1100 Jefferson

The First Ladies Exhibition: Changing Fashions, Changing Roles

As a Baltimore native, I’m no stranger to the Smithsonian museums. Many elementary school field trips were spent visiting the National Mall and the surrounding area. I vividly remember my first trip when I was in the third grade. My class boarded the big yellow school buses and made our way down to D.C. where we were allowed to choose any museum to visit on the Mall. I can recall being rather confused when I saw that the Mall was a big grassy area and not an upscale shopping center. Nevertheless, I quickly adjusted and made my way to the National Museum of American History with the rest of my group.

Back then, the Star-Spangled Banner Flag still hung in the entranceway, and the museum looked much different than it does now. I remember being excited to see Dorothy’s Ruby Slippers, but my favorite part was definitely seeing the First Ladies’ gowns. It still is. Though the National Museum of American History has changed several times during its 50 year history, the First Ladies’ gowns have remained an important and beloved attraction.

The exhibit even predates the American History Museum. In 1912, Cassie Mason Myers, Julian James, and Rose Gouverneur Hoes, descendents of James Monroe, offered to establish an exhibition of historical clothing for the Smithsonian Institution. Helen Taft enthusiastically supported the idea and donated her 1909 inaugural gown, thus launching a precedent that First Ladies have followed ever since. Prior to the establishment of the National Museum of American History, the gowns were displayed in the Arts and Industries Building.

While the early versions of the exhibit focused primarily on fashion, the current display highlights the First Ladies’ contributions to the presidency and to American society. The Smithsonian Associates is hosting a lecture that explores these contributions, as well. Attendees can join Lisa Kathleen Graddy , the museum’s deputy chair and curator of the division of political history, as she shares insights into the exhibition during her seminar The First Ladies Exhibition: Changing Fashions, Changing Role on March 12. Michelle Obama’s 2008 inaugural gown will be on display at the event and available for a memorable photo op.

In preparation for the event, I decided to pay a visit to my favorite exhibit. I’ve often just paid attention to the gorgeous gowns on display, but today I took the time to read some of the informational plaques. As a result, I learned a lot about the role of the First Lady and how it has evolved. For example, White House hostesses have been referred to as everything from “Lady Presidentress” to “Republican Queen.” It wasn’t until the mid-19th century that citizens began to refer to the role as the First Lady.

I make the distinction of using the term White House hostesses above because, as it turns out, not all First Ladies were the wives of the President. I had just assumed that everyone aside from bachelor President James Buchanan had their wife featured in the role. Such is not the case. While the role is usually taken on by the President’s wife, if the President was a bachelor or widower or if his wife was unable to serve, he chose a family member or close friend to act as hostess.

All 46 First Ladies line the wall of the exhibit with pictures noting their time in the position and relation to the President. I was surprised to learn how young some of the First Ladies were. All three of the youngest women to serve in the position were 21. I’m 21. While I don’t mind having people over to my apartment from time to time, I certainly can’t imagine playing hostess for important diplomats and representing the women of the nation. The youngest were as follows: Emily Donelson, niece of Andrew Jackson (served 1829-1831); Angelica Singleton Van Buren, daughter-in-law of Martin Van Buren (served 1839-1841); and Frances Folsom Cleveland, wife of Grover Cleveland (served 1886-1889 & 1893-1897). On the other end of the spectrum, the oldest First Lady was Barbara Bush, wife of George H. W. Bush who began her time as First Lady at age 63.

You can learn more about the women at Wednesday’s event, so let’s get back to the gowns. The Smithsonian asks each First Lady to donate something to represent herself in the collection. It has become tradition for that to be an inaugural ball gown, but other gowns are featured. The current display features over two dozen gowns, but the Smithsonian has much more in its collection. The oldest gown belonged to Martha Washington. Unfortunately, many of these older dresses have become damaged as a result of light, climate, and gravity during their time on display and can no longer be exhibited. In order to preserve the gowns still in good condition, the dresses are rotated on and off display. I think that just gives me another excuse to return! 

Tickets to The First Ladies Exhibition: Changing Fashions, Changing Roles are $30 for members and $42 for general admission. The event will be held on Wednesday, March 12, 2014 from 6:45 p.m. to 8:45 p.m in the Warner Bros. Theater of the National Museum of American History. Tickets are available here.

Written by Courtney Guth, social media intern at The Smithsonian Associates.

Beyond Bollywood: Indian Americans Shape the Nation

Do you ever just need to get out of the office? After a few hours of mailings and meetings, a little break to clear your head can become a necessity. My life as an intern isn’t too hectic, but even I need to step outside from time to time. Fortunately, my break from the office isn’t just a stroll around the block; it’s a chance to visit some of the great resources along the National Mall.

I feel very blessed to work right on the Mall, and I try to take advantage of it as much as I can. Whether I’m snapping pictures for Instagram in the National Museum of American History (my personal favorite) or grabbing lunch with a friend below the National Gallery of Art, I try to make it out of the office at least once a day. Today’s trip involved a visit to a new exhibit at the National Museum of Natural History.

Adventure awaits inside the National Museum of Natural History!

Beyond Bollywood: Indian Americans Shape the Nation opened at the National Museum of Natural History last week, and The Smithsonian Associates is offering a private tour. Attendees can join Masum Momaya, curator at the Asian Pacific American Center, for a tour before the museum opens to the public. Momaya will discuss her fascinating experiences working on Beyond Bollywood, and the process of assembling and designing a major Smithsonian exhibition.

While I didn’t have the opportunity to go on a private tour today, I figured I could at least give you a little preview of the exhibit during my afternoon adventure. I made my way across the snow-covered mall to the museum. After asking the friendly security guard for directions, I headed to the second floor past the gemstones exhibit and IMAX Theater. Upon entering the Beyond Bollywood exhibit, I was greeted with the soothing sounds of a strumming sitar piped in from the overhead speaker. The warm yellow and fuchsia color scheme of the exhibit provided a striking contrast to the cold, gray day I had just left outside.

Beyond Bollywood: Indian Americans Shape the Nation seeks to highlight the history and experiences of Indian Americans over the past several centuries. The exhibit is filled with insights into Indian American culture, offering information on everything from traditional Indian cooking to religious practices. For example, one section showcases Indian Americans’ diverse religious perspectives with a wall of quotes. It notes that Indian Americans practice Hinduism, Buddhism, Judaism, Christianity, Islam, Sikhism, Jainism, Zoroastrianism, or even nothing at all.

The exhibit takes the time to focus on both the well-known and lesser-known accomplishments of Indian Americans. I learned that one out of every one hundred Americans is Indian American; 73% of National Spelling Bee winners since 1999 are Indian American; more than one out of every ten Indian Americans is a doctor, dentist nurse, or physical therapist; and 15% of companies in Silicon Valley were founded by people of Indian origin.

One wall of the exhibit specifically focuses on famous Indian Americans and their accomplishments. It features figures from film (M. Night Shyamalan), fashion (Naeem Khan), scriptwriting (Mindy Kaling), science (Hargobind Khorana), and sports (Brandon Chillar). The exhibit does a great job of encouraging visitors to think Beyond Bollywood when considering the legacy of Indian Americans.

There’s much more within the exhibit, but I don’t want to give it all away! You’ll have to take a break from the office and see for yourself.

Tickets to Behind the Scenes at the Beyond Bollywood Exhibition are $25 for members and $35 for general admission. There are two tour dates available: Tuesday, March 11 or Wednesday, March 19. Both tours are from 8:30 a.m. to 10:00 a.m. and will depart from the Constitution Ave lobby of the National Museum of Natural History. Tickets are available here.

Written by Courtney Guth, social media intern at The Smithsonian Associates.

Hollywood DC: What the Movies Get Right & Wrong About Washington

 

The other weekend, I had my friend Emily over for one of our frequent movie nights. We’re big on classic cinema, often opting for the golden-age standards like Roman Holiday or Gone with the Wind. However, this time around we were in a “history-meets-action ” sort of mood and went with National Treasure. While we were watching, Emily kept commenting on the ridiculous plot revolving around Nicholas Cage’s attempt to steal the Declaration of Independence.

While this chatter might annoy another movie viewer, I felt compelled to listen. You see, Emily interns at the National Archives.

“I get asked so many questions about National Treasure when I’m in the rotunda,” Emily laughed, adding, “The movie wasn’t even filmed there.”

Such is the case with a lot of films. Filmmakers often find it easier (and cheaper) to re-create some of Washington’s famous features within the security of studio soundstages. But what about the movies that do make it to the Mall?

On Tuesday, I had the chance to find out when I attended the Smithsonian Associates' event, Hollywood DC: What the Movies Get Right—and Wrong—About Washington. I consider myself a bit of a film buff, so I was excited to learn about the relationship between the movies and this city I’ve grown to know over the past few months I’ve spent working here. The event featured Mike Canning, author of Hollywood on the Potomac: How the Movies View Washington, DC. Canning spoke to a sold out crowd eager to learn movie trivia and share their own opinions.

Canning at the Podium

Canning began with a slideshow featuring iconic stills from some of Washington’s most famous movies. The slideshow included Mr. Smith Goes to Washington (1939), Born Yesterday (1950), Advise and Consent (1962), The Exorcist (1973), All the President’s Men (1976), Broadcast News (1986), In the Line of Fire (1993), and Minority Report (2002). As he moved through the slides, Canning offered a fresh perspective of Washington, D.C. as a filming location and provided the audience with little tidbits of trivia.

For example, the house used in The Exorcist (located at 3600 Prospect Street) required filmmakers to construct an additional bedroom to the house in order for the priest to fall down the stairs onto M Street. The addition was removed post-production, but the rest of the house still stands. I’ll have to pay it a visit next time I make the pilgrimage for Georgetown cupcakes .

Moving from stills to action, Canning continued his presentation with some clips highlighting the good and the bad of Washington, D.C. films. In terms of what Hollywood got right, Canning praised Mr. Smith Goes to Washington and All the President’s Men, noting that Mr. Smith was the first big motion picture to bring Washington, D.C. to people across the nation.

In a time before the internet and easy means of travel, the theatregoers of 1939 didn’t have the opportunities to visit the capital that tourists do today. Canning believes that Mr. Smith did a great job of educating the American people about how the government works. He also commended director Frank Capra’s attention to detail. Capra wanted to shoot scenes in the actual Senate chamber, but congressional rules prevented him from doing so (and still prevent moviemakers from doing so today). In order to get it right, Capra spent over $100,000 building a duplicate chamber in Hollywood that mimicked almost every detail.

Capra on set of Mr. Smith Goes to Washington (1939)
(Credit: DGA Archives)

As far as what Hollywood got wrong, Canning chose to single out The Contender (2000) and No Way Out (1987). Sometimes filmmakers get things wrong physically and other times they get things wrong in the script. The Contender fits the bill of the latter. In one of the final scenes of the film, which Canning showed for the audience, the President (Jeff Bridges) calls for a joint session of Congress. The President does not have the power to do so. Only Congress can. At the end of his dramatic speech, Bridges calls for a “live roll call” to confirm his nomination. Canning notes this as “an unheard of—and utterly unconstitutional —procedure.” He chided the writers/directors, and in his book suggests they “could have brushed up on a little Civics 101.”

In another goof from the film, the President turns to look over his right shoulder to address “Mr. Speaker,” but the Speaker is always seated over the President’s left shoulder. Interestingly enough, I later found out that the actor who played the Speaker of the House was in the audience at our event. His name is Austin Hay, and he has been an extra in many DC movies. Hay was featured several years ago in a Washington Post article.

You may be wondering, what was Hollywood’s most egregious goof? Canning thinks it’s the Georgetown chase scene in No Way Out (1987). In the film, Lt. Cdr. Tom Farrell (Kevin Costner) tries to escape two hit men as he travels down the Whitehurst Freeway. He abandons his car and jumps over the freeway barrier into Georgetown. After running down K Street and then down the C&O Canal Path, Costner ducks into a metro station labeled “Georgetown.” There is no Georgetown metro stop. There has never been a Georgetown metro stop. Georgetown residents vehemently protested having the metro system in their neighborhood. In his book, Canning notes that “when [he] first saw this film in the fall of 1987 at the DC cinema…the packed audience exploded in laughter and derision.”

Working Hard or Hardly Working?
Research makes my job fun

For those interested in further D.C. film trivia and analysis, Canning’s book is a great read. Hollywood on the Potomac covers almost 60 Washington, D.C. based films spanning from Mr. Smith Goes to Washington to 2011’s J. Edgar. The book is filled with insightful commentary and other fun goofs. As mentioned at the event, the book includes Canning’s Top 10 Washington Movies. I’ve provided it here for your next snow day or long weekend of movie binging:

Canning’s Top 10 Washington Movies
(In Chronological Order)

1. Mr. Smith Goes to Washington (1939)
2. Born Yesterday (1950)
3. The Day the Earth Stood Still (1951)
4. Seven Days in May (1964)
5. All the President’s Men (1976)
6. Being There (1979)
7. Broadcast News (1987)
8. A Few Good Men (1992)
9. In the Line of Fire (1993)
10. Slam (1998)

You’ll have to read the book to find out the reasoning behind his list, but in the meantime, happy viewing! I think my next movie night with Emily will have to include Night at the Museum: Battle of the Smithsonian.

Written by Courtney Guth, social media intern at The Smithsonian Associates.

The Incomparable Ella (Part Two)

After spending the past few days listening to nothing but jazz in my cubicle, the day finally arrived. Last Thursday, I had the opportunity to attend our Incomparable Ella event and learn more about the woman whose music frequently gets me through the day. Although Ella really needs no introduction, for those not in the know, I am talking about the “First Lady of Song” and the “Queen of Jazz,” Ella Fitzgerald.

At Thursday’s event, John Edward Hasse, co-curator of the long-running Smithsonian exhibition Ella Fitzgerald: First Lady of Song and curator of American music at the National Museum of American History traced Ella’s evolution from amateur night performer at the Apollo Theater to one of America’s most iconic singers. Although, I am familiar with her music, I never really took the time to learn about the woman behind the belting and be-bopping.

Hasse began where any biography should: Fitzgerald’s humble roots. She was born just south of Washington, D.C. in Newport News, VA. Her father deserted her and her mother when Fitzgerald was very young. Her mother soon remarried and moved Ella to Yonkers, NY along with her new step-father. Fitzgerald’s mother passed away in 1932, when Ella was just 15. After allegedly suffering abuse from her step-father, Fitzgerald ran away and began living on the streets.

In order to support herself, Fitzgerald began entering amateur performance competitions in Harlem where she volunteered at the Apollo Theater. Hasse explained that she was heavily influenced by the great scat and jazz performers of the late 1920s, including the Boswell Sisters and Louis Armstrong. Although Fitzgerald clearly had talent, she did not get her big break at the Apollo. Even after winning the competition, the theatre’s band leader would not hire her because he did not think she was beautiful enough.

 
The Boswell Sisters were one of Fitzgerald's main influences

Fitzgerald finally did receive her big break when she joined Chick Webb’s band in 1937. From there, she began what Hasse described as “an extraordinarily fast rise [to fame].” Her tune, “A-Tisket A-Tasket” became a smash hit and landed her a role singing it in an Abott & Costello film. She began headlining Chick Webb’s band through the big band era of the 30s and 40s. After World War II, Fitzgerald began her solo career and evolved from a strictly swing singer into other genres.

Fitzgerald achieved great popularity as she began recording her series of “The Great American Songbook,” interpreting the notable artists and composers of the day like Cole Porter, Duke Ellington, Irving Berlin, and George and Ira Gershwin. Her recordings broke new ground and brought her to new audiences, allowing her to achieve international fame.

However, such fame comes with a price. As a woman of color, Fitzgerald was not always widely accepted. However, Hasse explained, “She would never talk about such discrimination…she preferred to put that behind her and let her music be her beacon to the world.” Fitzgerald’s perseverance and positive attitude paid off as she continued to experience success throughout her life.

The latter portion of Hasse’s lecture focused on Fitzgerald’s musical abilities and featured several clips from a special with Frank Sinatra called, A Man and His Music:

 
Frank Sinatra and Ella Fitzgerald

I was already well aware of Ella’s musical greatness, but I enjoyed hearing what it was exactly that made her so great. According to Hesse, Fitzgerald had absolute control of pitch and a 3.5 octave range as well as “an impeccable sense of swing.” One of her most notable talents was melisma, which is the singing of a single syllable while moving through various notes in succession. In terms of competition, Hesse believes “she had no peer…no equal.”

Fortunately for audiences, Fitzgerald continued her unparalleled success well into her later years. She began experiencing health problems in her 70s, including eye and heart problems, but remained at the top of her game. It wasn’t until diabetes left her crippled in 1993 that she stopped singing and swinging. Ella passed away in 1996 at age 79. 

Shortly after Fitzgerald’s death, Hesse received a letter from her attorney inquiring as to whether the Smithsonian Institution would be interested in her archives. The answer was, of course, a resounding, “yes.” The Smithsonian now has five of her GRAMMY Awards, several gowns, letters, sheet music, photos, and more. In 1998, the National Museum of American History used these artifacts to open its exhibit, Ella Fitzgerald: First Lady of Song. The exhibit was only supposed to run for nine months, but it ended up lasting for almost10 years, providing visitors a glimpse into the history of one of America’s most iconic singers.

The Smithsonian has continued to feature Ella in many of its programs ranging from music classes for middle school students to its current Smithsonian Jazz Masterworks Orchestra 2014 “Tribute to Ella Fitzgerald” Tour. Looks like I need to book myself a ticket and schedule a little getaway. Until then, I’ll continue singin’ and swingin’ in my cubicle.

Written by Courtney Guth, social media intern at The Smithsonian Associates.

Stories From an Exhibition: “Ubuhle Women” at the Anacostia Community Museum

There are 31-pieces of bead art in the exhibition “Ubuhle Women: Beadwork and the Art of Independence” at the Smithsonian’s Anacostia Community Museum. They are the creations of the women of the Ubuhle artist’s community in the rural South African province of KwaZulu-Natal. 

The art resonates with themes significant to the women’s lives—cattle, gardens, the passing of loved ones, spirituality. The huge centerpiece, The African Crucifixion, was commissioned for the Cathedral of the Holy Nativity, the Anglican cathedral in Pietermaritzburg.

The works are remarkable for their beauty and for the skill that went into crafting intricate patterns by hand-sewing tiny colored-glass beads onto black fabric canvases. Even more remarkable is the story of how these women changed their lives for the better, stitch by careful stitch.

Ubuhle was established in 1999 when white Afrikaner, Beverly Gibson (the exhibition’s co-curator), joined forces with Xhosa master beader Ntombephi Ntobela to help struggling local Xhosa and Zulu women achieve financial independence. Gibson welcomed the women to her farm where Ntobela trained them in the beadworking tradition.

The Ubuhle artists “came together basically as a result of being faced with the social issues of their time in a transitional South Africa,” says Camille Akeju, director of the museum. By creating this community, they “found a a way to support themselves and their families, and to deal with poverty, AIDS, and domestic abuse. They had found a safe haven to do their beadwork. It was how they sustained themselves. And that is an issue other communities can relate to.”

Akeju knows more than most about what it means to create a community, and what it takes to sustain it. The Anacostia Museum, which opened in 1967 an as the nation's first federally funded community-based museum, began as a cultural resource for the museum’s Southeast Washington, D.C. neighborhood. It was a “Smithsonian sampler of objects and artifacts from the other museums,” says Akeju. “It’s been transforming almost from its inception,” becoming a model for community engagement and an important repository for African American culture on a local level.

Under Akeju, who became director eight years ago, the museum has changed and widened its focus, documenting “community life in real time” and interpreting broader historical and cultural concerns of urban communities everywhere. Akeju explains that the recent exhibition, “Reclaiming the Edge: Urban Waterways and Civic Engagement,” reflected this new direction. “It was a comparative exhibition, focused on Anacostia, but showing how other urban communities reclaimed their rivers,” including Louisville, Pittsburgh, Los Angeles, and Shanghai.

As for the Ubuhle women of South Africa, “Visitors who see the exhibit are impressed by the scale of the beadwork. And then, they are moved, really taken, by the story behind it,” Akeju says.

It’s hard to imagine another museum telling it better.

Anacostia Community Museum, 1901 Fort Place, S.E.,
For more information, visit anacostia.si.edu

Written by Cecelia Reed, The Smithsonian Associates.

Ladies and Gentlemen…The Beatles!

In 1964, four mop-topped young Brits landed in America and took the world by storm. Just days after their historical debut on The Ed Sullivan Show, they made their way to the nation’s capital. On February 11th, they played their first American concert right here in DC at the Washington Coliseum. I’m, of course, referring to the Beatles. The Beatles’ popularity spans generations. Although I wasn’t alive in 1964, I’ve grown up appreciating their music. For older fans, the Beatles’ arrival may feel like it was just “Yesterday.”

To commemorate the 50th anniversary of the Beatles’ arrival in DC, the Smithsonian Associates recently partnered with the National Museum of American History to host “Ladies and Gentleman…The Beatles.” I didn’t have a “ticket to ride,” but I did have a ticket to the event where I learned a lot about the early years of the Beatles and not only their influence on American culture, but also America’s influence on them.

Bob Santelli, executive director of the GRAMMY Museum in Los Angeles, led the event featuring a conversation with Mark Lewisohn. Mr. Lewisohn is the foremost Beatles authority and writer of the recent New York Times bestseller Tune In – the first volume of his groundbreaking biographical trilogy The Beatles: All These Years. It was a wonderful opportunity for both of these speakers to “come together.”

Mr. Santelli began by asking Mr. Lewisohn about his first book. Tune In chronicles the Beatles’ journey up until 1962. At 944 pages, the book is no light read, but it sounds fascinating. Mr. Lewisohn explained that he drew inspiration from his experience chronicling the Beatles for the past 40 years. Previously, most Beatles biographies and biopicss had only been done by journalists who spent a mere 18 months on the project. The first book in the trilogy took Mr. Lewisohn 10 years to write, and he hopes the volume will “strengthen and illuminate [their] story.” He estimated that it will take him another 7 years to complete the second volume and an additional 7 years for the third. Based on the sold out crowd at the event, readers seem to be willing to “let it be,” as the detailed books are promising to be well worth the wait.

Shifting from Tune In, Mr. Santelli, steered the conversation towards the 50th anniversary. As the Beatles prepared to launch their careers, they were “tuning into one another as well as the radio and American music” according to Lewisohn. In reference to the Beatles' arrival in America and its influence on the band, Mr. Lewisohn noted, “Without American music, there wouldn’t have been The Beatles.” To prove his point, Mr. Lewisohn presented a slideshow and playlist of influences based on the songs personally chosen by the Beatles during a radio broadcast. Hearing the familiar Motown tunes felt like a trip down memory “Penny Lane.”

 

Playlist of the Beatles' Early Influences

The event concluded with an audience question and answer session where Mr. Lewisohn dispelled some popular rumors surrounding the Beatles. For example, Mr. Lewisohn insisted that “Lucy in the Sky with Diamonds” has no correlation with LSD, despite its initials. According to Lewisohn, the song’s title comes from a drawing done by Lennon’s son Julian, which he called "Lucy — in the sky with diamonds."

When asked which of the Beatles’ tunes or albums is his favorite, Lewisohn replied, “I could whittle it down to a few hundred maybe.” For someone who has dedicated the majority of his life to researching the band, it’s no surprise he can’t pick just one. I don’t think I could either. Try to pick one? “It’s all too much.”

Written by Courtney Guth, social media intern at The Smithsonian Associates.

The Incomparable Ella

If you wander past my cubicle on any given afternoon, chances are you’ll hear some subtle jazz melodies streaming from my computer, and to get ready for this week's upcoming program, I've been listening to a lot of Ella Fitzgerald. After discovering Jazz in the Garden during my first summer interning in the district, I developed a preference for lively saxophone solos and propulsive rhythms. Now, my main go-to each day in the office is my Gershwin Pandora station. While I enjoy "Rhapsody in Blue" any time it plays, I can’t help but appreciate some of the other artists who also appear from time to time.

One of my favorite Pandora “musical guests” on the station is, of course, Ella Fitzgerald. Ella’s superb solos or even her dynamic duets with Louis Armstrong are always welcome throughout my work day. Michael Jackson may be have been “The King of Pop,” but Ella’s often hailed as the “First Lady of Song” or “The Queen of Jazz,” and rightfully so. During her career spanning almost 60 years, she won an impressive 13 Grammy awards, as well as the National Medal of Arts and the Presidential Medal of Freedom.

Here at The Smithsonian Associates, we’re celebrating Ella’s outstanding legacy at our seminar, The Incomparable Ella on Thursday, February 20. Join John Edward Hasse, co-curator of the long-running Smithsonian exhibition Ella Fitzgerald: First Lady of Song, as he draws on film and video clips, rare photographs, and original recordings to provide insight into Fitzgerald’s extraordinary journey from shy orphan to beloved international celebrity.

To get you in the mood for the event, (and maybe to even get you through your own work day), here are some of Ella’s greatest hits:

 
Ella Fitzgerald- "It Don't Mean A Thing If It Ain't Got That Swing

 
Ella Fitzgerald - Summertime (1968)

 

Ella Fitzgerald - Cry Me A River (Verve Records 1961)

 

 

Ella & Louis - Cheek to Cheek

 
Ella Fitzgerald & Louis Armstrong: Dream A Little Dream Of Me

I plan to attend the event, so check back later for a new post on what I learned. 

Tickets to The Incomparable Ella are $30 for members and $42 for general admission. The event will be held on Thursday, February 20, 2014 from 6:45 p.m. to 8:45 p.m in S. Dillon Ripley Center. The program is sold out, but if you would like to be added to the waitlist, call 202-633-3030

Written by Courtney Guth, social media intern at The Smithsonian Associates.

Introducing our Spring Blogger!

1100 Jefferson  is back in full swing, and you may be wondering who is behind the most recent blog posts...

So we'd like to take a moment to introduce you to our newest blogger, Courtney Guth.

Courtney Guth is a senior English major at the University of Maryland, College Park currently seeking an answer to the age-old question “so what do you want to do with that?” Past answers include internships in marketing, public affairs, and non-profit development and communications. Courtney has a passion for writing and the latest trends in social media, and she is excited to bring her talents to the Smithsonian Associates.  In her spare time, Courtney enjoys reading, writing, traveling, and cheering on the Maryland Terrapins.

We've been incredibly lucky to have had wonderful social media interns whipping up these pieces each semester. With over 700 Smithsonian Associates programs each year, it's been no small task to get this blog off the ground, and we absolutely couldn't have done it without their talents. 

Join us in welcoming Courtney to the team!

Portraits of Power: American Presidents in the National Portrait Gallery

Long before the “selfie,” there was the portrait. For centuries, people in power have preserved their image via paintings. The Presidents of the United States are no exception. George Washington set the presidential precedent when Gilbert Stuart painted the Lansdowne portrait in 1796. While some presidents have jumped on the selfie bandwagon since then, all 43 men have continued the original tradition.

You can currently view all of the presidential portraits any time at the National Portrait Gallery, but join us on Tuesday, February 11, 2014 for a special tour. Brandon Brame Fortune, the gallery’s chief curator, discusses some of the most important portraits of our presidents, providing details about the artists who created them and how the works came into the national collections. What better time to visit than just before President’s Day Weekend?

The National Portrait Gallery houses the nation’s only complete collection of presidential portraits outside the White House. Here are some other presidential fun facts to get you in the spirit of celebration:

 

Tickets to Portraits of Power: American Presidents in the National Portrait Gallery are $20 for members and $25 for general admission. The event will be held on Tuesday, February 11, 2014 from 6:45 p.m. to 8:15 p.m in the McEvoy Auditorium of the National Portrait Gallery. Tickets are available here.

Written by Courtney Guth, social media intern at The Smithsonian Associates.

Hear from the Headliners: Washington's Top Reporters

In the world of journalism, reporters often raise a lot of questions: who, what, where, when and why? These questions cover the basic facts and will provide any journalist with that they need. However, Washington, D.C. reporters have another question on their minds. How do we cover the nation’s capital for the rest of the world while also catering to local readers? Finding the balance between local, national, and international coverage is no easy task, but the district’s top reporters are up for the challenge.

Join us for our seven week series featuring Washington’s journalistic elite. Every Monday starting February 10th, attendees will have the chance to hear from some of the industry’s best insiders. With careers spanning across television, radio, print, and online, these reporters have the inside scoop across the board and across the aisle.

To know before you go, check out who’s who in our series:

February 10th Bob Schieffer: Covering the Capital

Bob Schieffer is the host of CBS’s Face the Nation, and he has been with the network since 1969, covering national politics almost exclusively. He formerly served as the anchor of CBS Evening News on Saturdays. In Washington, he covers the big four: the White House the Pentagon, the United States Department of State, and United States Congress. Mr. Schieffer moderated presidential debates in 2004, 2008, and most recently in 2012 for the debate between President Obama and former Massachusetts governor Mitt Romney in Boca Raton, Florida.

 

 

February 24th Paul Danahar: A Foreign Correspondent’s Perspective on Washington

Paul Danahar is the Americas bureau chief for the BBC. He previously served as the BBC’s Middle East Bureau Chief, East Asia Bureau Chief and South Asia Bureau Chief during his tenure with the organization. In 2003, he was awarded as Member of the Most Excellent Order of the British Empire to recognize his contributions as Baghdad Bureau Chief.

 

March 3rd Chuck Todd: Covering the White House

Chuck Todd is NBC News' Chief White House Correspondent and hosts “The Daily Rundown” on MSNBC. Furthermore, he serves as NBC News' on-air political analyst for NBC Nightly News with Brian Williams, Today, and Meet the Press. In addition to spending time in front of the camera, Mr. Todd has worked at Johns Hopkins University as an adjunct professor where he taught graduate-level courses on political communication.

 

March 10th Martha Raddatz: Covering the State Department

Martha Raddatz is a senior foreign affairs correspondent for ABC News. At ABC, she reports for World News with Diane Sawyer, Nightline, and various other network broadcasts. Additionally Raddatz has written for The New Republic and frequently appears as a guest on PBS's Washington Week. In 2012, she moderated the Vice Presidential debate between Paul Ryan and Joe Biden.

 

 

 

March 17th Nina Totenberg: Covering the Supreme Court

Nina Totenberg is an American legal affairs correspondent for National Public Radio and has worked for the organization since 1975. Her work focuses on the activities and politics of the Supreme Court. She formerly served as a panelist on the syndicated political commentary television show Inside Washington. Ms. Totenberg is perhaps most well known for her groundbreaking report of Anita Hill’s sexual harassment allegations against Clarence Thomas.

Tom Goldstein, co-founder of the SCOTUSblog will interview Ms. Totenberg for the event. Mr. Goldstein continues to publish and occasionally contribute to the blog, often providing analyses and summaries of Supreme Court decisions. Mr. Goldstein is a founding partner of Goldstein and Howe, now Goldstein & Russell. The Washington, D.C. firm specializes in Supreme Court litigation. Mr. Goldstein has taught Supreme Court Litigation at Harvard Law School and taught at Stanford Law School, as well, from 2004-2012.

March 24th Thom Shanker: Covering the Pentagon

Thom Shanker is the Pentagon correspondent for The New York Times. He initially joined The Times in 1997 as the assistant Washington Editor where he managed coverage of national security and foreign policy from the Washington bureau. Before joining The Times he served as foreign editor of The Chicago Tribune. He has traveled all over Europe covering everything from wars in Croatia and in Bosnia-Herzegovina to collapse of the communist empire in Eastern Europe.

 

 

March 31st Cokie Roberts: Covering Congress and the Hill

Cokie Roberts is an ABC News political commentator and contributing senior news analyst for National Public Radio. She regularly appears on This Week With George Stephanopoulos as a roundtable analyst. Additionally, she writes a weekly syndicated column with her husband. Furthermore Ms. Roberts is the former president of the Radio and Television Correspondents’ Association. In 1988, she won the Edward Weintal Prize for Diplomatic Reporting for her coverage of the Iran-Contra Affair.

 

 

Tickets to all seven sessions in the series are $120 for members and $152 for non-members. Single tickets for individual sessions will be available Friday, February 7th. The event will be held in the Marion & Gustave Ring Auditorium of the Hirshhorn Museum & Sculpture Garden. Tickets are available here.

Written by Courtney Guth, social media intern at The Smithsonian Associates.