Eduardo Kachskovsky had a long career at KMEX-TV (Univision) starting in 1980 and serving the Latino community. He worked from 1989 to 2004 in various roles from producer/director to creative director of live news and events. Such events ranged from award shows and political debates to the annual Rose Parade. Spanish-language TV stations were committed to co-sponsoring and televising events that promoted education, health, and civic understanding among communities of viewers. In addition, they invested in the needed staff, reporters, and technology to go on location and connect audiences to live events. If there was an event in LA, “Kach” was probably there. His collection includes not only press badges and a KMEX jacket, but also photographs and an oral history.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Eduardo Kachskovsky desarrolló una extensa carrera en KMEX-TV (Univision) a partir de 1980 y sirvió a la comunidad latina. Se desempeñó en distintas funciones de 1989 a 2004, desde productor / director hasta como director creativo de noticias y eventos en vivo. Dichos eventos iban desde entregas de premios y debates políticos hasta el Desfile de las Rosas anual. Los canales de televisión en español se comprometieron a copatrocinar y televisar eventos que promovieran la educación, la salud y el entendimiento cívico entre las comunidades de televidentes. Además, invirtieron en el personal, los reporteros y la tecnología necesaria para trasladarse hasta los lugares y conectar a las audiencias con los eventos en vivo. Allí donde hubiera un evento en Los Ángeles, probablemente estaría "Kach". Su colección incluye insignias de prensa y una chaqueta KMEX, al igual que fotografías y una historia oral.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
This object represents the history of the beautyblender Company, which was founded by Rea Ann Silva (1961-). Silva began her career as a make-up artist in 1989. After spending more than a decade honing her craft, Silva became one of the first make-up artists to begin working on clients in high definition TV, working with artist such as 2Pac and Brandy and on televisions shows such as UPN’s Girlfriends. Silva began creating what is now the original beautyblender sponge in 2002. Her sponge replicated the effects of airbrushing, but without requiring cumbersome equipment. By 2003, Silva incorporated the company and the iconic hot pink sponge hit the commercial markets, immediately making a splash. Since the creation of the sponge, the company has expanded its offering to include makeup brushes, cleansers, primers and most recently, a foundation line called Bounce. Always setting trends, Bounce is notable for its extensive color range of 40 shades. Silva, a Latina, has never shied away from asserting her pride in being a woman of color. In fact, she credits her heritage, personal background, and perseverance through adversity as contributing factors to her success.
This object represents the history of the beautyblender Company, which was founded by Rea Ann Silva (1961-). Silva began her career as a make-up artist in 1989. After spending more than a decade honing her craft, Silva became one of the first make-up artists to begin working on clients in high definition TV, working with artist such as 2Pac and Brandy and on televisions shows such as UPN’s Girlfriends. Silva began creating what is now the original beautyblender sponge in 2002. Her sponge replicated the effects of airbrushing, but without requiring cumbersome equipment. By 2003, Silva incorporated the company and the iconic hot pink sponge hit the commercial markets, immediately making a splash. Since the creation of the sponge, the company has expanded its offering to include makeup brushes, cleansers, primers and most recently, a foundation line called Bounce. Always setting trends, Bounce is notable for its extensive color range of 40 shades. Silva, a Latina, has never shied away from asserting her pride in being a woman of color. In fact, she credits her heritage, personal background, and perseverance through adversity as contributing factors to her success.
Sarah Leavitt’s Bat Mitzvah, Madison, Wisconsin, 1983
Religious communities have long played a role in defining the transition from girlhood to womanhood with rites of passage. Yet, girls take on these traditions and remake them in different ways.
In the synagogue, a thirteen-year-old boy becomes a man at his Bar Mitzvah. But no comparable ceremony sanctified girls’ coming of age until 1922, when a New York rabbi invented Bat Mitzvah for his daughter. By the late 1900s, Jewish girls had claimed the millennia-old ritual known as the Bar Mitzvah for themselves.
Sarah Leavitt grew up in Madison, where she celebrated her Bat Mitzvah at Temple Beth El. Both the boys and girls in her class took on the responsibilities of being a Jewish adult at age 13. However, the girls did not wear the traditional prayer shawl (tallit) or head covering, (yarmulke) that were still, then, only worn by the boys.
Bat Mitzvah’s often meant a new dress and a party. Reminiscent of Victorian romance, this Gunne Sax dress was all the rage in the early 1980s.
This object represents the history of the beautyblender Company, which was founded by Rea Ann Silva (1961-). Silva began her career as a make-up artist in 1989. After spending more than a decade honing her craft, Silva became one of the first make-up artists to begin working on clients in high definition TV, working with artist such as 2Pac and Brandy and on televisions shows such as UPN’s Girlfriends. Silva began creating what is now the original beautyblender sponge in 2002. Her sponge replicated the effects of airbrushing, but without requiring cumbersome equipment. By 2003, Silva incorporated the company and the iconic hot pink sponge hit the commercial markets, immediately making a splash. Since the creation of the sponge, the company has expanded its offering to include makeup brushes, cleansers, primers and most recently, a foundation line called Bounce. Always setting trends, Bounce is notable for its extensive color range of 40 shades. Silva, a Latina, has never shied away from asserting her pride in being a woman of color. In fact, she credits her heritage, personal background, and perseverance through adversity as contributing factors to her success.