The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 2001 Smithsonian Folklife Festival was produced by the Smithsonian Center for Folklife and Cultural Heritage and cosponsored by the National Park Service.
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This collection documents the planning, production, and execution of the 2001 Smithsonian Folklife Festival. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arranged in 5 series.
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival forms part of the
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our
The Rinzler Archives is continually engaged in digitization of archival materials to facilitate preservation and ready access by users. However, given the diversity of legacy formats of the originals, some older materials may not be available. Notably, certain older audio recordings cannot be played because of deterioration of the tape stock, and the Archives has no playback equipment for EIAJ-1 videoreels (1/2 inch) or multi-track audio recordings. Where listening or viewing copies are available, this is generally indicated for each item. Users are encouraged to contact Archives staff to verify that the materials of interest to them are already accessible, or to determine if they can be digitized as needed.
More so than monuments, buildings, museum-quality artifacts, historical facts, or even valued performances, the Festival celebrates the people who make them, hold them in esteem, and debate their meaning. The Festival represents a wonderful range and diversity of voices and human experiences. The 2001 Festival featured programs on the building arts, New York City, and Bermuda.
The Masters of the Building Arts program brought together expert craftspeople in the building trades, including many who use traditional arts to restore our monuments and historic sites. Among them visitors could find many of the artisans who have worked on the Washington Monument, the Franklin Delano Roosevelt Memorial, Acoma Pueblo, historic Charleston, and Native Hawaiian sites - all important monuments protected by the National Park Service, the Smithsonian's partner in the Festival since 1973.
The New York City program highlighted the way in which that city has become the global village. Broadway, the fashion industry, the Apollo Theater, and Wall Street were all featured. So too was the vital cultural creativity that has come about as people from the world over have settled in New York. The Festival provided a contemporary look at immigration and its importance to our culture. The fact that so many people from every corner of the earth have come to our shores through New York in order to build their lives and our nation has inspired generations, and the Festival offered the opportunity to encounter those communities and experience their cultural heritage.
Bermuda, though separated from the United States by hundreds of miles of ocean, has long played a role in our history. Bermuda was settled by colonists on their way to Jamestown, Virginia, where they rescued starving survivors of that colony. ln the last century, Bermuda, always entrepreneurial and self-reliant, has developed tourism and financial industries in a symbiotic relationship with the United States. Bermudians foster strong community connections within their own island society, as well as those of commerce, culture, and cooperation with the people of nations whose shores touch the Atlantic Ocean. Festival visitors could transport themselves to a tiny island of Bermuda within the Festival site on the National Mall, experiencing its cultural traditions through interaction with Bermudian participants.
The Festival always depends on solid research. Several dozen Bermudian scholars, educators, and artists working with Smithsonian curator Diana Baird N'Diaye interviewed hundreds of tradition-bearers, documenting everything from gardening to house-building to music-making. That documentary archive of tapes, photographs, field notes, and videos constitutes a snapshot of Bermudian culture and provided the basis for the Festival program, as well as a resource for the future. A similar effort took place New York City, where folklorist Nancy Groce directed the curatorial work - selecting the traditions to feature at the Festival and the people to present them - aided by cultural organizations in the city, among them the Center for Traditional Music and Dance, City Lore, and the Museum of American Financial History, a Smithsonian affiliate. Masters of the Building Arts grew from the vision of the Smithsonian's Marjorie Hunt, guided by her own long-term research on the stone carvers of the National Cathedral.
The 2001 Festival took place during two five-day weeks (June 27-July 1 and July 4-8) between Madison Drive and Jefferson Drive and between 9th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured three programs, with several special events including the Ralph Rinzler Memorial Concert.
The 2001 Program Book included schedules and participant lists for each program; keynote essays provided background on the Festival and on each of the programs.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife and Cultural Heritage.
Richard Kurin, Director; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Daniel Sheehy, Director, Smithsonian Folkways Recordngs; James Early, Director, Cultural Heritage Policy; Olivia Cadaval, Chair, Research & Education; Jon Kertzer, Project Director, GlobalSound Network; D.A. Sonneborn, Assistant Director, Smithsonian Folkways Recordings; Thomas Vennum, Jr., Senior Ethnomusicologist Emeritus; Betty J. Belanus, Nancy Groce, Marjorie Hunt, Diana Baird N'Diaye, Peter Seitel, Cynthia Vidaurri, Curators, Folklorists, Education and Cultural Specialists; Frank Proschan, Project Director, Save Our Sounds; Carla M. Borden, Program/Publications Manager; John W. Franklin, Program Manager; Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Arlene L. Reiniger, Program Specialist; Charlie Weber, Media Specialist; Frank Bechter, Roland Freeman, Ivan Karp, Alan Lomax, Worth Long, Rene Lopez, Jemima Pierre, Kate Rinzler, Ana Patricia Rodriguez, Fellows & Research Associates
Jane Beck, Kurt Dewhurst, Anthony Gittens, Pat Jasper, Barbara Kirshenblatt-Gimblett, Judy Mitoma, Bernice Johnson Reagon, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos
Michael Asch, Phyllis Barney, Don DeVito, Ella Jenkins,
Denis P. Galvin, Acting Director; Jack Schamp, Director, National Capital Region
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit
2001 Smithsonian Folklife Festival Program Book
2001 Smithsonian Folklife Festival site plan
Carla M. Borden was Editor of the 2001 Program Book and Peter Seitel was Associate Editor. Kristen Fernekes was Director of Design; Caroline Brownell was Graphic Designer; and Michael Bartek was Design Assistant.
Approaching Bermuda by air or sea, one notices first that the isles are opulently landscaped and impeccably adorned with lush gardens and pastel architecture. For its 300,000 yearly visitors and 60,000 islanders alike it is a land that is small in area but rich in culture. Bermuda is at once a geographic place and cultural space - a creation of human enterprise, artistry, and effort.
Bermuda's local culture grew out of the island's strategic location. From its very early settlement this tiny archipelago was a central navigational landmark between the British lsles, mainland America, the Caribbean, and later the Azores. Patterns of travel and exchange have continued to rejuvenate the cultural fabric of the island colony. These patterns have been a source of material goods, population, and culture. People, ideas, and goods, along with music, foods, and other forms of culture, flow out and back from Bermuda with the regularity of the ocean tides. Bermudian folklife is the creative, pragmatic, and unique fusion of these cosmopolitan trends - a fusion that was vividly on display to visitors at the 2001 Festival.
Bermudians value the resourcefulness with which they turn circumstances to their own use. In keeping with their perception of constant risk yet relative good fortune, they are realists, opportunists, and yet careful to acknowledge divine providence (there are more local religious establishments per person than most places in the world). They endeavor to use every resource; to watch what and who enters and leaves the island; to foster, nurture, and manage connections between family and community. They maintain clear borders between insiders and outsiders. These values permeate Bermudian experience. Bermudian culture shapes the island, and the island shape Bermudian culture. Festival visitors could share in this Bermudian experience, if only for a few hours, as it was transported to the National Mall for two weeks during the Festival.
Diana Baird N'Diaye was Curator, with Jackie Aubrey as Program Coordinator for Bermuda, and Yulette George as Program Coordinator for the U.S. The Bermuda Coordinating Committee included: Heather Whalen, Cultural Affairs Officer; Geneva Humdy-Woodley, Development and Sponsorship Relations; Linda Smith, Public Relations.
An Advisory Roundtable included: Charlotte Andrews, Johnny Barnes, R. Bruce Barritt, Jolene Bean, Geoff Bell, Joanne Brangman, Gary Burgess, Alan Burland, The Hon. Dale Butler, J.P., M.P., Karen Cabral, Colin Campbell, George Cook, Eddy DeMello, Connie Dey, Caroldey Douglas, Llewellyn Emery, Richard Fell, Glenn Fubler, Eloise Furbert, LaVerne Furbert, Sylvie Gervais, Joe Gibbons, Jennifer Gray, Joyce D. Hall, Edward Harris, Randolph Hayward, Carol Hill, Eva Hodgson, Sharon Jacobs, Elizabeth Kawaley, Ed Kelly, Stanley Kennedy, Fanon Khaldun, Ronald Lightbourne, Elsie Martin, Clarence Maxwell, Florenz Webbe Maxwell, Conchita Ming, Frederick Ming, Marshall Minors, Beverley Morfitt, Stanley Oliver, Amanda Outerbridge, Elise Outerbridge, Graeme Outerbridge, John Payne, Shirley Pearman, Ira Phillip, M.B.E., J.P., Liz Pimental, Robert Pires, Patricia Pogson, Grace Rawlins, Anthony Richardson, Veronica Ross, Dennis Sherwin, Llewellyn Simmons, Senator Calvin Smith, James Smith, Mary Talbot, Ruth Thomas, Shangri-La Durham Thompson, James Tucker, Yvona Vujacic, Jack Ward, Mary Winchell, and James Zuill.
The program was produced in partnership with the Bermuda Government Departments of Community and Cultural Affairs within the Ministry of the Environment, Development & Opportunity and The Bermuda Connections Smithsonian Folk life Festival Charitable Trust. The Leadership Committee was chaired by The Honourable Terry E. Lister, J.P., M.P. Major contributors included the Bank of Bermuda Foundation, the Bermuda Hotel Association, BELCO, Cable a Wireless, Tyco International Ltd., ACE Limited, The Argus Group, and Centre Solutions. Major in-kind support was provided by the Bermuda Container Line, the Bermuda Hotel Association, Appleby, Spurling a Kempe, Bermuda Export Sea Transfer, Stevedoring Services, XL Capital Ltd., and Deloitte & Touche.
Marcelle Beach, Bonnie Exell, Rawle Frederick, Joe Gibbons, Nan Godet, Ronald Lightbourne, Diana Lynn, Florenz Webbe Maxwell, Elizabeth Pedro, Gary Phillips, Patricia Phillips, Robert Pires, Llewellen Simmons, Ruth Thomas, Lynne Thorne, James Tucker, Joy Wilson Tucker, Cynthia Vidaurri, Shirley White, James Ziral, John Zuill, William Zuill
Jolene Bean, Llewellyn Emery, Bonnie Exell, Rawle Fredrick, Joe Gibbons, Nan Godet, Randy Horton, Ron Lightbourne, Fred Ming, Elizabeth Pedro, Gary Phillips, Patricia Phillips, Llewellyn Simmons, Vejay Steede, Ruth Thomas, Lynne Thorne, James Tucker, Joy Wilson Tucker, Judith Wadson, Shirley White
From the soaring skyscrapers of New York City to the adobe churches of New Mexico, from the sturdy stone walls of New England to the majestic monuments of the nation's capital, master craftworkers in the building arts have brought enduring beauty to our built environment. Working in wood, stone, brick, and metal, in plaster, paint, glass, and clay, they transform designs on paper into three-dimensional works of art. Much depends on their workmanship and skill: on their deep understanding of raw materials, their careful selection and use of tools, their mastery of technique. The final product is the result not only of their knowledge and abilities, but also their creativity and care - their will to excellence.
Artisans in the building trades share a deep appreciation for the aesthetic value and expressive power of technical perfection. They delight in skill and find meaning and pleasure in the poetic qualities of workmanship - in their ability to craft objects of beauty and strength through their special touch. Their great pride and creative spirit, their love for their work, and their commitment to excellence are manifested in a lasting legacy of architectural achievement left behind for generations to come.
The 2000 Festival program celebrated the extraordinary artistry of craftspeople in the building arts and explored the many challenges they face today as they work to preserve our nation's past and build for the future. The Festival brought together a selection of master artisans - stone carvers, masons, carpenters, terra cotta artisans, plasterers, blacksmiths, stained glass artisans, and adobe builders - who have enriched our world with the work of their hands, and who educated and informed Festival visitors not only with their skills but also with their knowledge and lore.
Marjorie Hunt was Curator and James Deutsch was Program Coordinator; Betty Belanus was Education Specialist and Family Activity Guide Coordinator. An Advisory Committee included: J. Bryan Blundell, Kurt Dewhurst, William Dupont, Cynthia Field, Henry Glassie, Norman Koonce, Betty Monkman, Peter Nabokov, Joanna Reagan, Rex Scouten, William Seale, Chris Sturbaum, John Michael Vlach, and Ed Worthy.
The program was produced in collaboration with the International Union of Bricklayers and Allied Craftworkers and the International Masonry Institute, the National Trust for Historic Preservation, the National Building Museum, the American Institute of Architects, and the Preservation Trades Network. Major funding was provided by Homestore.com, the Marble Institute of America, Allied Stone Industries, the Building Stone Institute, the Indiana Limestone Institute, and the National Building Granite Quarries Association. Major contributors included Target Stores, the Associated General Contractors of America, the National Association of Realtors, and the Smithsonian Women's Committee. Additional donors included the School of the Building Arts, Duron, Inc., the Brick Industry Association, the Laborers' International Union of North America, the Smithsonian Educational Outreach Fund, and the Copper Development Association, Inc.
Jane Beck, Betty Belanus, Ray Brassieur, Amanda Dargan, James Deutsch, Kurt Dewhurst, Karen Duffy, Lynn Martin Graton, Dwight Pauahi Kauahikaua, Winnie Lambrecht, Tim Lloyd, Gregory Sharrow, Gary Stanton, David Taylor, Elaine Thatcher, John Michael Vlach
Betty Belanus, Barry Bergey, Ray Brassieur, Olivia Cadaval, Amanda Dargan, William Dupont, Brian Finnegan, Lynn Martin Graton, Tim Lloyd, Philip "Pete" Pederson, Clift Seferlis, Peter Seitel, Gregory Sharrow, Angelo Simone, Nick Spitzer, Gary Stanton, David Taylor, Elaine Thatcher, Cynthia Vidaurri, John Michael Vlach
At first, it might seem like an oxymoron to talk about the "folklore" or "folklife" of one of the world's most modern cities, but daily life in New York would be impossible without this body of shared urban traditions, of collective community knowledge, customs, historical memories, and cultural understandings that constitutes the folklife of the city. lt provides the basic ground rules that shape how New Yorkers interact with their families, their colleagues, and their fellow New Yorkers. From subway etiquette to local street food to stickball games, these traditions give New York City its unique sense of place.
ln addition to a shared urban culture, most New Yorkers also have one or more reservoirs of specialized traditional knowledge, which they have acquired from their ethnic and/or religious upbringing, working in a particular occupation, or living in a specific area of the city. The innumerable, multifaceted ways in which these factors interact are what make New York and New Yorkers so fascinating. Of course, it was impossible to cover all aspects of New York's culture in a single event, but by approaching city culture thematically, and by carefully selecting examples that highlight different aspects of work, life, and leisure in New York, New York City at the Smithsonian sought to acquaint Festival visitors with both the ordinary and extraordinary aspects of life in Gotham.
What gives New York a sense of being different is not merely tbe myriad ethnic and interest groups that are found in the city, but the complex ways in which they overlap and interact. The physical landscape of New York - the lack of space, the reliance on mass transit by people of vastly differing backgrounds, neighborhoods which are home to both the very rich and the extremely poor - makes it impossible for New Yorkers to ignore the influence of "others." From kosher Chinese restaurants to lrish hip-hop groups to Mexican pizzas, cultures from all corners of the globe have influenced one another in New York, in part because of their physical proximity.
The 2001 Smithsonian Folklife Festival celebrated just a few of the innumerable manifestations of traditional culture in New York City. More importantly, fieldwork leading up to the Festival allowed the Smithsonian, working in close collaboration with city-based cultural organizations and ethnic and occupational communities, to document daily life in New York City at the turn of the millennium. Material collected during the course of this research, as well as information recorded during and after the Festival, will significantly enrich the Smithsonian's archival holdings about New York City. A century from now, when scholars and writers want to know what it was like to live in New York in 2001, to work on Broadway, to drive a taxi, to trade stocks on Wall Street, or teach English in a school filled with recent immigrants, they can turn to the documentation collected by this project. That body of documentation - and the recordings and photographs made during the Festival itself - took on increased importance with the events of September 11, 2001, barely three months after the Festival had closed, which emphasized to all observers how the cultural values of New Yorkers, vividly on display to Festival visitors, also provided them a reservoir of resiliency to surmount those tragic events.
Nancy Groce was Senior Curator for the program, supported by several Area Curators: Ray Allen, music; Marion Jacobson, urban fashion; Annie Hauck-Lawson, foodways; Cathy Ragland, music; Ethel Raim, music; Henry Sapoznik, media; Brian Thompson, Wall Street; Kay Turner, Wall Street; and Steve Zeitlin, neighborhood. Arlene Reiniger was Program Coordinator.
An Advisory Committee included: Ruth Abram, Director, Lower East Side Tenement Museum; Gladys Pena Acosta, Director, RAICES; Ray Allen, Director, American Studies Program, Brooklyn College/CUNY; Gage Averill, Chair, Music Department, New York University; Fatima Bercht, Chief Curator, El Museo del Barrio; Melody Capote, Executive Director, Caribbean Culture Center/African Diaspora Institute; Barbara Cohen-Stratyner, Curator, New York Public Library for the Performing Arts; Cara De Silva, Food Historian; Miriam De Uriarte, Director of Education, El Museo del Barrio; Howard Dodson, Director, Schomburg Center for Research in Black Culture/NYPL; Sharon E. Dunn, Senior Assistant for the Arts, New York City Board of Education; Juan Flores, Professor, Black and Puerto Rican Studies, Hunter College/CUNY; Laura Hansen, Director, Place Matters, Municipal Art Society; John Haworth, Assistant Director, National Museum of the American Indian; Ellie Hisama, Director, Institute for Studies in American Music, Brooklyn College/CUNY; Barbara Kirshenblatt-Gimblett, Professor, Performance Studies Department, NYU; Leah Krauss, Program Officer, The New York Community Trust; Susana Torruella Leva!, Executive Director, El Museo del Barrio; Robert MacDonald, Executive Director, Museum of the City of New York; Fay Chew Matsuda, Executive Director, Museum of Chinese in the Americas; Ethel Raim, Executive Director, Center for Traditional Music and Dance; Jan Seidler Ramirez, Vice President of Public Affairs, New York Historical Society; Frances A. Resheske, Vice President of Public Affairs, Consolidated Edison Company; Joseph Sciarra, Academic Programs, Calandra Italian American Institute, Queens College; Gabrielle Shubert, Director, New York Transit Museum; Pravina Shukla, Assistant Professor, Folklore Department, Indiana University; John Kuo Wei Tchen, Director, Asian/Pacific/American Studies Program & Institute, NYU; Brian Thompson, Director, Museum of American Financial History; Michael Wallace, Historian and Author, CUNY; Steve Wheeler, Archivist, New York Stock Exchange; Theodora Yoshikami, Multicultural Program, American Museum of Natural History; Steven Zeitlin, Executive Director, City Lore: The Center for Urban Culture.
The program was produced in collaboration with New York's Center for Traditional Music and Dance and City Lore, with major funding from the New York City Council, the New York City Department of Cultural Affairs, Howard P. Milstein, and the New York Stock Exchange. The Leadership Committee was co-chaired by The Honorable Daniel Patrick Moynihan and Elizabeth Moynihan and corporate chairman Howard P. Milstein. Major support was provided by Amtrak, Con Edison, the Recording Industries Music Performance Trust Funds, Arthur Pacheco, and the Metropolitan Transportation Authority. Major contributors included The New York Community Trust, The Coca-Cola Company, The Durst Foundation, the May & Samuel Rudin Family Foundation, Leonard Litwin, Bernard Mendik, and Stephen and Judy Gluckstern. Additional donors included Emigrant Savings Bank, Jeffrey Gural, Lester Morse, Richard Schwartz, Michael Bloomberg, Keyspan Energy, Martin Segal, and Earle Mack.
Jerald Albarelli, Ray Allen, Emily Botein, Lori Branston, Kathleen Condon, Martha Cooper, Amanda Dargan, Andrew Davis, Tony DeNonno, Sonia Estreich, Makale Faber, Kwali Farbes, Michael Greene, Laura Hansen, Annie Hauck-Lawson, Marion Jacobson, Denise Lynn, Elena Martinez, Cathy Ragland, Ethel Raim, Henry Sapoznik, Roberta Singer, Les Slater, Scott Spencer, Brian Thompson, Kay Turner, Tom Van Buren, Li Wangsheng, Bill Westerman, Lois Wilken, Steven Zeitlin
Judy Adamson, Ray Allen, Dwight Blocker Bowers, Kathleen Condon, Andrew Davis, James Early, Makale Faber, Juan Flores, Annie Hauck-Lawson, Marion Jacobson, Barbara Kirshenblatt-Gimblett, Wangsheng Li, Elena Martinez, Cathy Ragland, Ethel Raim, Kristin Richard, Henry Sapoznik, Les Slater, Brian Thompson, Kay Turner, Tom Van Buren, Meg Ventrudo, Cynthia Vidaurri, George Zavala, Steve Zeitlin
Folklife Festival Narrative Session: Chico Garcia - Muralist and Graffiti Artist. Part 1.
Folklife Festival Narrative Session: Chico Garcia - Muralist and Graffiti Artist. Part 2.
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Folklife Festival Narrative Session: Tats Cru - Muralists and Graffiti Artists
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Folklife Festival Narrative Session: Art and Urban Life
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Folklife Festival Narrative Session: My NY: Urban Street Art. Part 1.
Folklife Festival Narrative Session: My NY: Urban Street Art. Part 2.
Folklife Festival Narrative Session: Urban Art, Neon Signs and Graffiti Murals
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For the Ralph Rinzler Memorial Concert, Bernice Johnson Reagon was Curator and Kate Rinzler was Program Coordinator. For the Tribute to Margaret Mead, Carla Borden was Curator and James Early, Rayna Green, and Ethel Raim were presenters. For Folk Songs of the American Presidency, Howard Bass was Curator and Dennis Callahan was Associate.
The Ralph Rinzler Memorial Concert was made possible by the Recording Industries Music Performance Trust Funds. The Tribute to Margaret Mead was made possible by the Institute for Intercultural Studies and the Office of the Senior Scholar Emeritus, Smithsonian Institution. The American Presidency exhibition was made possible by the generous support of Kenneth E. Behring; The History Channel; Chevy Chase Bank; Cisco Systems, Inc.; Elizabeth and Whitney MacMillan; and Heidi and Max Berry; with additional support provided by Automatic Data Processing, Inc.; Business 2.0; KPMG LLP; Sears, Roebuck and Co.; and T. Rowe Price Associates, Inc.