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Lunchbox and thermos featuring Diahann Carroll from the sitcom Julia

National Museum of African American History and Culture
This is a lunchbox and thermos set printed with illustrations of actors from the sitcom "Julia" starring Diahann Carroll. The front of the lunchbox, i.e. the lid, has a green border and features the show logo, red block-text outlined in black reading [JULIA] in the top right corner. In the bottom right corner is an illustrated closely framed portrait of Carroll styled as the character Julia; her portrait is superimposed over a background image of two boys seated and reading at a table in an interior space. Repeated illustrated images of the actors from the show appear consistently on each face of the lunchbox. The thermos features a singular image wrapped around the cylinder in which Carroll wears a nurse's uniform and addresses a seated white man. The lunchbox has a green plastic handle. There is some rusting, mostly visible in the interior, and some chipping in the ink of the images, mostly visible on the exterior.

How Archie Bunker Forever Changed in the American Sitcom

Smithsonian Magazine
The return of ABC’s ‘Roseanne’ inspires a reevaluation of television's history of portraying the working class

Remembering Mary Tyler Moore and Her Groundbreaking Sitcom That Almost Wasn't

Smithsonian Magazine

On September 19, 1970, “The Mary Tyler Moore Show” premiered: a mainstream sitcom about women in the workplace that millions of Americans could relate too. Today, its star, a feminist icon in her own right, Mary Tyler Moore, died. She was 80 years old.

Though “The Mary Tyler Moore Show” ran for seven season and became one of the most decorated shows of all time, it almost didn’t make it past its first season. The reason was because of its time slot, explains Jennifer Keishin Armstrong in her definitive book on the seriesMary and Lou and Rhoda and Ted: And all the Brilliant Minds Who Made the Mary Tyler Moore Show a Classic.

The show, Armstrong writes, was initially slated to run on Tuesday nights on CBS. The competitive lineup would have spelled doom for the fledgling sitcom. But then, CBS’ head of programming Fred Silverman got his hand on the pilot. What happened next changed the show's fate. Silverman was so impressed that after he finished screening the episode, he immediately called up his boss. “You know where we’ve got it on the schedule? It’s going to get killed there, and this is the kind of show we’ve got to support,” he said, as Armstrong reports.

“The Mary Tyler Moore Show” got moved to Saturdays at 9:30, and the rest was history.

It's not hard to see why the pilot episode had Silverman hooked. Just take the scene where Moore's character, Mary Richards, gets hired as an associate producer for a Minneapolis television station—it's one of the most famous job interviews in television history.

During it, news producer Lou Grant (a loveable Ed Asner), gives Richards a hard look. “You know what? You’ve got spunk,” he says, grudgingly.

Moore, wearing a long brown wig to differentiate herself from the character she played on “The Dick Van Dyke Show,” nods, graciously. “Well, yes.”

Grant’s face then does a 180. “I hate spunk,” he says, his eyes bugging out.

The scene is played for laughs, but it also served as an important mission statement for what “The Mary Tyler Moore Show” would be. In its 24-minute pilot, the show set itself up to tell the story of a 30-something single woman in the workplace with unapologetic “spunk.”

The last episode of “The Mary Tyler Moore Show” aired seven years later on March 19, 1977. Fittingly called “The Last Show” it serves as a poignant way to say goodbye to Moore today. After her character turns off the lights in the newsroom for the last time at the end of the episode, the entire cast comes on for the show’s first and only curtain call.

“Ladies and gentlemen,” an announcer tells the Hollywood studio audience to thunderous, poignant applause. “For the last time, Mary Tyler Moore.”

Paper doll from the Amos 'n' Andy radio show

National Museum of African American History and Culture
A color paper doll depicting a radio announcer sitting at a desk. The man is blonde, wearing a gray/bue suit with a blue tie with his arms folded onto the desk in front of him. At the bottom of the front of the paper doll, in black type, reads [BILL HAY]. There are two black tabs at the bottom of both the right and left side of the paper doll (meant to be bent back for the doll to stand upright). The tab on the right has text in white vertically printed reading [COPYRIGHT 1931/BY THE PEPSODENT CO.]. Reverse is light brown with black text, reading [For Strong, Healthy/Teeth/Use Pepsodent Tooth/Paste twice a day - See/your dentist at least/twice a year.]

Paper doll from the Amos 'n' Andy radio show

National Museum of African American History and Culture
A color paper doll depicting a dog sitting up on its hind legs with its two (2) front paws hanging out in front of them. The dog has floppy ears with its tounge hanging slightly out of its mouth and its tail curved upward. The background is blue. There are two black tabs at the bottom of both the right and left side of the paper doll (meant to be bent back for the doll to stand upright). The tab on the right has text in white vertically printed reading [COPYRIGHT 1931/BY THE PEPSODENT CO]. Reverse is light brown with no text.

Jumpsuit worn by Diahann Carroll on the television show Julia

National Museum of African American History and Culture
Jumpsuit worn by Diahann Carroll as the character Julia Baker on the television show "Julia." The jumpsuit is a halter with a large bow in the front and wide legs. The halter top has two (2) wide straps and fastens at the back neck with a metal hook on the proper right strap. (The eye on the proper left strap is missing.) An oversized bow with long tails is sewn to the center front of the jumpsuit. There is a center seam going down the front of the jumpsuit that continues down the inside of each pant leg. The pants are wide-legged and flare at the bottom. The bodice of the jumpsuit is backless with a U-shape around the lower back. The jumpsuit closes with a metal zipper that begins at the center lower back and is approximately 4 1/2 inches long. There are two pieces of boning covered in the pink crepe sewn to the interior of the jumpsuit on the proper right and proper left sides below the armholes. They are attached at the top but not at the bottom. The jumpsuit is not lined.

Dress worn by Diahann Carroll on the television show Julia

National Museum of African American History and Culture
Dress worn by Diahann Carroll as the character Julia Baker on the television show "Julia." The pink and cream dress is a full-length, long-sleeved gown with a high neck. A sleeveless bodice and full skirt made from pink taffeta is overlaid with a double layer of pale cream chiffon, with the chiffon covering the entire skirt and forming the upper bodice and sleeves. Large floral sprays are machine embroidered in cream thread on the chiffon. The hem of the skirt, the cuffs of the sleeves, and the neck are edged with cream lace in an openwork design. The dress closes with a zipper at the center back. The cuffs and the neck fasten with metal hook-and-eye closures, two (2) at each cuff and three (3) at the center back neck. There is a pale pink satin belt with a self fabric-covered decorative buckle at the high waistline that closes with three (3) metal snaps and three (3) metal hook-and-eyes.

The pink lower bodice and skirt of the dress are self-lined, with an additional paler pink petticoat attached under the lining of the skirt. The upper bodice is lined with a brown net, giving a darker hue to this section of the gown under the chiffon overlay. The sleeves are not lined.

Advertisement for Amos 'n' Andy Television Show sponsored by Blatz

National Museum of African American History and Culture
A black and white magazine advertisement for the television show “The Amos 'n Andy Show” from Life Magazine, Volume 30, Number 26, pages 98–99. The advertisement features images of the head of Alvin Childress as cabdriver Amos Jones on page 98 (2015.64.4a) and the head of Spencer Williams as Andy Brown on page 99 (2015.64.4b). Childress is wearing a New York City taxi driver hat, while Williams is wearing a dark derby hat with a silk band and is smoking a cigar. The top third of the advertisement runs across both pages and reads, [Blatz / presents… / Amos ‘n’] on 2015.64.4a, and [Andy on TV!] on 2015.64.4b, with an image of a taxi cab driver hat hanging on the “A” over [Amos] and a derby hat hanging on the “A” over [Andy]. On the bottom of 2015.64.4b, the left half of the page text reads, [Meet a legend / face to face… / World premiere, / week of June 24th / At last, you can see America’s / most heartwarming cast of comedians / in the finest entertainment television / has ever produced. See them all… / Amos, Andy, Kingfish, Lightenin’, / Tune in…meet a legend face to face! / Proudly presented by / Blatz Beer…Milwaukee’s finest / on behalf of its dealers everywhere. / Blatz Brewing Company, Milwaukee, Wis.]. The text on the bottom right corner reads [Another TV triumph from CBS / Consult your local newspaper / for date, time, and channel.]. 2015.64.4a also includes pages 23, 24 and 97. 2015.64.4b also includes pages 21, 22, and 100. Page 21 indicates that this issue dates to June 25, 1951.

Book of paper dolls from the television show Julia

National Museum of African American History and Culture
A paper doll book with a cover image of an African American woman and boy. The African American woman is viewed through a window. The text on the front cover reads "ARTCRAFT / "julia" / Authorized Edition / Paper Dolls / based on the / NBC / TV Series." The book contains various paper doll figures and outfits. The back cover depicts a white woman standing in a dressing room, with the name “Marie” printed at the base of the figure.

Paper doll from the Amos 'n' Andy radio show

National Museum of African American History and Culture
A color paper doll depicting Kingfish from the Amos 'n' Andy radio show standing in a doorway. He is wearing a brown fedora hat, a green suit, a white bow tie and a red sash. He is holding a brown cane in his left hand and is holding the door open with his right hand. A sign painted on the window of the door reads “ORDER OF THE / MYSTIC / KNIGH(illegible) / OF T(illegible) / SEA(illegible.” At the bottom of the paper doll ‘KING FISH” is written in black type. The bottom of the doll has a black tab on each side. The tab on the right has text in white, printed vertically, that reads “COPYRIGHT 1931 / BY THE PEPSODENT CO.” The back of the paper doll is light brown. Black text printed at the bottom center reads “Pepsodent Tooth Paste / removes stubborn film / from teeth quickly and / safely. Yet it will not / scratch the softest teeth.”

Paper doll from the Amos 'n' Andy radio show

National Museum of African American History and Culture
A color paper doll depicting a man in an orange car with no roof or doors. The man is looking back over his left shoulder towards the back left wheel of the car, which is flat. The man is wearing a brown cap labeled "TAXI", a white shirt with orange polka dots, a stripped vest, and patched up brown pants. There is a hand-painted black sign on the back door of the car reading “FRESH AIR / TAXICAB / Co. OF AMERICA - / INCORPULATED.” There is a green fire hydrant in the foreground. The bottom of the doll has a black folding tab on each side. The tab on the right has text in white, printed vertically, that reads “COPYRIGHT 1931 / BY THE PEPSODENT CO.” The back of the paper doll is light brown. Black text printed on the back reads “Newly Discovered! / Pepsodent Antiseptic Mouth Wash - / Kills germs 5 to 11 times faster - / checks bad breath hours longer / than other leading mouth antiseptics.”

Paper doll from the Amos 'n' Andy radio show

National Museum of African American History and Culture
A color paper doll depicting Amos Jones from the Amos 'n' Andy radio show standing with a tire laying over his left shoulder and holding a wrench in his left hand. He is wearing a brown cap, a rolled up white shift with orange polka dots, a stripped unbutton best, and patched up brown pants. To the left of the figure's right foot reads “AMOS” in yellow print on a green background. There are two black tabs at the bottom of both the right and left sides of the paper doll. The tab on the right has text in white vertically printed reading “COPYRIGHT 1931 / BY THE PEPSODENT CO.” The reverse side is light brown with black text reading “Newly Dis-covered! / Pepsodent / Antiseptic / Mouth / Was - 3 to 11 / times more powerful in / killing germs – Checks / bad breath 1 to 2 hours / longer than other leading / mouth antiseptics.”

Suit worn by Sherman Hemsley as George Jefferson on The Jeffersons

National Museum of African American History and Culture
2013.145.1: A suit worn by actor Sherman Hemsley as the character George Jefferson on the television show "The Jeffersons." .1 = jacket; .2 = trousers; .3 = waistcoat; .4 = shirt; .5ab = tie

Paper doll from the Amos 'n' Andy radio show

National Museum of African American History and Culture
A color paper doll depicting Andy Brown from the Amos 'n' Andy radio show sitting behind a wooden desk. The man is wearing a brown hat, with a black phone stretching between both his hands and a cigar between two of his fingers on his right hand. He is wearing a brown suit jacket, plaid vest, and an orange tie. The desk is piled with papers and an overflowing wastebasket sits in front of the desk. There is a hand-painted sign hanging from the desk reading “FRESH AIR/TAXICAB Co. / OF AMERICA - / INCORPULATED / ANDY BROWN – PREZ” in red and black. There are two black tabs at the bottom of both the right and left side of the paper doll (meant to be bent back for the doll to stand upright). The tab on the right has vertical text in white reading “COPYRIGHT 1931 / BY THE PEPSODENT CO.” The reverse side of the doll is light brown with black text, reading “Amos and Andy are brought to you / each night by / THE PEPSODENT CO. / Makers of Pepsodent - The Special / Film Removing Tooth Paste and / Pepsodent Antiseptic Mouth Wash.”

Dress and belt worn by Marla Gibbs as Florence Johnston on The Jeffersons

National Museum of African American History and Culture
This dress (a) and belt (b) were worn by Marla Gibbs as the character Florence Johnston on the television show "The Jeffersons." The house dress and matching string belt are made from the same brown and taupe gingham check cotton.

The dress (a) is a knee-length A-line style with full length sleeves and a forward point collar. It has a concealed zipper closure at the center front, with the light brown zipper reaching from the waist to the collar. Above the top of the zipper closure, the front of the dress folds open at the center neck. There are two (2) rectangular patch pockets, one at each front hip. The set-in sleeves are straight cut with elastic at the wrist and no cuff. There is piping, in the same gingham check, along the neckline and in vertical strips on the proper left and proper right sides on both the front and back of the dress. A single gore of gingham check is sewn to the outside portion of the dress beside the piping at the proper left and proper right sides on the front and back, beginning approximately sixteen (16) inches above the hemline. Hem weights are sewn inside the dress hem, except at the front and back center panels. The dress is not lined. A rectangular white paper label is attached to the seam allowance at the interior proper left front side of the bodice that reads in handwritten black ink: "252".

The string belt (b) is a length of the gingham check cotton sewn on the bias. One end is turned and finished, while the other is unfinished but previously may have come unstitched.

Dress worn by Isabel Sanford as Louise Jefferson on The Jeffersons

National Museum of African American History and Culture
This dress was worn by Isabel Sanford as the character Louise Jefferson on the television show "The Jeffersons." The maxi dress is made of a synthetic knit fabric in a brown, rust, and beige design of speckled stripes bordering scallops that alternate facing up and down. The collar is a v-neck in both the front and the back, and is bordered with two strips of synthetic knit fabric in solid brown and rust. The same brown fabric is sewn at the hem in a four (4) inch wide band, that is folded to the back to form a doubled layer and quilted with five (5) horizontal parallel lines. On the exterior center front, a length of the dress fabric is attached to make a small faux belt, which serves to cover the fabric gathered by the interior elastic. This exterior strip is held on both sides by two (2) gold-colored metal buckles covered in clear and light yellow rhinestones. On the back, the dress closes with a dark brown zipper that runs up the center back from the waist to the collar, with an additional closure of a single hook-and-eye at the center back collar.

Orange elastic is stitched to the interior of the center front below the bustline to create a gathered empire waist. The elastic is covered by orange chiffon where it is attached. The length of orange elastic reaches beyond the stitched front portion, being long enough to reach around to the wearer's back waist for additional bust support. No back closure method is apparent on the elastic except for dark brown threads, indicating the elastic was sewn closed after the dress was put on by the wearer. The dress is not lined. An off-white fabric label with black embroidered text is sewn to the interior proper left side of the neck that reads: "THE WARDROBE WING / HOLLYWOOD CALIFORNIA". Three (3) off-white fabric labels are sewn into the side seam just above the hem detail including a retailer's label for "I MAGNIN", care instructions, and sizing.

Denim bucket hat worn by Jimmie Walker as J.J. Evans on Good Times

National Museum of African American History and Culture
Blue denim bucket hat with quilted brim worn by Jimmie Walker as the character James "JJ" Evans Jr. on the television show "Good Times." The interior of the cap portion is not lined, though the seams are covered in black twill tape. There is an interior hat band of black synthetic lining material. A white clothing tag with brown printed text is sewn at the center back of the interior band that reads: "Cali-Fame / of / Los Angeles / XL".

Seinfeld’s “Puffy Shirt”, 1993

Smithsonian Insider

Seinfeld’s “Puffy Shirt”, 1993 On July 5, 1989, NBC officially debuted Seinfeld, the American TV sitcom famously described as a show “about nothing.” Created by […]

The post Seinfeld’s “Puffy Shirt”, 1993 appeared first on Smithsonian Insider.

How 'Bewitched' Helped Salem Embrace Its Grim Past

Smithsonian Magazine

How did Salem, Massachusetts become a Halloween destination? For centuries, the New England town avoided any association with its infamous Puritan ancestors, who executed 19 people under suspicion of practicing witchcraft. The surprising answer, author Stacy Schiff writes for The New York Times, has a lot to do with the sitcom "Bewitched."

These days, Salem is rife with kitschy witches and Halloween attractions. But before the late 20th century, town citizens rarely acknowledged the Puritan trials. When playwright Arthur Miller visited Salem to research "The Crucible" in 1952, locals refused to help him. "You couldn't get anyone to say anything about it," he complained, according to "Salem: Place, Myth, and Memory."

Until "Bewitched," that is. In 1970, the popular sitcom filmed episodes on location in Salem, including one where Samantha Stephens, the titular sorceress, travels back in time and is put on trial. Schiff writes:

Accused of witchcraft in old Salem, she winds up manacled, on trial for her life. She admits to the charge. But she announces to the courtroom that she will also prove that no 17th-century suspect was a witch [...] "How can you imprison someone who can vanish before your very eyes?" she demands. Firmly she sets our Puritan forebears straight: "The people that you persecuted were guiltless. They were mortals, just like yourselves. You are the guilty," she informs the old Salemites, before she vanishes, at long last clearing the air.

After "Bewitched," Salem began to embrace a tourist-friendly version of its grim past. The town began hosting an annual Haunted Happenings festival in 1982, which quickly exploded into a month-long Halloween celebration. In 2005, a statue of Elizabeth Montgomery, the actress who played Samantha, was erected in Salem's town square. Today, even the city's police cars are decorated with witch insignia.

Still, "Bewitched" isn't the whole story. For centuries, Salem's port made it one of the wealthiest towns in New England. The town had fallen on hard times when the sitcom arrived, Schiff explains. The witch trials became a way to boost the local economy. "There is, perhaps, something a little ghoulish in all this," Matt Crowley, who grew up in Salem, writes for the A.V. Club. "After all, we can follow a straight line from a bunch of murders in the 1690s to a Ferris wheel today."

Maybe that's why residents opposed Montgomery's statue when it was first proposed. While supported believed it would be good for tourism—akin to Philadelphia's statue of Rocky Balboa— others thought it was an affront to the innocent people who were murdered. ''It's insensitive to what happened in 1692," Salem resident Jean Harrison told the Boston Globe's Kathy McCabe in 2005. ''She was a fictional witch, but the people who died were not witches."

Nevertheless, as Schiff writes in the November issue of Smithsonian, the legacy of the Salem witch trials linger in modern American culture:

When computers go down, it seems far more likely that they were hacked by a group of conspirators than that they simultaneously malfunctioned. A jet vanishes: It is more plausible that it was secreted away by a Middle Eastern country than that it might be sitting, in fragments, on the ocean floor. We like to lose ourselves in a cause, to ground our private hurts in public outrages. We do not like for others to refute our beliefs any more than we like for them to deny our hallucinations.

How Long Do Cultural References Last?

Smithsonian Magazine

On a (mostly) quiet street in San Francisco, the house that served as the Tanner family residence in Full House (a sitcom that ran from 1987 to 1995 and at its peak was watched by 16 million American households) still stands—though, according to Yelp, it's been repainted. Plenty of fans still stop by, and this past weekend, reports Vultureso did actor John Stamos (who played Uncle Jesse on the show).

But, as Stamos joked on Instagram, apparently fans visiting the house didn’t recognize one of the show's stars:

There's a less flattering explanation for their lack of interest, though: Stamos may be victim to our constantly changing cultural frame of reference. And if all this talk of a early 1990s sitcom is leaving you confused, so are you.

In his newest craft-of-writing essay for the New Yorker, John McPhee explores one key choice writers can make: When is it edifying to introduce an reference that might not be relevant to all readers, and when is it just annoying?

With cultural references in particular, the ease of recognition can fade with time. McPhee writes:

[C]ollective vocabulary and common points of reference are not only dwindling now but have been for centuries. The dwindling may have become speedier, but it is an old and continuous condition. I am forever testing my students to see what works and does not work in pieces of varying vintage.

McPhee cites a New York Times column written by Frank Bruni (also a Princeton University lecturer). "If you’re closing in on 50 but want to feel much, much older, teach a college course," Bruni writes. He elaborates:

I once brought up Vanessa Redgrave. Blank stares. Greta Garbo. Ditto. We were a few minutes into a discussion of an essay that repeatedly invoked Proust’s madeleine when I realized that almost none of the students understood what the madeleine signified or, for that matter, who this Proust fellow was.

In McPhee’s own tests, 18 out of 18 students in a high school English class know who Woody Allen is. Only 17 recognize the name Paul Newman. He keeps testing:

Elizabeth Taylor, “My Fair Lady”—eleven. Cassius Clay—eight. Waterloo Bridge, Maggie Smith—six. Norman Rockwell, Truman Capote, Joan Baez—five. Rupert Murdoch—three. Hampstead, Mickey Rooney—two. Richard Burton, Laurence Olivier, Vivien Leigh—one. “In England, would you know what a bobby is?”—one.

As for John Stamos, gently mocking the fans who don’t recognize him: We'll chalk up their lack of excitment to his dark glasses and hat. But someday Uncle Jesse and Full House surely will pass from our collective frame of reference. Even a potential reboot can only stave off the inevitable.

Donation by "All in the Family" Cast

Smithsonian Archives - History Div
Featured in TORCH, October 1978

The cast of the television sitcom "All in the Family" came to the National Museum of History and Technology, now the National Museum of American History, to donate Archie and Edith Bunker's chairs to the "A Nation of Nations" exhibit in September of 1978. (L-R): Jean Stapleton, Secretary (1964-1984) S. Dillon Ripley, Norman Lear, Sally Struthers and Rob Reiner as they peer into the case where the chairs are displayed.

Ellen DeGeneres

National Portrait Gallery
Born Metairie, Louisiana

Despite its reputation for progressive politics, Hollywood has been surprisingly skittish when it comes to publicly acknowledging sexual difference. Thus it was a landmark event when in April 1997, comedian Ellen DeGeneres told Time magazine, "Yep I'm Gay." DeGeneres went on to say that she was ambivalent about coming out, feeling that there should be a zone of privacy allowable to public figures and celebrities. But she also felt that not openly acknowledging her lesbianism meant that she lacked control over her own life and career. Coming out, she said afterward, "has been the most freeing experience because people can't hurt me anymore." Social issues aside, DeGeneres is one of America's most successful show business figures: star of her own sitcom and talk shows and host of the Oscars and other awards shows, she continues to perform as she began-as a stand-up comedian.

Across the Country, It's All Happening at the Coffeehouse

Smithsonian Magazine

With Starbucks coffee bars sprouting up on every corner, and a yen for espresso sweeping the land, author Minna Morse went in search of America's hot new hangout: the neighborhood coffeehouse.

As the craze for coffee has gathered steam retail sales of specialty coffee beans and beverages will have doubled by the end of the decade- so has the yearning for a welcoming place to drink it. From Caffè Trieste in San Francisco, to the Politics and Prose bookstore and coffeehouse in Washington, D.C., patrons are singing the praises of places where they can find cappuccino and camaraderie.

The coffeehouse clientele harks back to a noble tradition. The world's first coffeehouse is said to have opened in Damascus in 1530. Coffee began appearing in Europe in the early 17th century, with each country evolving a distinctive coffeehouse culture, from England to Austria.

Today, in a world where everyday life seems increasingly anonymous and fragmented, students and freelance workers, retirees and mothers with babies, singles and couples, are finding a new community center: their local coffeehouse. Even in sitcom land, we're heading there--as the characters in the megahit Friends can attest, converging weekly at Central Perk.

David Letterman

National Portrait Gallery
Television host David Letterman has been a staple of late-night comedy for more than two decades. From a middle-class Indianapolis family, Letterman grew up playing baseball, working a paper route, and dreaming of broadcasting. Moving to Los Angeles, he performed stand-up comedy and wrote Exhibition scripts for such sitcoms as Good Times. In 1978 the gap-toothed comedian appeared on The Tonight Show, after which he regularly filled in as guest host for Johnny Carson. Letterman's quirky sense of humor and wacky stunts earned him his own late-night show at NBC and later at CBS. With its offbeat humor and nightly "Top Ten" lists, The Late Show with David Letterman reinvented late-night entertainment, giving it a hip, sarcastic edge.

This 1994 caricature by John Kascht was the first color drawing to appear in the Arts and Leisure section of the New York Times.
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