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Photograph of Robert L. Johnson

Photograph by: Williams, Milton, American, born 1940
Subject of: Johnson, Robert L., American, born 1946; Black Entertainment Television, American, founded 1980

Medium: silver and photographic gelatin on photographic paper
Dimensions: H x W (Sheet): 8 x 10 in. (20.3 x 25.4 cm); H x W (Image): 6 1/2 x 9 5/8 in. (16.5 x 24.4 cm)

Type: gelatin silver prints; portraits

Place depicted: Washington, District of Columbia, United States, North and Central America

Date: June 5, 1981

Caption: Robert (Bob) L. Johnson, president and founder of Black Entertainment Television (BET), in his Washington, DC Georgetown office in the early days of BET's evolution. June 5, 1981. The channel launched in 1980 and became a full-fledged cable channel in 1983.
Description: A black-and-white photograph of Robert L. Johnson sitting behind a desk. He is adjusting a television knob with his right hand. He is looking directly at the camera. The photograph is stamped and inscribed on the back.

Topic: African American; Local and regional; Mass media; Photography; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Milton Williams Archives

Object number: 2011.15.326

Restrictions & Rights: © Milton Williams

See more items in: National Museum of African American History and Culture Collection
Classification: Media Arts-Photography
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Black wireless microphone used on The Oprah Winfrey Show

Manufactured by: Sennheiser, German, founded 1945
Used by: Winfrey, Oprah, American, born 1954
Subject of: Harpo, Inc., American, founded 1986

Medium: plastic, metal, wire, and foam
Dimensions: H x W x D: 10 1/2 × 2 1/8 × 2 1/8 in. (26.7 × 5.4 × 5.4 cm)

Type: microphones

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

Date: 1986-2011

Description: A black wireless, handheld microphone used by Oprah Winfrey on The Oprah Winfrey Show. The metal grill at the top of the microphone is covered with a black foam windscreen. The microphone has a cylindrical handle that is a silver-blue toned metal, with a black shaft that has been attached up one side and that protrudes below the rest of the handle. A small rectangular display screen is placed on the black shaft below the windscreen, with the brand "SENNHEISER" printed in gray along the shaft below the display screen. A clear or black square adhesive label with the number "1" typed on it is attached below the brand name. The portion of the black shaft that protrudes below the rest of the handle has an angular bottom with a flattened point. Text with manufacturer and technical information is printed in gray on the black plastic on the bottom of the protruding shaft. A red on/off toggle switch is placed at the back of the handle base opposite the protruding shaft portion. Additional technical information is etched into the bottom of the blue-tinted portion of the handle.

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

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

Object number: 2014.324.2

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Tools and Equipment-Audiovisual
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Gold wireless microphone and black case used on The Oprah Winfrey Show

Manufactured by: Shure, founded 1925
Used by: Winfrey, Oprah, American, born 1954
Subject of: Harpo, Inc., American, founded 1986

Medium: .1ab: plastic, metal, gold plate, wire, and foam; .2: plastic, foam, and ink on adhesive paper
Dimensions: H x W x D (.1ab): 9 15/16 × 2 × 2 in. (25.2 × 5.1 × 5.1 cm); H x W x D (.2 (open)): 10 1/4 × 10 13/16 × 9 7/8 in. (26 × 27.5 × 25.1 cm); H x W x D (.2 (closed)): 8 11/16 × 10 7/8 × 2 9/16 in. (22.1 × 27.6 × 6.5 cm)

Type: cases (containers); microphones

Place used: Chicago, Cook County, Illinois, United States, North and Central America; New York City, New York, United States, North and Central America

Date: 2009

Description: A wireless gold-plated microphone (.1ab) and case (.2) used by Oprah Winfrey during episodes of Season 24 of The Oprah Winfrey Show. The hand-held microphone has a circular gold mesh wire grill with a flattened top covering the foam interior of the microphone. The grill is bisected around the sides by a band of gold-plated metal. The grill is attached to a gold-plated cylindrical handle. The handle is made from two pieces, with a small rectangular digital display screen on the top half of the handle bordered by gray plastic, with "G1 470-530 MHZ" printed in white type below it. A smaller round-edged cylindrical piece of black plastic protrudes from the bottom of the handle with the text "SHURE" in relief on the tip and an On/Off switch where the tip meets the handle. The bottom half of the handle (b) screws off to reveal a battery chamber that holds two (2) AA batteries. Opposite the battery chamber is a digital push-button menu with four (4) buttons reading clockwise from top: up-facing arrow, "enter", down-facing arrow, "exit". The button menu is directly below the digital display screen on the exterior of the top half of the handle. Beneath the buttons is a manufacturer's label with serial and model numbers, and a key for the menu buttons.; .2: A black hard plastic briefcase-style case for the microphone (.1ab). The case is rectangular with rounded corners and a sloping angle on the top side around the handle and clasps. Gold text is painted on the front of the case reading "SHURE ®" in the top left facing corner, "UHF-R (R) Wireless Systems" in the top right facing corner, and "Audio/Reference/Companding" in the bottom left facing corner. Opaque white adhesive tape is placed at the center top edge with black typed text reading "OPRAH'S GOLD MIC". The top of the case has a rounded handle at the center, with two (2) gray plastic clasps, one on either side of the handle. There are plastic ridges on the bottom of the case that act as feet when the case is closed and standing upright. Inside the case on both the top and bottom is gray soft foam with shapes cut out to so the microphone and its components can be nested inside.

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

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

Object number: 2014.324.3.1-.2

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Tools and Equipment-Audiovisual
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Armchairs used on The Oprah Winfrey Show

Created by: Unidentified
Subject of: Harpo, Inc., American, founded 1986
Used by: Winfrey, Oprah, American, born 1954

Medium: leather, foam, wood, metal, and cloth
Dimensions: H x W x D (.1): 34 1/2 × 37 × 35 1/2 in. (87.6 × 94 × 90.2 cm); H x W x D (.2): 35 1/2 × 37 1/2 × 36 1/2 in. (90.2 × 95.3 × 92.7 cm)

Type: chairs

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

Date: 1996-1998

Description: These two ochre textured leather armchairs, both alike, were used on the set of The Oprah Winfrey Show. Each chair is shaped with a deep, rectangular seat, padded arms with a slight, rounded curve, and a padded back with a scalloped top edge. The padded seat cushion for each chair is attached at the back of the chair with two (2) lengths of black elastic with a metal D-ring that fasten to corresponding metal clips on the cushion. Four (4) dark-stained short wooden legs extend from each bottom corner of the chairs. Decorative piping in the ochre leather is sewn around the edges of the back, the front arms, and the seat cushion. Under the cushion, the chair is lined with matching ochre heavy-weight fabric. A label for the upholstery company Weber Furniture Service LLC is adhered to the lining at the front edge of the seat.

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

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

Object number: 2014.324.4.1-.2

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: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Table used on The Oprah Winfrey Show

Created by: Unidentified
Used by: Winfrey, Oprah, American, born 1954
Subject of: Harpo, Inc., American, founded 1986

Medium: a: wood and wrought iron; b: glass
Dimensions: H x W x D (ab): 17 15/16 × 42 1/4 × 42 1/4 in. (45.6 × 107.3 × 107.3 cm); H x W x D (a): 17 3/16 × 42 1/4 × 42 1/4 in. (43.7 × 107.3 × 107.3 cm); H x W x D (b): 3/16 × 34 5/8 × 34 5/8 in. (0.5 × 87.9 × 87.9 cm)

Type: coffee tables

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

Date: 1996-1998

Description: A circular wrought iron and wood table (a) with a glass top (b) used on the set of The Oprah Winfrey Show. The table base is made from wrought iron, with four (4) legs resembling a reverse scroll style, positioned in cardinal directions. Wrought iron is also formed into a non-functional shelf with a scrollwork design forming heart shapes. Below the shelf a scalloped line of wrought iron runs around the circumference of the table. The top rim of the table base is made from wood stained a dark brown, with the center of the top left open to the wrought iron heart design.; A circular glass table top (b) with a beveled edge sits on top of the wooden rim of the table base.

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

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

Object number: 2014.324.5ab

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: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Artwork featuring illustrated portraits of Della Reese

Created by: Unidentified
Subject of: Della Reese, American, 1937 - 2017

Medium: ink , paper (fiber product) , glass , metal
Dimensions: H x W (drawing): 23 5/8 × 21 1/2 in. (60 × 54.6 cm); H x W x D (frame): 27 1/4 × 24 1/4 × 3/4 in. (69.2 × 61.6 × 1.9 cm)

Type: drawings; portraits

Date: circa 1970

Description: Framed collage-style drawing featuring three images of Della Reese. The drawing is done entirely in black, gray, and white. In each image, she is pictured from the chest up, holding a microphone. The largest image is at the top right. It shows the woman with a gray streak in her black hair, her eyes closed, mouth open and hands raised. On the left, she wears a floral patterned garment, with her mouth open as if she is singing. The lowest image appears to have been done on a separate sheet of paper and overlaid with the other drawing. It shows her smiling and wearing a garment with a decorated neckline. The drawing is in a black metal frame on brown mat board with a tan border. The drawing is signed along a flower stem at lower left [dick Ell-(illegible)].

Topic: African American; Actors; Entertainers; Singers (Musicians); Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Rev. Della Reese-Lett and Mr. Franklin Lett

Object number: 2015.150.3

Restrictions & Rights: Unknown - Restrictions Possible

See more items in: National Museum of African American History and Culture Collection
Classification: Visual Arts; Memorabilia and Ephemera
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Red Starfleet uniform worn by Nichelle Nichols as Lt. Uhura on Star Trek

Designed by: Theiss, William Ware, American, 1931 - 1992
Worn by: Nichols, Nichelle, American, born 1932

Medium: synthetic velour cloth with metal and Velcro closures
Dimensions: H x W x D (flat): 27 1/2 × 22 × 3/4 in. (69.9 × 55.9 × 1.9 cm)

Type: dresses

Date: 1966-1967

Description: This red Starfleet uniform was worn by Nichelle Nichols as the character Lt. Uhura on the television show Star Wars. The red mini-dress is made from synthetic velour fabric with gold braid details and a black knit collar. The dress has full-length fitted sleeves, with a band of gold braid sewn around each sleeve approximately three (3) inches above the cuff hem. The dress closes with a metal invisible zipper that begins below the proper left front waist and ends at the proper left top shoulder, running across the front rather than at the side of the bodice. The zipper is left loose for several inches at the bottom before being joined to the fabric at the waist line. The skirt closes by snapping the proper left front with one (1) black metal snap at the proper right front, then with the proper right front skirt fastening on top of the left with one (1) black metal snap at the proper left front near the zipper. The back of the skirt has a slit reaching up to the waist seam. The black knit standing collar is asymmetrical, being deeper at the proper left front. The left side and back portion of the collar is not attached to the neck of the bodice, but is snapped in place around the interior neck with four (4) black metal snaps. A v-shaped patch with gold lame fabric and black embroidery is sewn with the point facing upward at the proper left front chest, with the proper left half of the patch not sewn down. This half of the patch is backed with black Velcro, fastening over the closed zipper.; The dress is not lined and there are no labels in the dress. Two (2) hanger loops are sewn in the interior, one at the center back neck and one at the proper left shoulder, both made from grosgrain ribbon.

Topic: African American; Actors; Clothing and dress; Costume; Science; Television; Women

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

Object number: 2016.126

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Clothing-Costume
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Harpo Studios jacket worn by Bill Camacho on set of The Oprah Winfrey Show

Manufactured by: Hilton Apparel, founded 1980
Worn by: Camacho, Bill, American
Subject of: Harpo, Inc., American, founded 1986

Medium: synthetic fiber, leather, nylon thread, and metal fasteners
Dimensions: H x W x D (on form): 27 1/2 × 26 × 13 1/2 in. (69.9 × 66 × 34.3 cm)

Type: jackets

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

Date: 1990-2011

Description: This jacket was worn by Bill Camacho during his employment as a crew member for The Oprah Winfrey Show. The body of the jacket is made from heavy black synthetic fleece while the full-length sleeves and the standard collar are made from caramel colored leather. The jacket closes at the center front with a black metal zipper and three (3) metal snaps, one at the center front neck and two at the waistband. The cuffs and the waistband are made from ribbed black synthetic fabric. There are two (2) patch pockets with flap closures, one at each front side waist. The flaps close with one (1) metal snap at the center. Two (2) welted pockets, with the welts made from the caramel leather, open vertically at the exterior side of each front waist patch pocket. The name "Camacho" is machine-embroidered in white thread at the proper left front chest. A large design in silver, teal, yellow, purple, and black thread is embroidered at the center back across the shoulders. The design features an oval sign with the text "HARPO / STUDIOS" inside it. The sign is above a building placed catty-corner and with a banner on the building reading "THE OPRAH WINFREY SHOW".; The jacket is fully lined in a black synthetic fabric that is quilted in a grid set on point throughout. There is one (1) welted pocket at the interior proper left waist with the welts made from the caramel leather. White stabilizing material is present where the reverse of the designs on the back and left chest are embroidered. There is a manufacturer's tag sewn at the interior center back neck that reads "HILTON / ACTIVE APPAREL / RN 71661 / MADE IN THE U.S.A." with two smaller tags below it, one indicating size and the second identifying the item as made in the United States.

Topic: African American; Clothing and dress; Communication; Entertainers; Labor; Mass media; Television

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

Object number: 2016.7.1

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Clothing-Historical
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Red suit worn by Oprah Winfrey during the car giveaway on The Oprah Winfrey Show

Designed by: Céline, French, founded 1945
Worn by: Winfrey, Oprah, American, born 1954
Subject of: Harpo, Inc., American, founded 1986

Medium: .1: wool and nylon blend cloth with plastic buttons; .2: wool and nylon blend cloth with metal fasteners
Dimensions: H x W x D ((.1-.2) on form): 39 1/4 × 23 × 11 1/2 in. (99.7 × 58.4 × 29.2 cm); H x W x D ((.1) on form): 22 1/2 × 23 × 11 1/2 in. (57.2 × 58.4 × 29.2 cm); H x W x D ((.2) on form): 24 3/4 × 14 1/2 × 10 1/2 in. (62.9 × 36.8 × 26.7 cm)

Type: jackets; skirts

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

Date: 2004

Description: This red suit, consisting of a jacket (.1) and skirt (.2), was designed by Céline and worn by Oprah Winfrey on an episode of The Oprah Winfrey Show that aired in September 2004. The suit is made from a red wool and nylon blend boucle fabric. The fitted jacket has a shawl collar with an open neckline and closes proper right side over left side at the center front with two (2) large round brown tortoise-shell plastic buttons with the text "CELINE" etched on them and two (2) smaller buttons of the same design. The two (2) smaller buttons cannot be seen from the facing side. Two (2) additional decorative large round buttons of the same design are sewn on the proper right side corresponding to the placement of the functioning buttons on the proper left side. The 3/4-length sleeves are cut straight and do not have cuffs. The back of the jacket has seaming and pleating for a form-fitting silhouette, though the waistband around the front and back has a slight flare. The interior of the jacket is not lined. There are two (2) red transparent plastic buttons on the interior proper left front side that are backing the large tortoiseshell buttons on the facing side for stabilization. The large buttons on the proper right side are stabilized by the smaller tortoiseshell buttons. Three (3) labels are sewn at the interior center back neck. The top label is white fabric with gray embroidered text reading "FINITION MAIN." The middle label is sewn to the bottom edge of the top label and is white fabric with gray embroidered text reading "CELINE". The bottom label is sewn to the bottom edge of the middle label and is white paper with black preprinted text and handwritten black ink text with style, size, fiber content, and care information.; The pencil skirt (.2) falls just below the knee and has an 8-inch slit at the center back. The skirt closes at the center back waist with one (1) metal hook-and-eye and a red metal invisible zipper. The skirt is not lined. There are three (3) labels sewn at the interior back to the proper left of the zipper. The top label is white fabric with gray embroidered text reading "CELINE". The next label has sizing information. Sewn to the bottom of the top label and behind the size label is a white paper label with black preprinted text and handwritten black ink text with style, size, fiber content, and care information.

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: 2016.7.3.1-2

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Clothing-Costume
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Three red car bows from the car giveaway episode of The Oprah Winfrey Show

Manufactured by: Unidentified
Used by: Harpo, Inc., American, founded 1986

Medium: .1: synthetic velvet ribbon, elastic cord, and foam; .2: synthetic velvet ribbon, elastic cord, and foam; .3: synthetic velvet ribbon, elastic cord, and wire
Dimensions: H x W x D (.1): 44 × 19 1/2 × 9 in. (111.8 × 49.5 × 22.9 cm); H x W x D (.2): 50 × 22 1/2 × 10 in. (127 × 57.2 × 25.4 cm); H x W x D (.3): 8 × 21 1/2 × 19 1/2 in. (20.3 × 54.6 × 49.5 cm)

Type: memorabilia

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

Date: 2004

Description: .1: A red bow made from synthetic velvet ribbon that was placed on a car for an audience giveaway on The Oprah Winfrey Show in 2004. The multiple loops of the bow are held together with red elastic cord. Two tails with bias cut ends extend below the bow. There are (2) strips of adhesive foam with a protective cover over them, one on each tail near the bow.; .2: A red bow made from synthetic velvet ribbon that was placed on a car for an audience giveaway on The Oprah Winfrey Show in 2004. The multiple loops of the bow are held together with red elastic cord. Two tails with bias cut ends extend below the bow. There are (2) strips of adhesive foam with a protective cover over them, one on each tail near the bow.; .3: A red bow made from synthetic velvet ribbon that was placed on a car for an audience giveaway on The Oprah Winfrey Show in 2004. The multiple loops of the bow are held together with red elastic cord. Green thread-wrapped wire is holding some of the loops together as well. The bow has no tails.

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: 2016.7.4.1-3

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Classification: Memorabilia and Ephemera; Tools and Equipment-Props and set design
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Letter to Oprah Winfrey from L'Wren Scott with autographed envelope

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

Medium: ink on paper
Dimensions: H x W (a): 4 × 6 1/4 in. (10.2 × 15.9 cm); H x W (b): 4 5/8 × 6 1/2 in. (11.7 × 16.5 cm)

Type: letters (correspondence)

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

Date: July 1, 2011

Description: A handwritten notecard (a) on personal stationery with the name "L'WREN SCOTT" printed in black ink at the center top of the front side of the paper. In the note, Scott thanks Oprah Winfrey for wearing Scott's clothing designs in the final episodes of The Oprah Winfrey Show. The note is accompanied by an envelope (b) that is signed across the seal on the reverse by Scott.

Topic: African American; Actors; Communication; Correspondence; 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: 2016.7.8ab

Restrictions & Rights: Unknown - Restrictions Possible

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Jet vol. 75 no. 12

Written by: Unidentified
Photograph by: Natkin, Paul, American
Edited by: Johnson, Robert Edward
Published by: Johnson Publishing Company, American, founded 1942
Subject of: Winfrey, Oprah, American, born 1954

Medium: ink on paper with metal
Dimensions: H x W x D (Closed): 7 3/8 × 5 3/16 × 3/16 in. (18.8 × 13.1 × 0.4 cm); H x W x D (Open): 7 3/8 × 10 3/16 × 1 1/8 in. (18.8 × 25.9 × 2.8 cm)

Type: magazines (periodicals)

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

Date: December 19, 1988

Description: Jet Magazine, volume 75, number 12 from December 19, 1988. The front cover features a color image of Oprah Winfrey. Winfrey is depicted standing on stage in front of a gray, fabric covered chair. She is wearing a black turtleneck, jeans, and a black belt with a heavy silver toned buckle. In her proper left hand she is holding a microphone close to her mouth. Her proper right arm is raised out to her side to chest level and her hand in in a fist. Behind her are white and pink sheer curtains. The main cover line, at the top right edge of the cover, is printed in black and red type that reads, [OPRAH / WINFREY / Says She Shed / 67 POUNDS / For Herself, / Not For / Love]. In the top left corner of the front cover is the mast head in red text [JET] on the left side, and the date line, price, and publisher is printed above in blue text that reads, [Dec.19, 1988/$1.25 64060 A JOHNSON PUBLICATION]. An upside-down mailing address is affixed to the center, bottom third of the front cover. The interior pages are white with black and red text, black-and-white photographs, and color photographs. The cover article about Oprah Winfrey’s weight loss is printed on page twenty-eight (28). The back cover features an advertisement by Philip Morris for Marlboro Lights. This magazine issue is sixty-six (66) pages.

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

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Rhea L. Combs

Object number: 2017.72.2

Restrictions & Rights: © 1988 Johnson Publishing Co., Inc. Permission required for use.

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Oprah Winfrey vol. 1

Written by: LaBello, Joshua
Illustrated by: Tartamella, Vinnie, American
Published by: TidalWave Productions, American, founded 2001
Subject of: Winfrey, Oprah, American, born 1954

Medium: ink on paper
Dimensions: H x W x D (Closed): 10 3/16 × 6 5/8 × 3/16 in. (25.9 × 16.8 × 0.5 cm); H x W x D (Open): 10 3/16 × 13 1/16 × 7/8 in. (25.9 × 33.1 × 2.2 cm)

Type: comic books

Place printed: Vancouver, Clark County, Washington, United States, North and Central America
Place depicted: Kosciusko, Attala County, Mississippi, United States, North and Central America; Milwaukee, Wisconsin, United States, North and Central America; Nashville, Davidson County, Tennessee, United States, North and Central America

Date: September 2009

Description: Female Force: Oprah Winfrey, volume 1 from September 2009. The front cover features a graphic illustration of Oprah Winfrey. Winfrey is depicted off center in bust pose against a brown gradient background. She is facing the viewer with her proper left shoulder held slightly forward. She is wearing a dark red shirt and gold, double hoop earrings. At the top of the comic book is a red banner with three (3) white stars and the series title, [FEMALE FORCE], printed in yellow text. Below, in white-and-red shadowed text is the title of the comic book, [Oprah Winfrey]. Next to Winfrey’s proper right shoulder is the cover illustration’s date and the artist’s signature, [08[double underlined] / Vinnie]. There is a white barcode in the bottom right corner. Below is the issue number, [1], circled in blue and printed in white. The price and date are printed to the right in white text that reads, [$3.99 / SEPT ‘09]. In the bottom left corner is the publisher’s logo, a circle with a light and dark blue wave graphic and a banner of blue-and-white gradient text and white text that reads, [BLUEWATER / COMICS]. The interior pages feature color, illustrated panels, text narrative, and advertisements. On the back cover is an advertisement of Otfaw.com and the edition of the Female Force comic featuring Stephenie Meyer. This issue is twenty-five (25) pages.

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

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Rhea L. Combs

Object number: 2017.72.3

Restrictions & Rights: © Bluewater Productions and Darren G. Davis. Permission required for use.

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

The Courier-Journal Magazine June 5, 1988

Written by: Hill, Bob
Illustrated by: Unidentified
Published by: The Courier-Journal, American, founded 1868
Subject of: Winfrey, Oprah, American, born 1954; Rivera, Geraldo, American, born 1943; Raphael, Sally Jessy, American, born 1935; King, Larry, American, born 1933; Donahue, Phil, American, born 1935

Medium: ink on newsprint
Dimensions: H x W x D (Closed): 11 9/16 × 10 1/8 × 1/16 in. (29.4 × 25.7 × 0.2 cm); H x W x D (Open): 11 9/16 × 19 3/4 × 11/16 in. (29.4 × 50.2 × 1.8 cm)

Type: magazines (periodicals)

Place printed: Louisville, Jefferson County, Kentucky, United States, North and Central America

Date: June 5, 1988

Description: The Courier Journal Magazine from June 5, 1988. The front cover features color, illustrated caricatures of five (5) talk show hosts set against a blue background. The talk show hosts depicted include: Oprah Winfrey, Geraldo Rivera, Sally Jessy Raphael, Larry King, and Phil Donahue. Winfrey is centrally depicted from the waist up, with her body turned slightly towards the left edge of the magazine. She is wearing a purple dress, holding a microphone in her proper right hand, and has her proper left hand extended in front of her. Phil Donahue is depicted in the far right foreground. He is facing the right edge of the magazine. He is wearing a black suit, white collared shirt, and a red tie. His is leaning on his raised, proper left knee and is holding the microphone in both hands. To the left of Winfrey is Rivera. He is depicted facing the viewer and is wearing a brown suit, a white collared shirt, and a green tie. He is holding a microphone in his proper left hand. To the right of Rivera, and above Winfrey, is King. He is depicted from the shoulders up, wearing a blue collared shirt and large, black rimmed glasses. He is facing the viewer and is holding a microphone in his proper right hand. To the right of King, and above Winfrey and Donahue, is Raphael. She is depicted wearing a red dress and red rimmed glasses. She is facing the viewer and is holding both hands on either side of her head. The main cover line, in the bottom right corner of the front cover, is printed in red and black type in varying fonts that read, [TV TALK / SHOWS / SANE OR / PSYCHO?]. The mast head and date is printed in the top third of the magazine cover in black and orange text that reads, [The Courier-Journal / June 5, 1988 / MAGAZINE]. The interior pages are white with text, illustrations, black-and-white photographs, and color photographs. The cover article is printed on page ten (10). The back cover features an advertisement and coupons for Bonanza restaurants. This issue is twenty-four (24) pages.

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

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Rhea L. Combs

Object number: 2017.72.4

Restrictions & Rights: © 1988 The Courier-Journal. Permission required for use.

See more items in: National Museum of African American History and Culture Collection
Classification: Documents and Published Materials
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source: National Museum of African American History and Culture

Advertisement for WLAC-TV Eyewitness News at 10

Published by: Unidentified
Subject of: Winfrey, Oprah, American, born 1954; Mason, Vic; WLAC-TV, American, founded 1954

Medium: ink on newsprint
Dimensions: H x W: 1 3/4 × 4 3/4 in. (4.5 × 12 cm)

Type: advertisements

Place used: Nashville, Davidson County, Tennessee, United States, North and Central America

Date: 1976

Description: A newsprint advertisement featuring a black-and-white images of WLAC-TV co-anchors, Oprah Winfrey and Vic Mason. Winfrey and Mason are visible from the chest up. Both are facing the viewers and smiling. Mason is on the far right. He is wearing a dark suit jacket and a light toned, button down shirt. Winfrey is depicted behind Mason's proper left shoulder. She is wearing a wearing a light toned, collared garment. The text on the left side of the advertisement reads [5 / takes you / there / live. / Eyewitness News at 10 / Vic Mason / and Oprah Winfrey]. The back of the advertisement features an advertisement for Jim Walter Homes.

Topic: African American; Actors; Journalism; Mass media; Television

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

Object number: 2018.15.1

Restrictions & Rights: Unknown - Restrictions Possible

See more items in: National Museum of African American History and Culture Collection
Classification: Memorabilia and Ephemera-Advertisements
Exhibition: Watching Oprah: The Oprah Winfrey Show and American Culture
On View: NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

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

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, 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

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

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

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

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