7Helen Scurlock Brown (daughter of Herbert Clay Scurlock, M.D., Addison Scurlock’s brother), interview by author. The actual office for which George Clay Scurlock ran is open to question, since he was also said to have run instead for a Congressional seat. Washington, D.C., telephone, December 7, 1996.

     8Jane Freundel Levey, "The Scurlock Studio," Washington History: Magazine of the Historical Society of Washington, D.C. Vol. 1, No. 1 (Spring 1989): 41-42.

     9Sandra Fitzpatrick and Maria R. Goodwin, The Guide to Black Washington: Places and Events of Historical and Cultural Significance in the Nation’s Capital (New York: Hippocrene Books, 1990), 208.

     10Levy, "The Scurlock Studio,", 42, :citing Jacqueline Trescott, Washington Post, Scurlock interview, January 24, 1989.

     11Deborah Willis and Jane Lusaka, eds., Visual Journal: Harlem & D.C. in the Thirties and Forties, catalogue to photography exhibit, (Washington: The Center For African American History and Culture and Smithsonian Institute Press, 1996).

     12"Our father would put photographs of famous people and not-so-famous people out there, and people saw this nice display and just walked in and asked if you could make them look as beautiful as the people in the case . . . There'd be a picture of somebody's cousin there, and they would say, 'Hey, if you can make him look that good, you can make me look better'": George Scurlock, "The Scurlock Look", interview by Peter Perl, Washington Post, December 2, 1990;
     "You had arrived if your picture was inside the window. Of all the brides that he photographed in any one particular month, you were looking to see which ones he had picked to be in the window. The same thing happened up on 18th St. You would go by to see whose photo was on the tripod in the window": Alice Davis, interview by author, November 24, 1995, Washington, D.C., tape recording, "Scurlock Studio Oral History Project;"
     " 'On Sunday afternoons, we would take a stroll down to U Street and look in the window and see whose pictures were in there. . . .everyone would look to see if their picture was in the window. . . . During the war, I went in one day to have my picture taken, and George made a portrait of me. . . . so the next couple of weeks I went past the studio and looked in the window and there was my beautiful picture, so that was quite thrilling, to know that I had made the window': Vivian Scurlock, interview by author, November 18, 1995, Washington, D.C., tape recording, 'Scurlock Studio Oral History Project.'"


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