (Music); Motherhood; Musicians; Spirituality; Television

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

Object number: 2012.79.1.16.1a

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

Audience chairs from the set of The Oprah Winfrey Show at Harpo Studios

Used by: Harpo, Inc., American, founded 1986
Manufactured by: KI, founded 1941

Medium: cloth, polyurethane foam, plastic, metal and wood
Dimensions: H x W x D (Seats down (w/out wood skid)): 31 × 72 3/4 × 28 in. (78.7 × 184.8 × 71.1 cm); H x W x D (Seats down (w/ wood skid)): 33 1/2 × 74 1/8 × 28 in. (85.1 × 188.3 × 71.1 cm); H x W x D (Seats up (w/out wood skid)): 31 × 72 3/4 × 18 5/16 in. (78.7 × 184.8 × 46.5 cm); H x W x D (Seats up (w/ wood skid)): 33 1/2 × 74 1/8 × 18 5/16 in. (85.1 × 188.3 × 46.5 cm)

Type: seating furniture

Place used: Harpo Studios, Chicago, Cook County, Illinois, United States, North and Central America

Date: after 1995

Description: A row of three (3) audience chairs from The Oprah Winfrey Show set at Harpo Studios in Chicago, Illinois. These seats are from Row SR3.; The chair seats and backs are covered in red fabric and have rounded corners. The seat cushions are a thick foam. The three (3) seats are hinged together as one unit. The chair seats and backs have internal pivoting arrangements so that the seat and back can move between occupied and unoccupied positions. When the seat is unoccupied, the seat and back positions are substantially vertical. The chairs are mounted to black plastic end panels on the far proper left and proper right sides, and to thin black plastic armrests in the middle, in between the chairs. The chairs attach to these supports via metal brackets in two (2) places, on the undersides of the seats, and on the sides of each chair back. The end panels and arm rest panels all bolt into the floor and would anchor the seats to the ground. The exterior-facing sides of the end panels are matte black, without any design. Each armrest is topped with a flat black plastic end piece with rounded edges and corners.; On the reverse of each seat, the chair backs are covered with black hard plastic backing. The proper left and proper right seats have a relief rectangle with perforations inserted into the upper center of the plastic backing, possibly serving as a speaker. Extending from the base of each armrest is one (1) XLR audio cable.; On the interior base of each central armrest panel is a manufacturer's label on a black rectangular sticker with white text: [Aria (R) Seating / Designed by / David C. Woods / U.S. Patent News 5.393.120 / 5.567.016 / 5.601.335/ Foreign Patents Pending] and red text: [KI].

Topic: African American; Communication; Entertainers; Mass media; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Oprah Winfrey

Object number: 2016.7.6

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Tools and Equipment-Props and set design
Exhibition: A Changing America: 1968 and Beyond
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 1, C1 053

Data Source: National Museum of African American History and Culture

Couch from the set of The Oprah Winfrey Show in Harpo Studios

Manufactured by: Jackson, Dakota, American, born 1949
Used by: Harpo, Inc., American, founded 1986
Designed by: Jackson, Dakota, American, born 1949

Medium: leather, cloth, polyurethane foam, wood frame, metal springs and Velcro (TM)
Dimensions: H x W x D ((.1ab-.3ab) OVERALL): 34 1/2 × 90 × 50 in. (87.6 × 228.6 × 127 cm); H x W x D (.1ab): 34 1/2 × 34 1/2 × 37 in. (87.6 × 87.6 × 94 cm); H x W x D (.2ab): 33 1/2 × 28 × 38 in. (85.1 × 71.1 × 96.5 cm); H x W x D (.3ab): 34 1/2 × 34 1/2 × 37 in. (87.6 × 87.6 × 94 cm)

Type: sofas

Place used: Harpo Studios, Chicago, Cook County, Illinois, United States, North and Central America

Date: 2002; reupholstered 2015

Description: A sectional leather couch or sofa, used by Oprah Winfrey and her guests, from the set of The Oprah Winfrey Show at Harpo Studios in Chicago, Illinois (2016.7.7.1ab - .3ab). The couch is upholstered in a light yellow leather. The couch sections fit together to form a semi-circular shape. Two (2) sections are for sitting, the proper left (.1ab) and the proper right (.3ab). The center section (.2ab) is topped with a removable cushion. Underneath the center cushion is a table top which Winfrey and her guests could use to hold cups or other items. The design for this custom couch is based on the Dakota Jackson Cosmoledo line.; 2016.7.7.1ab: The proper left section of a 3-piece curved sectional yellow leather couch. This end section (.1a) is a customized version of the Cosmoledo club chair, with a curved back and a flared arm on its proper left side only. The contoured chair back slopes upward towards the proper left corner, away from the center of the seating configuration. The chair back and cushion are heavily padded, with less padding on the armrest. The seat cushion (.1b) is square, with a zipper at the back to insert or remove the cushion. The underside of the cushion is covered in a tan cloth fabric. The spring decking is covered in the same tan cloth fabric. The cushion secures to the chair on its back and side with strips of Velcro (TM). The couch section has four (4) tapered wood feet, one on each corner, which are painted yellow. Two (2) metal forks on the underside of the proper right side connect this section to the center section. The forks have tines with teeth ridges on the inside with a small release catch, and are set on a swivel.; 2016.7.7.2ab: The center section of a 3-piece curved sectional yellow leather couch. This section (.2a) is a wedge shape, intended to fit in between other sections to create a curved couch. The section has a rounded and heavily padded chair back, with no arm rests. The seat cushion (.2b) is a triangle shape, with a zipper at the back to insert or remove the cushion. The underside of the cushion is covered in a tan cloth fabric. Underneath the cushion is a wood tabletop, in the same triangle shape as the cushion, painted yellow. When the cushion is removed, the table can be used to hold drinks or other items for Winfrey and her guests. The cushion does not attach to the tabletop below. The couch section has three (3) tapered wood feet, one on each corner, which are painted yellow. On the underside of the proper left side, two (2) metal wedges connect this section to the section on its proper left. Two (2) metal forks on the underside of the proper right side connect this section to the section on its proper right. The forks have tines with teeth ridges on the inside with a small release catch, and are set on a swivel.; 2016.7.7.3ab: The proper right section of a 3-piece curved sectional yellow leather couch. This end section (.3a) is a customized version of the Cosmoledo club chair, with a curved back and a flared arm on its proper right side only. The contoured chair back slopes upward towards the proper right corner, away from the center of the seating configuration. The chair back and cushion are heavily padded, with less padding on the armrest. The seat cushion (.3b) is square, with a zipper at the back to insert or remove the cushion. The underside of the cushion is covered in a tan cloth fabric. The spring decking is covered in the same tan cloth fabric. The cushion secures to the chair on its back and side with strips of Velcro (TM). The couch section has four (4) tapered wood feet, one on each corner, which are painted yellow. Two (2) metal wedges on the underside of the proper left side connect this section to the center section.

Topic: African American; Communication; Entertainers; Mass media; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Oprah Winfrey

Object number: 2016.7.7

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Tools and Equipment-Props and set design
Exhibition: A Changing America: 1968 and Beyond
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 1, C1 053

Data Source: National Museum of African American History and Culture

Great Migration Home Movie Study Collection

creator: National Museum of African American History and Culture (U.S.)
name: Church of God; WHUT Howard University Television; Mid-Atlantic Regional Moving Image Archive (MARMIA); Most Worshipful Prince Hall Grand Lodge of District of Columbia

object type: Archival materials

inclusive dates: 1940 - Ongoing

Physical description: 2 sound recordings
Abstract: The Great Migration is a unique, ongoing digitization service program that partners the National Museum of African American History and Culture with individuals and organizations across the United States to preserve their important analog audiovisual media. While major motion picture film and television historically lacked diverse representation, black history was instinctively being preserved in everyday home movies. Today, these personal narratives serve as an invaluable tool for understanding and re-framing black moving image history, and provide a much needed visualization of African American history and culture.
Preferred Citation: Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
Restrictions: Collection is available online for open research.
Scope and Contents: The collection contains 39 digtized home movies, 41 digitized home videos, and 2 digitized audiotape recordings. However, as an ongoing project the scope of the collection will continue to increase over time. The scope will be updated as is appropriate.; The content of the collection consists predominantly of amateur recordings created by families to document their lives. This includes major life events, such as birthdays, as well as family vacations and holidays. Additionally, the collection includes footage produced by professionals for broadcast on television. This particular footage entered the collection through partnerships with other memory institutions.
Physical description: 41 video recordings
Abstract: The Great Migration is a unique, ongoing digitization service program that partners the National Museum of African American History and Culture with individuals and organizations across the United States to preserve their important analog audiovisual media. While major motion picture film and television historically lacked diverse representation, black history was instinctively being preserved in everyday home movies. Today, these personal narratives serve as an invaluable tool for understanding and re-framing black moving image history, and provide a much needed visualization of African American history and culture.
Preferred Citation: Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
Restrictions: Collection is available online for open research.
Scope and Contents: The collection contains 39 digtized home movies, 41 digitized home videos, and 2 digitized audiotape recordings. However, as an ongoing project the scope of the collection will continue to increase over time. The scope will be updated as is appropriate.; The content of the collection consists predominantly of amateur recordings created by families to document their lives. This includes major life events, such as birthdays, as well as family vacations and holidays. Additionally, the collection includes footage produced by professionals for broadcast on television. This particular footage entered the collection through partnerships with other memory institutions.
Physical description: 39 motion picture films
Abstract: The Great Migration is a unique, ongoing digitization service program that partners the National Museum of African American History and Culture with individuals and organizations across the United States to preserve their important analog audiovisual media. While major motion picture film and television historically lacked diverse representation, black history was instinctively being preserved in everyday home movies. Today, these personal narratives serve as an invaluable tool for understanding and re-framing black moving image history, and provide a much needed visualization of African American history and culture.
Preferred Citation: Collection of the Smithsonian National Museum of African American History and Culture. Supported by the Robert Frederick Smith Fund of the National Museum of African American History and Culture.
Restrictions: Collection is available online for open research.
Scope and Contents: The collection contains 39 digtized home movies, 41 digitized home videos, and 2 digitized audiotape recordings. However, as an ongoing project the scope of the collection will continue to increase over time. The scope will be updated as is appropriate.; The content of the collection consists predominantly of amateur recordings created by families to document their lives. This includes major life events, such as birthdays, as well as family vacations and holidays. Additionally, the collection includes footage produced by professionals for broadcast on television. This particular footage entered the collection through partnerships with other memory institutions.

topic: Amateur films; Families; Travel; Parties; African Americans

smithsonian online virtual archive: Record

Data source: National Museum of African American History and Culture

Southern Trailer Home • South Carolina

Photograph by: Freed, Leonard, American, 1929 - 2006
Subject of: Unidentified Man or Men
Printed by: Steinmetz Studio

Medium: silver and photographic gelatin on photographic paper
Dimensions: H x W (Image): 12 15/16 x 19 1/16 in. (32.8 x 48.4 cm); H x W (Sheet): 16 x 20 in. (40.6 x 50.8 cm); H x W (Matted): 20 x 26 in. (50.8 x 66 cm)

Type: gelatin silver prints

Place captured: South Carolina, United States, North and Central America

Date: 1965; printed 1998

Description: A black-and-white photograph of a young man and a television in a darkened room in a trailer home in South Carolina by the photographer Leonard Freed. The young man stands to the extreme left of the frame and wears a patterned white shirt. His left hand is raised to his jaw, partly obscuring his face. To the extreme right of the photo is a television, turned on and showing a woman on the screen. The date and place the photo was taken are inscribed on the back along with the photographer's stamp.

Topic: African American; Domestic life; Photography; Television; United States--History--1961-1969

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture

Object number: 2009.10.8

See more items in: National Museum of African American History and Culture Collection
Classification: Media Arts-Photography

Data Source: National Museum of African American History and Culture

Signed contract for the Jackson 5 to appear on "The Flip Wilson Show"

Created by: American Federation of TV & Radio Artists, American, founded 1937
Subject of: The Jackson 5, American, 1964 - 1975; Wilson, Flip, American, 1933 - 1998
Signed by: Michael Jackson, American, 1958 - 2009; Jermaine Jackson, American, born 1954; Marlon Jackson, American, born 1957; Tito Jackson, American, born 1953; Jackie Jackson, American, born 1951; Joe Jackson, American, born 1928

Medium: ink on paper (fiber product)
Dimensions: H x W: 13 x 8 1/2 in. (33 x 21.6 cm)

Type: contracts

Date: 1971

Description: A single sheet AFTRA engagement contract between The Jackson Five and Clerow Productions, Inc. to appear on "The Flip Wilson Show" dated June 30, 1971. The form is is pre-printed on the front and back of the paper in black ink, specific details have been typed in black ink on the front of the form, and there are several handwritten signatures.. The front of the form details the program, sponsor, performance place, date, and compensation among other things. It is signed by Michael, Marlon, Jermaine, Toriano, and Sigmund Jackson as well as Joe Jackson, signing as their guardian. The document is also signed by a producer from either Celrow Productions or Bob Henry Productions. The standard terms and conditions are printed in two columns on the front and upper third of the back of the form. There are two dye cut holes at the top of the form and the left corner is torn from where it had been stapled.

Topic: African American; Business; Motown (Music); Popular music; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture

Object number: 2010.23.1a

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials-Business and Legal Documents
Exhibition: Musical Crossroads
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053

Data Source: National Museum of African American History and Culture

Malcolm X Liberation University Black Journal segment

16mm motion picture of Malcolm X Liberation University [Black Journal segment]

Produced by: Bourne, St. Clair, American, 1943 - 2007; National Educational Television, American, 1954 - 1970; Greaves, William, American, 1926 - 2014
Owned by: Bowser, Pearl, American, born 1931
Subject of: Dr. Shabazz, Betty, American, 1934 - 1997; X, Malcolm, American, 1925 - 1965
Interview of: Fuller, Howard, American, born 1941
Subject of: Harambee Singers, American, founded 1966; Reagon, Bernice Johnson, American, born 1942

Medium: 16mm Film (a): acetate film;; Film Reel (b): metal;; Film Can (c): metal
Dimensions: Duration: 10 Minutes; Length (Film): 320 Feet

Type: motion pictures (information artifacts)

Place filmed: Raleigh, Wake County, North Carolina, United States, North and Central America; Durham, Durham County, North Carolina, United States, North and Central America

Date: 1969

Caption: This 16mm film is a short documentary made for National Educational Television's Black Journal television program. Producer St. Clair Bourne chronicles the opening of Malcolm X Liberation University in Durham, North Carolina on October 25, 1969.
Description: This 16mm color film is a short documentary subject made for National Educational Television's Black Journal television program. Producer St. Clair Bourne chronicles the opening of Malcolm X Liberation University in North Carolina.; Consists of: 16mm Film (a), Original 400 foot Film Reel (b), and Original 400 foot Film Canister (c).; 2012.79.1.68.1a: The film opens with a student meeting/rally at Duke University, in which one unidentified student speaker (male) states why they longer wish to participate in a system they don't believe speaks to the needs of African American college students. A male narrator begins to speak, explaining what the Black Student Movement at Duke University was and how it originated and morphed into a separate institution. An interview with Howard Fuller begins to play, and he expresses why he doesn't believe in institutionalized black studies programs. Footage of him announcing the opening of Malcolm X Liberation University begins to play, and is followed by clips of the opening celebratory parade and rally. The narrator describes the new university's proposed curriculum and study abroad program in Africa. Howard Fuller addressed the crowd by reading a statement from Stokely Carmichael, and introduced guest speaker Betty Shabazz. During her speech, white train workers in a nearby train yard rang a train car bell to interrupt her speech. A visiting professor who was in attendance climbed on top of the train car and silenced the bell so Betty Shabazz could finish her speech. A small group of women sing "The Black Magician" onstage. Courtland Cox, a representative from Malcolm X Liberation University's sister school in Washington, DC, closed the ceremony. The film ends with an interview with Howard Fuller speaking on the role of Malcolm X Liberation University can and hopes to play in the black liberation struggle.; 2012.79.1.68.1b: Original 400 foot film reel.; 2012.79.1.68.1c: Original 400 foot film canister. The metal can has a sticker label from a film distribution company with the name of film.

Topic: African American; Civil Rights; Education; Film; Race discrimination; Race relations; Television

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

Object number: 2012.79.1.68.1abc

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video
Exhibition: A Century in the Making
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C X06

Data Source: National Museum of African American History and Culture

Photograph of a man and young boys in cowboy costumes holding toy guns

Photograph by: Unidentified
Subject of: Boyd, William; Unidentified Child or Children

Medium: silver and photographic gelatin on photographic paper
Dimensions: H x W (Image): 7 7/16 × 9 3/8 in. (18.9 × 23.8 cm); H x W (Sheet): 8 × 10 in. (20.3 × 25.4 cm)

Type: gelatin silver prints; portraits

Place used: United States, North and Central America

Date: 1935-1955

Description: This gelatin silver print depicts a black and white image of William Boyd with three young boys. Boyd is kneeling in front of a car with the driverside door open. One child is standing on the left of him while two are standing on the right of him. Boyd has his arm around the boy standing closest to him on the right. He is wearing a black hat, pants, shirt and boots and has a wild rag around his neck that is secured by a bullhead-shaped scarf slide. The boys are dressed in cowboy costumes that consist of black pants, shirts, hats and boots. Each child is holding a pistol. The child that Boyd has is arm around is pointing his pistol at the camera. A small crowd of people are standing to the far right. There are no inscriptions, front or back.

Topic: African American; American West; Costume; Film; Photography; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture

Object number: 2014.37.35.23

Restrictions & Rights: Unknown - Restrictions Possible

See more items in: National Museum of African American History and Culture Collection
Classification: Media Arts-Photography

Data Source: National Museum of African American History and Culture

Stock certificate for BET Holdings, Inc.

Distributed by: BET Holdings, Inc., American, founded 1980
Subject of: Black Entertainment Television, American, founded 1980

Medium: ink on paper
Dimensions: H x W: 8 × 12 in. (20.3 × 30.5 cm)

Type: stock certificates

Date: 1991

Description: Specimen stock certificate for BET Holdings, Inc. The stock certificate has a blue patterned border with a black and white illustration at the top center of an African American man and woman sitting in front of a computer. Black type directly below the illustration reads “BET HOLDINGS, INC. / INCORPORATED UNDER THE LAWS OF THE STATE OF DELAWARE.” Stamped at the center of the certificate in red ink is “SPECIMEN.” The back of the stock certificate is a legal form with blank lines unfilled throughout.

Topic: African American; Business; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture

Object number: 2014.53.1

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials-Business and Legal Documents
Exhibition: Taking the Stage
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054

Data Source: National Museum of African American History and Culture

I Spy #3

Published by: Gold Key Comics, American, 1962 - 1984
Subject of: Cosby, Bill, American, born 1937; Robert Culp, American, 1930 - 2010

Medium: ink on paper
Dimensions: H x W: 10 3/16 × 6 15/16 in. (25.9 × 17.6 cm); H x W (open): 10 3/16 × 13 3/4 in. (25.9 × 34.9 cm)

Type: comic books

Date: 1967

Description: The third (#3) I Spy comic book printed in 1967. Front cover has a color image of Alexander Scott (Bill Cosby) and Kelly Robinson (Robert Culp), characters in the TV show "I Spy" standing back to back holding hand guns up and looking back towards each other. Culp, on the left, is in a blue pull over cardigan with the gun in his PR hand, and Cosby, on the right, is in a tan sweater with an orange undershirt, holding the gun with his PR hand. Blocks of color make up the background, mainly orange with Culp in a block of yellow and Cosby in a block of blue. At the top, in a white block, reads [I SPY] in black type, centered, and a logo for Gold Key with [I SPY] in orange type to the right and [10182-711] in black type underneath. Two blocks, green and purple, are in the bottom right corner, with white and yellow type, reading [ORDER TO KELLY:/KILL A FRIEND!/ORDER TO SCOTTY:/PULL THE TRIGGER!/ (c) 1967, THREE F PRODUCTIONS].There is a white type [12¢] in the top right corner. Inside front and back cover have black-and-white depictions from the TV show, focused on [Venice]. Interior pages of color printed on newspaper type print, comic strip style. Comics include: "A Deadly Friend Part I Assignment: Murder," "Monster Museum," Jest for Fun," "Chuckle Time," "Mini-Comics," and "Part II A Grave For a Two-Timer." 16 interior pages total, all front and back. Back cover has a black-and-white image of Bill Crosby as Alexander Scott, in a tan suit, black tie, holding a hand gun in his PR hand, with a block color background, yellow at the top, red at the bottom, with [I SPY PIN-UP] in black type near the bottom edge.

Topic: African American; Amusements; Race relations; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture

Object number: 2014.53.3.1

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

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I Spy #3

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