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                  <text>In 2009, BBRM staff and volunteers began the archiving of this collection, with the arranging of objects chronologically (1935 – 1995) and the purchasing of proper archival storage materials. In 2011, an oral finding aid with provenance was constructed by conversations between University of Alabama School of Library and Information Studies (UA SLIS) volunteer Lindsey Reynolds (now at University of Georgia, Athens Library) and BBRM Director Bob Friedman. In 2013 and 2014, those interviews were transcribed by UA SLIS volunteer Michael Mitchell (known affectionately as the MMT).  For each object, the original finding aid conversation has been added and can be found in quotes in the description section. As of the most recent online uploading in August, 2019, the Ephemera Collection consisted of eight boxes containing 413 folders with approximately 850 files, spanning the period 1935-1989.</text>
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                <text>Box 2 Folder 2: "Moving along to folder number 2 is a clipping of microfiche that came out of the Birmingham World archives in the public library in Birmingham with a picture of Buddy Johnson coming to the city auditorium on March 24 unfortunately, or is there a year? Yes. This is from a clipping of March 21, 1950. Of course Buddy Johnson was a bandleader. His wife sang in the band, Ella Johnson. She’s also listed. Also Arthur Prysock? coming in. So that must have been a great show with tickets available from Epps Jewelry. Of course that’s Mr. Taft Epstein who was very very very very supportive of the black community and had a lot of black patrons come into his store. Also the Record Bar, the famous record shop and also the Harlem Record Shop in Bessemer. Two places I would have loved to have gone to. "</text>
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                <text>Box 2 Folder 3: "Folder 3 is a clipping from the Birmingham World dated April 25, 1950 again microfiche from their archives from the Birmingham library advertising the Black Barons at Rickwood Field for a double header playing the Chicago American Giants and then the New York Cubans. I love it. So good, they knew they had it going on."</text>
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                <text>Instruction Manual, Raytheon 1000 Watt AM Transmitter Model RA-1000</text>
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                <text>Box 2 Folder 4: "Alright this is folder 4. It is an instruction manual for a Raytheon 1000 watt AM transmitter, which we had here at WJLD. It was given away as a donation to a school, but it was the original transmitter when we went to 1000 watts. There is no indication of exactly how old this booklet is, but yes there is actually. There is a field service bulletin from May 3, 1950. It is a general bulletin to all users of this item, of this transmitter. So obviously the transmitter was built back in the early 50s or maybe even late 40s, but we didn’t go 1000 watts until later on in WJLD’s history (1960). We believe this is the manual, and it was found at the WJLD studios in the files."</text>
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                <text>Clipping, Wiley Daniels auditions A. L. Johnson</text>
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                <text>Box 2 Folder 5: "Okay we’re up to file folder 5, which is a clipping which was sent to us from Ben Alexander who was one of the original members of WEDR’s staff. This would have been around 1950 with a picture of Wiley Daniels, and he’s auditioning A.L. Johnson for an announcer job. It also mentions that Daniels helps his dad an ad executive. I do not know the publication this clipping came from, but Ben Alexander was very helpful in sending us clippings he saved from his time at WEDR and the pictures of the complete staff at one point in time.&#13;
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Also in Folder 5 is the obituary of Wiley Daniels, published in the Baltimore Afro-American from December 10, 1977."</text>
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                <text>Box 2 Folder 6: "Here’s another picture that was sent from Ben Alexander, which actually has a picture of Ben Alexander. It’s number 6, folder 6. We are now looking at 2 copies sent to us from Ben Alexander. We’re not sure exactly where this came from. Now it is notated on here, that it was either from the Weekly Review or the Birmingham World approximating 1950. A picture of Ben at the WEDR mic with a flag on there. The second is a picture. Now these were sent to us by Ben, of the EDR studio upstairs and Sunny Til and the Orioles behind Ben and Wiley is sitting at the desk, Ben is sitting at the desk, and Hal Singer is sitting at the desk and then the Orioles. Again, we have clear evidence as to who was on the air around 1950 at WEDR and who wasn’t."</text>
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                <text>Box 2 Folder 7: "Moving right along to folder 7, which is a contract that we got also we found this, I believe, from the Birmingham World when they were open. They closed a while ago. These are actual contracts, or copies of contracts, from the Madison Night Club in Bessemer.  John T. Wattley is the secretary of the musician’s protective union. I do not know if John T. Whatley is in fact Fess Whatley, but it wouldn’t surprise me if he was or was a relative. Signed by Dewey Monroe who was the owner of the Madison Night Club, who also owned a motel out on the Bessemer Superhighway. This is a contract for 650 dollars for Louis Jordan coming in, he and a total of 7 members. A 1,250 dollar guarantee with a privilege of 6% of the gross receipts over 300 dollars. Oh that’s a deposit to be paid, they have to pay it. Of gross receipts over 2,500 dollars they would also get 6% of that, and I guess Louis Jordan signed it. Dewey Monroe signed it, very nice, very nice indeed, and I’m almost certain these came from the offices of the Birmingham World. The second contract is for a performance by Erskine Hawkins. It describes again the details of the contract from February of 1950, signed by Erskine Hawkins and Dewey Monroe, the Madison Night Spot. Third one is a, well the previous one, let me just double check if they had…now the first one, going back again, Louis Jordan had his own contract. The second one we just mentioned Erskine Hawkins is from the Gale Agency in New York City so they were handling it long distance, and then the Associated Booking Corporation is the third one. This is a contract for Ivory Joe Hunter coming into town. He was not as big a name as Erskine Hawkins or Louis Jordan at this time. A date of April 5, 1950 so he wasn’t even, he didn’t even have his big hits. He was a blues pianist. Looks like 250 bucks to get Ivory Joe in, and he was going to be playing at the community center in Gadsden, Alabama. Ivory Joe signs it, Dewey Monroe signs it; obviously Dewey Monroe is handling it. He’s handling it, and this fourth piece is just an addendum to the Louis Jordan contract, how interesting. “It is understood in the event that Louis Jordan and his orchestra are called to Hollywood, California to make a motion picture at a time conflicting with the engagement this contract will be cancelled” and it goes on to say that…and for anybody who knows anything about Louis Jordan we do know that he was that big. It could have happened."</text>
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                <text>Box 2 Folder 8: "We’re now on folder 8. Folder 8 is a picture again from 1950 with Bob Umbach working with 3 little kids, a whole stage full of kids. This, we believe is at, is either at L.R. Hall or the Frolic Theater we’re not sure which one. It is a spelling bee so we understand. The WJLD flag is on the microphone. These are pictures from A.G. Gaston’s personal collection that we were able to get copies of,  and I believe the person who made us the copies was Bill Ricker who is no longer with us.  It’s a really nice couple of flags on that microphone from WJLD and she’s holding, the little girl is holding a bottle. I’m assuming this might be Joe Lewis Punch.  I believe Don Solomon suggested that. There was a bottling company out here that made that. I think it was a soda. The kids are having a good time and one of the kids is up there wearing knickers, and you can tell this is an oldie. We do identify the second adult in the picture at a later stage, but Bob Umbach is certainly there, a great personality, the DJ for the Atomic Boogie Hour. Also working, having a reputation to work with and in the black community of the time."</text>
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                <text>Box 2 Folder 9: "Here’s another picture from a similar time, it may either be a similar event that is a, I don’t know if we have the same kids in there, but they did have more than one event. This youngster has a sweater. Is anybody dressed up that warm in there? This may be at a different time in the season. On the stage are 4 bottles that are unopened, and again we think that’s Joe Lewis Punch. I believe that information was given to us by Don Solomon, and we approximate this period, this time to be 1950. Spelling bees."</text>
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                <text>Box 2 Folder 10: "Moving right along to folder 10. Again pictures from the spelling bees. Here we have some identification, including confirmation that it is at the Frolic Theater, which was on 4th Avenue between 17th and 18th Street. Nathaniel Jemison was the agency director for the Booker T. Washington Insurance Company and we think that he is the heavyset guy. The fellow who is the thin guy we’re not sure, and then Bob Umbach is up at the stage. And the kids, there’s a youngster at the microphone who may be reciting, not sure. The only way to confirm 1950 was probably at the A.G Gadsen collection itself where we were shooting the pictures. I don’t know if I mentioned it, but Bill Ricker was probably the photographer. I asked him to come in."</text>
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                <text>Box 2 Folder 11: "Now here’s another couple of pictures from the same set. All the kids are drinking out of the bottles. You can tell its warm from one of those kids sweating like crazy under his arms. Bob Umbach is here again, but this is a different time; he’s wearing a different suit. There are some adults behind these kids who are up front. We assume they are the parents of these children who are dressed just beautifully. Again, the tall thin fellow is on the stage, and we will identify him. Don Solomon will probably help us with that. We also have a pianist and we don’t know who the pianist is as well but we would like to know. So maybe we will find that out, again WJLD mics, 2 of them on stage. Moving right along, that again from the A.G. Gaston collection."</text>
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