Smith 2

Lockheed F-104A Starfighter

Manufacturer: Lockheed Aircraft Company

Summary: Known as "the missile with a man in it," the stubby-winged Lockheed F-104 Starfighter was the first U.S. jet fighter in service to fly Mach 2, twice the speed of sound. Designed as a high-performance day fighter, the F-104 had excellent acceleration and top speed. It first flew on March 4, 1954.; While built for the U.S. Air Force, most Starfighters were flown by other countries, particularly Canada, Italy, Germany, and Japan. Many were built under license overseas.; The National Aeronautics and Space Administration (NASA) flew this F-104A for 19 years as a flying test bed and a chase plane. It was used to test the reaction controls later used on the North American X-15. This aircraft was the seventh F-104 built and was transferred to the Museum after its last flight, to Andrews Air Force Base, on November 18, 1975.; The Lockheed F-104 Starfighter was nicknamed "the missile with a man in it," since its long, thin fuselage and stubby wings resembled a missile more than a conventional aircraft. The F-104 was the first interceptor in our nation’s service to be able to fly at sustained speeds above Mach 2 (twice the speed of sound).; The Starfighter’s design was radical for its time, as it was a small, straight-wing aircraft while most contemporary designs were much larger and featured swept-back wings. The wingspan is only 21 feet, 11 inches, and the wings themselves have a 100 negative dihedral. The razor-sharp leading edge requires a specialty fitted cover when on the ground to protect the ground crew. A narrow fuselage fits tightly around the power plant, and its forward portion curves down slightly to allow maximum pilot visibility.; The F-104 featured the General Electric 14,800-pound-thrust J79 turbojet engine and afterburner, which occupied more than half the length of the fuselage. The fuel tanks and cockpit took up much of the remainder, so that insufficient space remained for the necessary electronics systems. A series of self-contained electronics packages were; developed which could be ‘plugged in" to suit the individual mission. Basic armament consisted of an M-61 Vulcan 20-mm gun in the fuselage and a Sidewinder GAR-8 missile on each wingtip. The M61 was a Gatling type with multiple rotating barrels and an extremely high rate of fire.; Design of the F-104 began in November 1952. The U.S. Air Force had a requirement for a superior day fighter, and Lockheed began work on its Model 83. Two prototypes, powered by the Wright J65 engine, were ordered by the Air Force in March 1953. On March 4,1954, Lockheed test pilot Tony Le Vier made the first flight in the XF-104. Fifteen YF-104A aircraft, powered by the GE J79 engine, were ordered for testing.; The first F-104A deliveries took place on January 26, 1958. They were delivered to the 83d Fighter-Interceptor Squadron at Hamilton Air Force Base. California. Soon afterward, pilots from this squadron set new world speed and altitude records. Maj. Howard C. Johnson established a world airplane altitude record of 91,249 feet on May 7. 1958. On May 16, 1958, Capt. Walter W. Irvin established a world speed record of 1,404.19 mph. The F-104 also established seven climb-to-height records. Four of these replaced old records: the 15000 meter, 20.000 meter. and 25.000 meter climbs set completely new records.; The major variants were the F-104B, a two-seat version of the F-104A, used as an operational trainer: the F-104C, modified for use by the Tactical Air Command with provision for inflight refueling: and the F-104D, a two-seat version of the F-104C.; The majority of Starfighters were used in foreign service. Most of the F-l04Gs, F-l04Js, and CF104s were built under license in NATO and SEATO countries. The basic Starfighter was modified to be a multimission fighter with considerably strengthened structure and different operational equipment.; On October 12. 1959. the Starfighter protect was awarded the Collier Trophy.; Starfighters served in the Air Force until the early 1960s. A few saw service in Vietnam. and they were also used in Air National Guard units until 1975. Their European counterparts stayed in service even longer.; The museum’s specimen is a Lockheed F-104A, military serial number 55-2961, the seventh F-104A produced (formerly a YF-104A). It was procured by the NASA Flight Research Center (then NACA High Speed Flight Station) at Edwards Air Force Base. California. on August 23. 1956. It was first flown by NASA on August 27. 1956, and logged 1.439 flights over a period of nineteen years.; The airplane. NASA number 818. was used in a number of research programs at Edwards It was used in the evaluation program of the Starfighter at first and was later used to help confirm wind tunnel data in actual flight, as a flying testbed, and as a chase plane. It was a part of the research program that led to the X-15 airplane program; a particularly important phase was the testing of reaction type controls.; Nineteen pilots flew the 818. Among them were three Apollo astronauts. including Neil Armstrong seven X-15 pilots, including Joe Walker: and six lifting body pilots. It made its last operational flight on November 18, 1975 when it was flown to Andrews Air Force Base by NASA research pilot Donald L. Mallick. near Washington D.C.. for transfer to the National Air and Space Museum later that year.; First Aircraft Capable of Sustained Mach 2 Flight; Known as "the missile with a man in it," the stubby-winged Lockheed F-104 Starfighter was the first U.S. jet fighter in service to fly Mach 2, twice the speed of sound.

Country of Origin: United States of America

See more items in: National Air and Space Museum Collection

Credit Line: Transferred from the National Aeronautics and Space Administration

Data Source: National Air and Space Museum

Inventory Number: A19761017000

Type: CRAFT-Aircraft

Restrictions & Rights: CC0

Dimensions: Wingspan: 6.7 m (21 ft 11 in); Length: 16.6 m (54 ft 9 in); Height: 4.1 m (13 ft 6 in); Weight, gross: 11,271 kg (25,840 lb); Weight, empty: 6,071 kg (13,384 lb); Top speed: 1,669 km/h (1,037 mph)

Antique Jewels

Protective Sleeves

Barbier à Mayence

Iron Sword With Gold-Leaf Wooden Pommel

United We Stand: Rally For Colin Kaepernick at NFL Headquarters

Date: August 23, 2017

Photograph by: Michael A. McCoy, American, born 1982; Unidentified Man or Men; Unidentified Woman or Women; Colin Rand Kaepernick, American, born 1987; National Football League, American, founded 1920; Time Inc., American, founded 1922; Devin Allen, American, born 1989; David Von Drehle, American, born 1961; Freddie Gray, American, 1990 - 2015

Caption: Michael McCoy creates subtle yet powerful narratives through his images. As a photojournalist, he has documented some of the most important moments in contemporary history and everyday culture. From his coverage of Congress and presidential campaigns to moments of national celebration and mourning, McCoy’s portraits have become recognizable in the pages of major news publications, which earned him a place on Time magazine’s “Top 100 Photos of 2020.” In this photograph, McCoy crafted a quiet image of a young couple wearing T-shirts that feature the Time magazine cover that introduced Devin Allen as a photographer. While the shirts and couple embody resistance, they also represent a quiet resilience found in everyday lives.; A digital, color image of a man and a woman wearing graphic T-shirts with the Time magazine cover featuring Devin Allen’s photo from Freddie Gray protests. The image was taken by Michael A. McCoy during the United We Stand: Rally For Colin Kaepernick at the National Football League Headquarters. The unidentified rally attendees are seated on white marble steps in front of St. Bartholomew’s Church in mid-town Manhattan. The man sits on the step above the woman with his legs spread apart and feet planted two steps below. The woman is seated between his legs on the step below, with her back resting against his proper left thigh. They are facing viewer with serious expressions on their faces. The woman’s elbows are resting on her thighs with her hands folded over each other. They are wearing shorts, black sneakers, and matching, black T-shirts with a graphic of the cover of Time Vol. 185 No. 17 (May 11, 2015) on the front. The neckline of the woman’s shirt has been modified to widen the neckline so that it falls off the shoulder. The Time magazine graphic on the front of the T-shirts has a main cover line that reads [AMERICA, 1968] written in white text with a red ink strikethrough over [1968] and with [2015] printed in a red handwritten style font written above [1968]. Printed smaller, black text below reads [WHAT HAS CHANGED. / WHAT HASN’T]. The name of the author is printed in smaller white text below that reads [BY DAVID VON DREHLE]. The text is overlaid on top of a black-and-white photograph by Devin Allen of the Baltimore protests that erupted in the aftermath of Freddie Gray’s death while in police custody. The photograph depicts an unidentified man running from a line of charging police in riot gear on a city street in Baltimore, Maryland. The man, in the right foreground, wears a medium tone plain shirt, dark pants, and dark tone shoes. He has on a white baseball-style cap worn backwards, and a dark-colored handkerchief tied at the back of his head and pulled up over his nose and mouth. The graphic of the magazine cover has a thin red border. Behind the couple, in the background, is the neoclassical exterior of St. Bartholomew’s Church with a double set of wooden doors with glass and black wrought iron decorative elements next to a carved, floral pattern marble panel and a carved, white marble column.

Place captured: New York City, New York, United States, North and Central America

Title: Photograph of a couple wearing t-shirts with the Devin Allen Time magazine cover

Topic: African American; Activism; Football; Photography; Police brutality; Race relations; Sports; U.S. History, 2001-

See more items in: National Museum of African American History and Culture Collection; Photographs and Still Images; Black Lives Matter; Reckoning: Protest. Defiance. Resilience.; NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 052

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Michael A. McCoy

Data Source: National Museum of African American History and Culture

Object number: 2021.41

Type: digital images; digital media - born digital

Restrictions & Rights: © Michael A. McCoy; Permission required for use. Proper usage is the responsibility of the user.

Medium: digital; H x W: 6000 pixels × 4780 pixels; File size (Total): 82.09 MB

Jar

Letter carrier band uniform jacket

Date: mid-20th century

Description: Letter carrier bands associated with union branches date back to the nineteenth century. The National Association of Letter Carriers (NALC) members and band participants believed letter carriers’ bands could “[kindle] the union spirit at NALC conventions and rallies” through music. The president of the Omaha NALC Branch said in 1893, “I think carriers could, in various ways, be instrumental in doing a great deal of good, not only for themselves but their brother carriers, by way of concerts and various entertainments.” Updates from various cities published in the Postal Record show friendly competition grew with the creation of local bands.; Throughout the twentieth century bands performed at the biennial NALC conventions as part of multi-day programs. According to the donors of this collection, the union covered all travel and accommodation expenses, making band membership an opportunity for members tour and connect with postal workers across the country in a way they might not have done on their own. While conventions were often the most significant performance, bands performed in local parades, for weddings, and in other community activities. Letter carrier bands might have started with union chapters, but the attitudes of camaraderie and service extended beyond the NALC.; History of the Band; The National Association of Letter Carriers, Branch 40, was established in Cleveland, Ohio, on October 6, 1889 as the Cleveland Letter Carriers Association. While a national association did not exist at this time, representatives of the Cleveland association met with representatives of other independent associations in 1890 to form the National Association of Letter Carriers. Cleveland received its official charter from the national organization on August 28, 1890 and the Cleveland Letter Carrier Band was established the same year.; Cleveland was not unique in forming a band. Articles in the NALC publication The Postal Record show numerous cities forming bands around the same period. The early Cleveland Band consisted of “a brass band with 26 pieces.” Letter carriers’ bands were so integral to the NALC that the National Association of Letter Carriers’ Bands formed in 1911. Cleveland, along with Boston, New York, Brooklyn, and Chicago, founded the new association. Their three initial goals were:; • To promote measures for the musical education of its members.; • The improvement of the musical features of the conventions of the NALC.; • To unite, fraternally and socially, all the letter carriers’ bands of the United States for their mutual benefit and enjoyment.; The bands continued to perform en mass at NALC conventions, as well as local and regional events. On the years the band did not perform at the national NALC conventions, they performed at the Ohio State Association. The band is still in existence today and continues to perform locally in the Cleveland area.; Blue jacket with six lyre brass buttons; three buttonholes on each side; two front pockets with top flaps; gold trim at cuff and around collar; circular blue and gold "AMERICAN / FEDERATION / MUSICIANS" with gold lyre in center patches on upper arms; associated with pair of blue and yellow band trousers

Place: Ohio

Topic: Postal Employees; Contemporary (1990-present)

See more items in: National Postal Museum Collection

Credit line: Gift of Jeanne Tischler

Data Source: National Postal Museum

Object number: 2023.2019.4.1

Type: Labor Unions & Associations Material

Medium: Wool or poly-wool blend (blue; gold); metal buttons; Height x Width x Depth (shoulder to shoulder): 32 1/8 × 19 × 2 1/2 in. (81.6 × 48.26 × 6.35 cm)

Pitcher

Cantimplora

Pitcher

Caffeine Citrated, U.S. P.

Suzuki Violin (1/4 size)

date made: 1978

maker: Suzuki Violin Co., Ltd.

Description: This violin was made by the Suzuki Violin Company Ltd. in Nagoya, Japan in 1978. The Suzuki Violin Co. in Nagoya made a line of violins specifically for export to Heinrich Roth in the United States, and applied a "RR #" to these instruments at the factory. The Scherl-Roth firm in Cleveland matched these violins with bows supplied by the Glasser Manufacturing Co. of Bronx, New York and thus provided the United States market with a line of pre-packaged instruments in a range of sizes that were appropriate for the small beginner to the mature player. There is a printed label inside the violin:; Suzuki. Established 1887 in Nagoya No. RR101 Size ¼ Anno 1978SUZUKI VIOLIN CO., LTD. JAPAN; The characteristics of Suzuki violins are varied through a range of targeted production quality. Usually the instruments are built on an outside mould, but the archings may either be pressed or carved into their final shape depending on the quality grade of the instrument. Originally the woods employed in production were from Japanese sources, but since 1960 have been imported from Germany. A scroll-carving machine invented by the founder, Masakichi Suzuki, as well as other cutting and shaping machines are utilized in the contemporary mass production process.; This ¼ size student violin with ebony fittings has a plastic molded scroll and ear relief applied to the plain maple pegbox. Very plain spruce and maple have been used in this instrument with transparent reddish-orange varnish and inked representations of purfling.; Currently not on view

Place Made: Japan: Aichi, Nagoya

See more items in: Culture and the Arts: Musical Instruments; Music & Musical Instruments; Violins

Credit Line: Gift of Albert F. and Lorette M. Moglie

Data Source: National Museum of American History

ID Number: 1987.0583.05; 1987.0583.05; 1987.0583

Object Name: violin

Physical Description: spruce (part material); maple (part material); plastic (part material); overall: 19 1/8 in x 6 3/4 in x 2 7/8 in; 48.5775 cm x 17.145 cm x 7.3025 cm

Model of Jean Anne

Mold/Shaping form

Ringgold Hose Company Fire Hat

date made: ca 1846

associated: Ringgold Hose Company; Ringgold, Samuel; unknown

Description: Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.; This fire hat dates to the first half of the 19th century. The hat is painted black overall with a painted portrait of Samuel Ringgold in the center framed in gold. Red banners with gold trim flow around the portrait that read “RINGGOLD/HOSE Co.” in gold paint. The company’s initials “RHC” are painted in gold script on the back of the hat. The owner’s initials “H.M.” are inside an outline of a shield on the crown of the hat. This hat was likely used by a member of the Ringgold Hose Company No. 33 of Philadelphia, Pennsylvania, founded in 1847 and operated until 1871 when Philadelphia’s paid firefighting department was established. While many firefighting companies chose past heroes of the Revolution and Early Republic as their namesakes, others selected contemporary military and political figures. Samuel Ringgold was a hero of the Mexican-American War best known for his innovations in artillery deployment. He was mortally wounded at the Battle of Palo Alto in 1846.; Currently not on view

place made: United States

Subject: Fire Fighting; Fraternal Associations

See more items in: Home and Community Life: Fire Fighting and Law Enforcement; Cultures & Communities; Clothing & Accessories; Fire Hats; Work; Firefighting Collection; Art

Related Publication: McCosker, M.J.. The Historical Collection of the Insurance Company of North America

Credit Line: Gift of CIGNA Museum and Art Collection

Data Source: National Museum of American History

ID Number: 2005.0233.0115; 2005.0233.0115; 2005.0233

Object Name: hat, fire

Physical Description: painted (overall production method/technique); fabric, pressed felt (overall material); paint (overall material); overall: 6 1/2 in x 11 1/2 in x 10 1/2 in; 16.51 cm x 29.21 cm x 26.67 cm

Grand Entry

Birdskin Parka

Accession Date: 28 Nov 1883; 1882 to 1883

Collector: Dr. Leonhard H. Stejneger

Notes: From card: "The Aleuts of Bering Id. are mostly from Atka Id. Strongly mixed with Russian blood. Russian name "Tarka," native name "Sakh.""; Source of the information below: Smithsonian Arctic Studies Center Alaska Native Collections: Sharing Knowledge website, by Aron Crowell, entry on this artifact http://alaska.si.edu/record.asp?id=169, retrieved 5-8-2014: Birdskin parka "The parka for Aleuts in the local climate is an indispensable article. On the road, it constitutes their bed and blanket and, one might say, home. With it they are not afraid either of wind or cold." - Russian Orthodox priest Ioann Veniaminov, Unalaska Island, 1823-34. Aleutian Islands parkas, once an essential resource for everyday life and survival, are now made primarily for contemporary dance performances. The traditional parkas were long (extending to the ankles) and straight across the bottom, with stiff standing collars and no hoods. When explorers and fur traders first arrived in the 17th century they recorded that men's parkas were sewn from bird skins while the women's were usually made from fur seal or sea otter. Under Russian rule these furs were deemed too valuable for use in clothing, so women sewed their parkas from birds or spotted seal skins. In the eastern Aleutians, trade with the Alaska mainland meant that bear, caribou, marmot, and arctic ground squirrel skins were also available. Many kinds of birds were used for parkas, including horned puffins, tufted puffins, murres, cormorants, ... [Long-tailed Ducks (Clangula hyemalis)], and ravens. Eider duck parkas like this one were worn only by women, as confirmed by Elders in 2003 who identified it as a female garment. About 40 tufted puffins or 25 cormorants were needed to make one full-length parka. Puffins were captured in large numbers at their underground nests using snares made of string or whale baleen. Birdskin parkas were reversible. The feathers were turned inside for warmth during cold, dry weather and outward when it was warm or rainy. The skins were stitched with the birds' heads facing upward so that their feathers easily shed water. When at sea, men wore birdskin parkas beneath their seal intestine raincoats. This eider duck parka from the National Museum of Natural History has its feathers turned to the inside. It has a standing collar of black wool cloth, red painted bands at the hem and cuffs, and trimmings of spotted seal fur. Some parkas, especially those made for dancing and ceremonies, were much more highly decorated with puffin beaks, beads, tassels of fur and painted leather, feathers, and ornate hair embroidery.; From Elders' discussions of the cape in 2003 with Mary N. Bourdukofsky, Vlass Shabolin, Maria Turnpaugh and Daria Dirks (Tanadgusix Foundation) at the National Museum of Natural History and National Museum of the American Indian, 4/07/2003-4/11/2003. Also participating: Aron Crowell and Bill Fitzhugh (NMNH) and Suzi Jones (AMHA). Vlass Shabolin: It's got feathers on the inside to keep it insulated. Mary Bourdukofsky: But they used to wear it outside too. Aron Crowell: Do you think it would have been worn with the feathers on the inside like this? Mary Bourdukofsky: Either way. Maria Turnpaugh: For the rain they'd wear them with the feathers on the outside. Vlass Shabolin: With the feathers out, the rain will just slide right off the feathers. Aron Crowell: Do you think this would be a women's garment? Maria Turnpaugh: I think so, because in everything I've read about this, women wore them. This collar here you see on women's garments. Aron Crowell: Would this most likely be a cold-weather garment? Mary Bourdukofsky: Wet season maybe. If it was cold weather thing, it would be fur. Maria Turnpaugh: Well, they'd wear this on the inside of it. Vlass Shabolin: They could wear something like this year round. Aron Crowell: How about the Unangax^ name for a parka like this?; Maria Turnpaugh: They used to have . . . like sux, sux. Mary Bourdukofsky: Ug^kain [feathers]. Sox^achathamug^kain [bird feathers]. When it's all done, maybe it's named sux like she says. Daria Dirks: Then what is this on top here [parka body]? Mary Bourdukofsky: That's the skin of a bird, mostly the breasts. I think they could use the back too. These are winter eider ducks. Vlass Shabolin: Yes, this is the skin off the female King Eiders, what they call Common Eiders. They're pretty big. Aron Crowell: You can see the backs of each skin. Daria Dirks: How many would they have to do to get this much? Mary Bourdukofsky: Fifty. Aron Crowell: And what about the trim on the cuffs? Mary Bourdukofsky: Sea lion. If it's a hair seal, it usually has little spots. Maria Turnpaugh: Well, this is kind of spotty. Mary Bourdukofsky: Yes, see the spots - blonde and dark. Vlass Shabolin: When you treat the hair seal hide, it does become golden. Mary Bourdukofsky: Yes, it's a hair seal.; Maria Turnpaugh: And the stiffness is hair seal. Aron Crowell: And is it sewn with sinew thread? Mary Bourdukofsky: Yes, really fine. Aron Crowell: Is that painting along the hem? Maria Turnpaugh: Yes. Aron Crowell: What is the collar? Maria Turnpaugh: It looks like wool material and on the inside is some kind of a cotton print. Vlass Shabolin: Mary, uux^hee [stripping bird feathers]. Mary Bourdukofsky: Yes, they skin them. Vlass Shabolin: They peel them right off the bird - the whole thing will come off. Then they split it, and then they cut it even after they dry it up. Mary Bourdukofsky: They put pieces together. Daria Dirks: Look at the perfect sewing. Aron Crowell: How would these skins have been prepared? Maria Turnpaugh: They dry them.; Mary Bourdukofsky: They wash them real good first to make sure all the meat and blubber is off, and then they dry. You had to stretch it, just like any other skin, to dry it. And when you skin it, they're not even. Some pieces tear and come off, and you could tell that they pieced these to make it. Vlass Shabolin: Patchwork. Mary Bourdukofsky: Yes, one square. Aron Crowell: So where they're not cut square, they're joined to make an even row? Mary Bourdukofsky: Yes.; 15 Feb 2022; 1

Place: Bering Island, Aleutian Islands / Commander Islands, Russia, Asia / North America

Topic: Ethnology

Culture: Aleut (Unangax^ ; Unangan; Unangas)

See more items in: Anthropology

Data Source: NMNH - Anthropology Dept.

Accession Number: 013728; E73030-0

Object Type: Parka

Length - Object: 126 cm

Lockheed F-104A Starfighter

Antique Jewels

Protective Sleeves

Barbier à Mayence

Iron Sword With Gold-Leaf Wooden Pommel

<I>United We Stand: Rally For Colin Kaepernick at NFL Headquarters</I>

Jar

Letter carrier band uniform jacket

Pitcher

Cantimplora

Pitcher

Caffeine Citrated, U.S. P.

Suzuki Violin (1/4 size)

Model of Jean Anne

Mold/Shaping form

Ringgold Hose Company Fire Hat

Grand Entry

Birdskin Parka

Tinctura Digitalis (Tincture of Digitalis)

Bell Bird