The collection was donated to the Archives Center in 2007 by Suzanne and Richard Hertzberg.
Archives Center, National Museum of American History
President Franklin D. Roosevelt and International Ladies Garment Workers Union (ILGWU) president David Dubinsky with cast members of the ILGWU revue "Pins and Needles." Left to right: Ruth Rubenstein, Rose Newmark, Lynn Jaffe, Millie Weitz, Ann Brown, and Nettie Harari at the White House, March 3, 1938. Photograph by Katherine Joseph, © Richard Hertzberg and Suzanne Hertzberg. Katherine Joseph Papers, Archives Center, NMAH.
|Betsy hard at work in the Freer | Sackler Archives|
from Left to Right): James Cahill, Aschwin de Lippe, H. Bevil, and John Pope. Taken at National Gallery of Art, 1961.
|Krishna’s Butterball in Mahabalipuram, India. Prince Aschwin de Lippe Papers 1940-1988,FSA A2012.01 Box 11, Folder 33|
|William J. Rhees, first ‘Keeper of the Archives’ for the Smithsonian Institution in 1892. |
Smithsonian Institution Archives, SIA2011-1379.
|The Weavers perform at the Old Town School of Folk Music, Chicago, January 13, 1968. Photograph by Robert C. Malone, Ralph Rinzler Folklife Archives.|
|Lee Hays and Pete Seeger. Lee Hays Papers, Ralph Rinzler Folklife Archives and Collections.|
|Shots of Bob Dylan at the 1965 Newport Folk Festival. Photographs by Diana Davies, Ralph Rinzler Folklife Archives and Collections.|
Lee Hays’ correspondence offers a fascinating window into this transition, as the older artists attempted to get a handle on this new generation. In an open letter from February 1964, Hays writes:
The question of the day is, what do you think of Bob Dylan? I’d be more sure if I knew what he thinks of himself. There is a lot of cynicism in his songs; but if he contradicts himself, he is entitled to it. There’s a lot of desert ground in many a young artist before you get to the occasional mountain peak. In whatever follows the age of dinosaurs, the ones who give thought to meanings and origins and who sing with respect for the songs will do the most. I am impressed by the songs of Ian and Sylvia for those reasons.
Coming just on the heels of Dylan’s album, The Times They Are a-Changin’, Hays is likely reacting to the more introspective and darker material, though much of his songs remains topical and political. Even before Highway 61’, Dylan’s concerns were already departing from the parent generation, with more introspective and existential themes. 
While Dylan may have left the topical protest songs behind, it’s not clear that Hays and Dylan moved apart on a more fundamental level. While Hays hoped for “people’s songs” that would serve as “battle hymns” against “the powers of evil,” he also felt that above all it should be “true.”  Moreover, Hays was wary of those who would see folk music as a “static” genre, relegated to fiddles, banjos, and old country melodies:
Who am I, or who is anyone, to say that the music of the juke box, the beetle organ, which the millions of Americans listen to, and drink their beer to, and dance to, and argue by, and make love by, and relax by, and make up their minds who to vote for by, is trash? […] if the only real music were the pure ‘folk music,’ this would be a darn dead country, and I for one would have to leave it and go back to Arkansas […] I believe in creativeness and experiment, in Picasso as in Woody Guthrie, in Bach as in Pete Johnson, in Verdi as in Blitzstein. 
While Dylan’s career moved beyond the topical protests of Hay’s generation, there’s no denying that in drawing from “the jukebox” of American song, he has written songs that are true. It is Dylan’s “respect for the songs,” as Hays writes, that continues to bind him to the previous generation, and earned him the rightful place as one of America’s greatest songwriters.
Adrian Vaagenes, Intern
 Cohen, Ronald D., and Dave Samuelson. Songs For Political Action: Folkmusic, Topical Songs and the American Left 1926-1953. Bear Family Records, 1996. (pgs. 9-11);
 Ibid. (pgs. 15-20).
 Willens, Doris. Lonesome Traveler: The Life of Lee Hays. W.W. Norton 7 Company, 1988, (pgs. 9; 20-21)
 Ibid, pgs. 56-59
 Hays, Lee. “Sing Out, Warning! Sing Out, Love!”: The Writings of Lee Hays. Edited by Robert S. Koppelman, University of Massachusetts Press, 2003, (pgs. 63-64).
 Petrus, Stephen and Ronald Cohen. Folk City: New York and the American Folk Music Revival. Oxford University Press, 2015. (pgs. 286, 289).
 Ibid. (pgs. 288-289); Dunaway, David King, and Molly Beer. Singing Out: An Oral History of America’s Folk Music Revivals. Oxford University Press, 2010. (pg. 151).
 Dunaway, David King. How Can I Keep From Singing: The Ballad of Pete Seeger. Villard Books, 2008. (pgs. 306-308).
 Folk City. (pg. 288).
 “Sing Out, Warning! Sing Out, Love!” (pgs 89-90).
 Ibid. (pgs. 148-149).
|Laying Track in Kansas, 300 Miles West of Missouri River, October 19, 1867. Photograph by Alexander Gardner. [P10134] William T. Sherman collection of Alexander Gardner photographs, National Museum of the American Indian, Archive Center, Smithsonian Institution.|
|United States Overland Stage starting for Denver from Hays City, Kansas, 289 miles west of Missouri River, 1867.Photograph by Alexander Gardner. [P10133] William T. Sherman collection of Alexander Gardner photographs, National Museum of the American Indian, Archive Center, Smithsonian Institution.|
|Mushroom Rock on Alum Creek, Kansas, 211 miles west of Missouri River, 1867. Photograph by Alexander Gardner. [P10132] William T. Sherman collection of Alexander Gardner photographs, National Museum of the American Indian, Archive Center, Smithsonian Institution.|
|Groundbreaking for Freer Gallery of Art, 1916, Smithsonian Institution Archives, SIA Acc. 02-082 [SIA2015-000823].|
|Aerial View of Completed East and North Front of Freer Gallery, by Unknown, c. 1923, |
Smithsonian Institution Archives, SIA2007-0170.
|Peacock and Babies in the Freer Gallery of Art Courtyard, |
Smithsonian Institution Archives, SIA Acc. 02-082 [SIA2014-07070].
|Renovation of the Freer Gallery of Art, Smithsonian Institution Archives, SIA Acc. 02-082 [SIA2015-000821].|
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