32 100 4936 https://richesmi.cah.ucf.edu/omeka/files/original/3dff4058e7d62335d3c7d48681d7a1d5.jpg 064bc53146426a74108d38fea30a4879 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Original Format 1 newspaper article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Pre-Launch Meeting Alternative Title Pre-Launch Meeting Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Air Force Project Mercury (U.S.) Description A newspaper article about a meeting that occurred on October 9, 1962, before the launch of Walter "Wally" Marty Schirra, Jr. in Sigma 7 between representatives of the Aerospace Corporation; the Burroughs Corporation; Rocketdyne, Inc.; General Dynamics/Astronautics; McDonnell Aircraft Corporation; General Electric Company; the U.S. Air Force (USAF); and the National Aeronautics and Space Administration (NAS). Photographed, from left to right, are Jack Wiegand of the Aerospace Corporation; George Liner of the Burroughs Corporation; Major C. J. McCarthy of the Air Force's 6555th Aerospace Test Group; Lee Solid of Rocketdyne, Inc.; Major J. R. Mullady of the 6555th, Dr. Calvin D. Fowler of General Dynamics/Astronautics; Porter Brown of NASA; Ralph Gendielle of the McDonnell Aircraft Corporation; and John Savarie of General Electric Company. The racks of electronics and control consoles provides the backdrop. Type Still Image Source Original newspaper article: "Pre-Launch Meeting." October 9, 1962: Private Collection of Dr. Calvin "Cal" D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original newspaper article: "Pre-Launch Meeting." October 9, 1962. Coverage Cape Canaveral Air Force Station Launch Complex 14, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created 1962-10-09 Format image/jpg Extent 116 KB Medium 1 newspaper article Language eng Mediator History Teacher Civics/Government Teacher Rights Holder This resource is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/ma-8/ma-8.htm">Sigma 7 MA-8 (25)</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/ma-8/ma-8.htm. 6555th Aerospace Test Group Aerospace Corporation blockhouse blockhouses Burroughs Corporation C. J. McCarthy Cal Fowler Calvin D. Fowler GDA GE General Dynamics/Astronautics General Electric Company George Liner J. R. Mullady Jack Wiegand John Savarie Launch Complex 14 LC-14 Lee Solid McDonnell Aircraft Corporation Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Porter Brown Project Mercury Ralph Gaendielle Rocketdyne, Inc. Sigma 7 space exploration space programs U.S. Air Force Wally Schirra Walter Marty Schirra, Jr. https://richesmi.cah.ucf.edu/omeka/files/original/4702fd9052f8c7dc4797eca35f1aa02b.jpg ebe85dbc52a69e8a9be6031a94d56815 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Astronaut Gordon Cooper Alternative Title Gordon Cooper Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Astronauts--United States Project Mercury (U.S.) Project Gemini (U.S.) Air Force Description Gordon Cooper (1927-2004) was the sixth American in space and the fourth to orbit the Earth. Cooper flew in the Faith 7 spacecraft for Project Mercury. At the time, he was in space for 34 hours, longer than any American. With his second space flight in Project Gemini, Cooper led all astronauts and cosmonauts in total accumulated time in space. U.S. Air Force (USAF) Colonel Cooper was selected in 1959 as one of the Mercury 7, which was the first group of American astronauts, after a detailed examination of him physically and psychologically, and the successful achievement of the qualifying requirements. Before entering the space program, Cooper was an accomplished pilot, aeronautical engineer, and test pilot. In this self signed color photograph, Cooper is posed in his space suit standing next to a scale model of his spacecraft with the American flag behind him. Type Still Image Source Original 8 x 10 inch color photographic print: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original 8 x 10 inch color photographic print. Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created ca. 1959 Format image/jpg Extent 149 KB Medium 8 x 10 inch 1 color photographic print Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin "Cal" D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www.jsc.nasa.gov/Bios/htmlbios/cooper-lg.html">Biographical Data: LEROY GORDON COOPER, JR. (COLONEL, USAF, RET.), NASA ASTRONAUT (DECEASED)</a>" Lyndon B. Johnson Space Center, National Aeronautics and Space Administration. http://www.jsc.nasa.gov/Bios/htmlbios/cooper-lg.html. "<a href="http://www-pao.ksc.nasa.gov/history/mercury/ma-9/ma-9.htm">Faith 7 MA-9 (26)</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/ma-9/ma-9.htm. "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Transcript G. COOPER Gordon Cooper UNITED STATES Air Force Astronaut Group 1 astronauts Colonel Faith 7 Gemini Gordo Cooper Gordon Cooper Leroy Gordon Cooper, Jr. Mercury Mercury 7 Mercury Seven Mercury-Atlas Mercury-Atlas 9 Mercury-Atlas Nine NASA National Aeronautics and Space Administration Original Seven outer space Project Gemini Project Mercury space exploration space programs space suits U.S. Air Force https://richesmi.cah.ucf.edu/omeka/files/original/d5362b57971f62ac5549ee2f9e65f7af.pdf 06887d5bfca15d883745d5b3f4ffaafb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Original Format 1 newspaper article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Astronauts' Biggest 'Booster': Button Pusher with Prime Job Alternative Title Astronauts' Biggest 'Booster' Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Project Mercury (U.S.) Astronauts--United States Description A newspaper article by Peter Reich published in The Chicago's American. The article provides a contemporaneous account of Dr. Calvin D. Fowler, manager of Cape Canaveral Air Force Station Launch Complex 14 (LC-14) and launch conductor, whose job was launching astronaut Gordon Cooper into space on a Project Mercury rocket. Type Still Image Source Original newspaper article: Reich, Peter. "Astronauts' Biggest 'Booster': Button Pusher with Prime Job." <a href="http://www.chicagotribune.com/" target="_blank">The Chicago's American</a>, May 9, 1963: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original newspaper article: Reich, Peter. "Astronauts' Biggest 'Booster': Button Pusher with Prime Job." <a href="http://www.chicagotribune.com/" target="_blank">The Chicago's American</a>, May 9, 1963. Coverage Cape Canaveral Air Force Station Launch Complex 14, Cape Canaveral, Florida General Dynamics/Astronautics, San Diego, California Creator Reich, Peter Publisher <a href="http://www.chicagotribune.com/" target="_blank">The Chicago's American</a> Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created 1963-05-09 Format application/pdf Extent 165 KB Medium 1 newspaper article Language eng Mediator History Teacher Civics/Government Teacher Provenance Originally created by Peter Reich and published by <a href="http://www.chicagotribune.com/" target="_blank">The Chicago's American</a>. Rights Holder Copyright to this resource is held by <a href="http://www.chicagotribune.com/" target="_blank">The Chicago Tribune</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/ma-9/ma-9.htm">Faith 7 MA-9 (26)</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/ma-9/ma-9.htm. abort sensing and information system ASIS astronauts Atlas Atlas 130-D Cal Fowler Calvin D. Fowler Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station Cape Canaveral Air Force Station Launch Complex 14 Carpenter, Malcolm Scott Carpenter, Scott CCAFS GDA General Dynamics/Astronautics Gordo Cooper Gordon Cooper launch Launch Complex 14 launches LC-14 Leroy Gordon Cooper, Jr. Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Peter Reich Project Mercury Reich, Peter space exploration space programs spacecraft Wally Schirra Walter Marty Schirra, Jr. https://richesmi.cah.ucf.edu/omeka/files/original/7c22245b67003aee78b0ef3856208766.pdf 0a735291a5b95bb6178feb5a914f62c6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Original Format 1 newspaper article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A Great Trip in a Sweet Bird Alternative Title A Great Trip in a Sweet Bird Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Project Mercury (U.S.) Air Force Description A newspaper article published by The Plattsburgh Press-Republican on October 4, 1962. Dr. Calvin D. Fowler was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. In this newspaper photograph, he is shown sitting at the Launch Conductor's console in the blockhouse at Launch Complex 14 (LC-14), launching Wally Schirra (1923-2007)'s Mercury-Atlas rocket, named Sigma 7, into space. Dr. Fowler would go on to do the same for Gordon Cooper (1927-2004). Type Text Source Original newspaper article: "A Great Trip in a Sweet Bird." <a href="http://www.pressrepublican.com/" target="_blank">The Plattsburgh Press-Republican</a>, Vol. LXIX, no. 45, October 4, 1962: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original newspaper article: "A Great Trip in a Sweet Bird." <a href="http://www.pressrepublican.com/" target="_blank">The Plattsburgh Press-Republican</a>, Vol. LXIX, No. 45, October 4, 1962. Coverage Cape Canaveral Air Force Station Launch Complex 14 Blockhouse, Cape Canaveral, Florida Publisher <a href="http://www.pressrepublican.com/" target="_blank">The Plattsburgh Press-Republican</a> Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created 1962-10-04 Format application/pdf Extent 126 KB Medium 1 newspaper article Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally published by <a href="http://www.pressrepublican.com/" target="_blank">The Plattsburgh Press-Republican</a>. Rights Holder Copyright to this resource is held by <a href="http://www.pressrepublican.com/" target="_blank">The Press Republican</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/ma-8/ma-8.htm">Sigma 7 MA-8 (25)</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/ma-8/ma-8.htm. Air Force Air Force Space Systems Division blockhouses Cal Fowler Calvin D. Fowler Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station CCAFS GDA General Dynamics/Astronautics Launch Complex 14 Launch Conductor LC-14 LC-14 Blockhouse Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Plattsburgh Press-Republican Project Mercury Sigma 7 space exploration space programs U.S. Air Force U.S. Air Force Space Systems Division https://richesmi.cah.ucf.edu/omeka/files/original/77c27d612716c6613f0b8d0a6f7c2a75.jpg 563a5e5bd6007d9340ddee77df031ec8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Cal Fowler and Others at the Cape Canaveral Air Force Station Launch Complex 14 Alternative Title Cal Fowler at Launch Complex 14 Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Project Mercury (U.S.) Description Dr. Calvin D. Fowler with others at Cape Canaveral Air Force Station Launch Complex 14 (LC-14). Dr. Fowler is photographed second from the right. Dr. Fowler was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. From the blockhouse at Complex 14, after confirming the mission was a go, Dr. Fowler pressed the button to launch Wally Schirra (1923-2007), Scott Carpenter (1925-2013) and Gordon Cooper (1927-2004) into space aboard their respective rockets. He is pictured chatting with workers at the launch site. Type Still Image Source Original black and white photographic print: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photographic print. Coverage Cape Canaveral Air Force Station Launch Complex 14, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created ca. 1962-1963 Format image/jpg Extent 123 KB Medium 1 black and white photographic print Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Cal Fowler Calvin D. Fowler Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station CCAFS GDA General Dynamics/Astronautics Launch Complex 14 Launch Complex Manager LC-14 Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Project Mercury space exploration space programs https://richesmi.cah.ucf.edu/omeka/files/original/6db66b2960a64ad93e1c51f3e966ac7e.jpg 7f6fb6a78a76d33f4b9e0997577cffdc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title GD/Astro Greeters See Kennedy on Cape Trip Alternative Title GD/Astro Greeters See Kennedy on Cape Trip Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) Project Mercury (U.S.) Presidents--United States Astronauts--United States Description A newspaper article on President John F. Kennedy (1917-1963)'s visit to Cape Canaveral Air Force Station Launch Complex 14 (LC-14) on September 11, 1962. Presidents typically use such visits to gain firsthand understanding of important programs. President Kennedy toured the Cape Canaveral launch facilities the day before he announced the project to place a man on the Moon. Abstract PRESIDENTIAL VISIT - President Kennedy and Astronaut Schirra listen as B. G. MacNabb, GD/Astro director of operations at AMR, conducts briefing of Complex 14, Cape Canaveral. President met key Astro men there, shook hands with many in work force. Type Text Source Original newspaper article: "GD/Astro Greeters See Kennedy on Cape Trip." September 11, 1962: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original newspaper article: "GD/Astro Greeters See Kennedy on Cape Trip." September 11, 1962. Coverage Cape Canaveral Air Force Station Skid Strip, Cape Canaveral, Florida Cape Canaveral Air Force Station Launch Complex 14, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created 1962-09-11 Format image/jpg Extent 127 KB Medium 1 newspaper article Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://er.jsc.nasa.gov/seh/ricetalk.htm">John F. Kennedy Moon Speech - Rice Stadium</a>." Software, Robotics, and Simulation Division, Lyndon B. Johnson Space Center, National Aeronautics and Space Administration. http://er.jsc.nasa.gov/seh/ricetalk.htm. <a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. 6555th Aerospace Test Group AMR astronauts B. G. MacNabb Cal Fowler Calvin D. Fowler Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station Cape Skid Skip GDA General Dynamics/Astronautics Glenn, John Herschel, Jr. Jack Kennedy JFK John F. Kennedy John Fitzgerald Kennedy Launch Complex 14 LC-14 Malcolm Scott Carpenter Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Paul R. Wignall presidents Scott Carpenter Skid Strip space exploration space programs T. J. O'Malley Thomas Joseph O'Malley Tom O’Malley Wally Schirra Walter Marty Schirra, Jr. https://richesmi.cah.ucf.edu/omeka/files/original/af501b8034bf384883021303fd4b5b86.jpg 3082384d95848c7bd0b5cd473783fbc9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rocket Monitoring and Launch Workstations at the Cape Canaveral Air Force Station Launch Complex 14 Blockhouse Alternative Title Workstations at Launch Complex 14 Blockhouse Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Project Mercury (U.S.) Description The Cape Canaveral Air Force Station Launch Complex 14 (LC-14) Blockhouse was where Mercury-Atlas rockets were launched using analog electronic equipment to monitor various aspects of the rocket. One might note that these Project Mercury workstations had no video screens, as there might be today, only analog gauges and meters to view conditions, as well as dials, switches, and buttons to issue commands to the rockets. This equipment was placed in electronics racks, similar to those used for computers in server rooms today, to save space and allow each workstation to have all the equipment to accomplish its function. Type Still Image Source Original black and white photographic print: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photographic print. Coverage Cape Canaveral Air Force Station Launch Complex 14 Blockhouse, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created ca. 1962 Format image/jpg Extent 203 KB Medium 1 black and white photographic print Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. analog electronics blockhouses Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station electronic equipment electronics racks Launch Complex 14 LC-14 Mercury Mercury-Atlas Monitoring NASA National Aeronautics and Space Administration outer space Project Mercury space exploration space programs workstations https://richesmi.cah.ucf.edu/omeka/files/original/785816e903063190c645abc019fca13d.jpg 11ceaed4f6e9ae6b5ec55c0de4f8549b https://richesmi.cah.ucf.edu/omeka/files/original/c3ccd351f310828ec174036c361be2ed.jpg b77792695d178ffffe0fd32f850af48b https://richesmi.cah.ucf.edu/omeka/files/original/749a152b8d4167f105a737efefba4702.jpg 7c8244ecb8336e97d9c9fc07577ad00a https://richesmi.cah.ucf.edu/omeka/files/original/1212c921ca7f3b7e56213e9736f7e840.jpg 0bf8d05e769874f52d104e2628dd3f7f https://richesmi.cah.ucf.edu/omeka/files/original/19cc77ef5c8c8b9a9633a377853d7e98.jpg b32393ceaae1c231b5e02e40374b49a5 https://richesmi.cah.ucf.edu/omeka/files/original/805d466a9ef22f93aa41a4847888fb7b.jpg 6527361c7d29c51b10b6febd2fa0af63 https://richesmi.cah.ucf.edu/omeka/files/original/4b25aea4961019e74ea09ee7e3c20f45.jpg 5ee96a2d73f65f878ad5f7c1edfe6c71 https://richesmi.cah.ucf.edu/omeka/files/original/e39be1ec38daf511235f35a1e9f6c87d.jpg 289fffab02be3aed682babfab9746065 https://richesmi.cah.ucf.edu/omeka/files/original/aa5247f2664a2d1d503645b4fb45bfe8.jpg 1cfa07f0999e1f2eae52149f869c15be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Workstation Containing Analog Electronics in Rack at the Cape Canaveral Air Force Station Launch Complex 14 Blockhouse Alternative Title Analog Electronics at Launch Complex 14 Blockhouse Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Project Mercury (U.S.) Description <div>Used during the launches of the Mercury-Atlas rockets—from the first American to orbit earth, John Glenn (b. 1921), to the last Project Mercury flight with Gordon Cooper (1927-2004), Jr.—this was one of the workstations in the blockhouse at Launch Complex 14 (LC-14). Electronic equipment used in the LC-14 Blockhouse was placed in racks to maximize space utilization, similar to what one might see today in a computer server room. One main difference is that the electronics of Project Mercury era were analog rather than digital, and the displays and controls were analog as well, such as analog meters and knobs.</div> Type Still Image Source Original black and white photographic print: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photographic print. Coverage Cape Canaveral Air Force Station Launch Complex 14 Blockhouse, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created ca. 1962 Format image/jpg Extent 168 KB 189 KB 186 KB 181 KB 161 KB 196 KB 189 KB 154 KB Medium 9 black and white photographic prints Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Transcript NASA SEQUENCE SYSTEM MONITOR MCE 0727 REVA[?] MOD-1 PANORAMIC MERCURY INTERCOM [?] MONITOR PANEL SPECIAL INSTRUMENTATION (PRIMATE) CONTROL NOBATRON[?] VOLTS LAMBDA REGULATED POWER SUPPLY analog electronics blockhouses Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station electronic equipment electronics racks Launch Complex 14 Launch Complex 14 Blockhouse LC-14 Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Project Mercury space exploration space programs https://richesmi.cah.ucf.edu/omeka/files/original/fb462aad2a2d65d81162c056eddb700c.jpg 069bf773d9a243357b541f2d6201f456 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Cape Canaveral Air Force Station Launch Complex 14 Blockhouse Launch Tote Board Alternative Title Launch Complex 14 Launch Tote Board Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Description The Launch Tote Board at the Cape Canaveral Air Force Station Launch Complex 14 (LC-14) detailed the rocket launches carried out at the facility. Posted outside of the blockhouse, it showed the vehicle type, designation and launch date. Type Still Image Source Original black and white photographic print, March 15, 1963: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photographic print, March 15, 1963. Coverage Cape Canaveral Air Force Station Launch Complex 14 Blockhouse, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created 1963-03-15 Format image/jpg Extent 149 KB Medium 1 black and white photographic print Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Transcript GENERAL DYNAMICS/ASTRONAUTS COMPLEX-14 MERCURY blockhouses Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station Launch Complex 14 Launch Complex 14 Blockhouse launch tote boards LC-14 Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Project Mercury space exploration space programs https://richesmi.cah.ucf.edu/omeka/files/original/c2b969679c006c9f19eaf7f8d40ff612.jpg 39a3ab9761233b25565d53143136d66a https://richesmi.cah.ucf.edu/omeka/files/original/e98ce07101954a2af9bf4089505111ac.jpg 7b0d32f51ac0585b97a74f0bb39b1af5 https://richesmi.cah.ucf.edu/omeka/files/original/e528e625ac47f55cf7011c79ea7b7d59.jpg f01117bc4a99714085a1fd4ee2ea8c48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Cape Canaveral Air Force Station Launch Complex 14 Blockhouse Alternative Title Launch Complex 14 Blockhouse Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Project Mercury (U.S.) Description Cape Canaveral Air Force Station Launch Complex 14 (LC-14), where some of the United States' first astronauts were launched into space, had a heavily built concrete and steel blockhouse which housed the actual rocket firing button. This blockhouse was built to withstand a rocket exploding on or close to the launchpad, which can seen in the background of the third photograph. Two months before Leroy "Gordo" Gordon Cooper, Jr.'s flight on the Mercury-Atlas rocket named Faith 7, the launch site stood ready. Type Still Image Source Original black and white photographic prints, March 15, 1963: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photographic prints, March 15, 1963. Coverage Cape Canaveral Air Force Station Launch Complex 14 Blockhouse, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created 1963-03-15 Format image/jpg Extent 72.6 KB 125 KB 128 KB Medium 3 black and white photographic prints Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. blockhouses Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station launch complex Launch Complex 14 launch complexes LC-14 Mercury Mercury-Atlas NASA National Aeronautics and Space Administration outer space Project Mercury space exploration space programs https://richesmi.cah.ucf.edu/omeka/files/original/88245a691a1176464bdbe3f695696e51.jpg 29d908a7917591a8d735e3ebd12c04c7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title President John F. Kennedy Touring Cape Canaveral Air Force Station Launch Complex 14 Alternative Title President Kennedy at Launch Complex 14 Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Launch complexes (Astronautics)--Florida Project Mercury (U.S.) Presidents--United States Description High-profile projects, such as Project Mercury, typically get a great deal of attention from Presidential Administrations. This presidential visit occurred on September 11, 1962, a month before the fifth Mercury flight. President John F. Kennedy (1917-1963) toured Cape Canaveral Air Force Station Launch Complex 14 (LC-14) the day before he travelled to Houston, Texas, and addressed an audience at Rice University to proclaim that "we choose to go to the Moon in this decade and do the other things, not because they are easy, but because they are hard," thus beginning the American space program's effort to put humans on the Moon. Type Still Image Source Original black and white photographic print, September 11, 1962: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photographic print, September 11, 1962. Coverage Cape Canaveral Air Force Station Launch Complex 14, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created 1962-09-11 Format image/jpg Extent 138 KB Medium 1 black and white photographic print Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://er.jsc.nasa.gov/seh/ricetalk.htm">John F. Kennedy Moon Speech - Rice Stadium</a>." Software, Robotics, and Simulation Division, Lyndon B. Johnson Space Center, National Aeronautics and Space Administration. http://er.jsc.nasa.gov/seh/ricetalk.htm. <a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Cape Canaveral Cape Canaveral AFS Cape Canaveral Air Force Station Cape Canaveral Air Force Station Launch Complex 14 Jack Kennedy JFK John F. Kennedy John Fitzgerald Kennedy Launch Complex 14 LC-14 Mercury Mercury-Atlas Mercury-Atlas 5 Mercury-Atlas Five NASA National Aeronautics and Space Administration outer space Project Mercury space exploration space program space programs https://richesmi.cah.ucf.edu/omeka/files/original/0cf8ed3dd9d3ee16b4d28b1ee62886b2.jpg 1dfa8c2c32ba4963dba338848e44980b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Dr. Calvin Fowler Collection Alternative Title Fowler Collection Subject Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA John F. Kennedy Space Center Kennedy Space Center Description Collection of images, documents, and other archival items donated by Dr. Calvin "Cal" D. Fowler, who was the manager of Cape Canaveral Air Force Station Launch Complex 14 during the final three launches of Project Mercury. Contributor Fowler, Calvin "Cal" D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/148" target="_blank">Florida Space Coast History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Cape Canaveral Air Force Station, Cape Canaveral, Florida General Dynamics/Astronautics, Cocoa Beach, Florida John F. Kennedy Space Center, Merritt Island, Florida Patrick Air Force Base, Florida Covair/Astronautics, Mission Training Center, Port Canaveral, Florida U.S. Space Walk of Fame Museum, Titusville, Florida Daytona Beach, Florida George C. Marshall Space Flight Center, Redstone Arsenal, Hunstville, Alabama Space Systems Division Headquarters, Air Force Systems Command, United States Air Force, El Segundo, California General Dynamics/Astronautics Factory, San Diego, California Manned Spacecraft Center, Houston, Texas Space Center Houston, Houston, Texas Fairchild Air Force Base, Washington Francis E. Warren Air Force Base, Wyoming Valley Forge, Pennsylvania Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lunch Wagon at the Cape Canaveral Air Force Station Launch Complex 14 Alternative Title Lunch Wagon at Cape Canaveral AFS Launch Complex 14 Subject Cape Canaveral (Fla.) Cape Canaveral Air Force Station (Fla.) National Aeronautics and Space Administration (U.S.) NASA Project Mercury (U.S.) Launch complexes (Astronautics)--Florida Astronauts--United States Description During Project Mercury, the program to launch the first American into space, astronauts would visit the Cape Canaveral Air Force Station (AFS) in Cape Canaveral, Florida, and would often eat lunch at a lunch truck because of time limitations and lack of places to eat. This photograph shows Mercury 7 astronauts Wally Schirra (1923-2007), the fifth man launched in Sigma 7, and Gordon Cooper (1927-2004), the sixth man launched in Faith 7. This photograph also shows Launch Complex 14 (LC-14) manager Dr. Calvin D. Fowler and others getting lunch at a "roach coach" at the Cape Canaveral AFS during a visit for Project Mercury. Type Still Image Source Original black and white photographic print: Private Collection of Dr. Calvin D. Fowler. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/149" target="_blank">Dr. Calvin Fowler Collection</a>, Florida Space Coast History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photographic print. Coverage Cape Canaveral Air Force Station Launch Complex 14, Cape Canaveral, Florida Contributor Fowler, Calvin D. <a href="http://srealserver.eecs.ucf.edu/chronopoints/" target="_blank">Chronopoints</a> Date Created ca. 1962 Format image/jpg Extent 107 KB Medium 1 black and white photographic print Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally owned by Dr. Calvin D. Fowler. Rights Holder Copyright to this resource is held by Dr. Calvin D. Fowler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://virtualheritage.ist.ucf.edu/cchp/" target="_blank">Florida Space Coast History Project</a> Curator Michlowitz, Robert Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm">Project Mercury Overview</a>." John F. Kennedy Space Center, National Aeronautics and Space Administration. http://www-pao.ksc.nasa.gov/history/mercury/mercury-overview.htm. Transcript NASA S-62-6640 Yeah, Wally, you owe me $2.15 Cal, I'll win the toss next time - your coin! Wally Astronaut Group 1 astronauts Cal Fowler Calvin D. Fowler Cape Canaveral Cape Canaveral Air Force Station Launch Complex 14 Gordo Cooper launch complex Launch Complex 14 launch complexes LC-14 Leroy Gordon Cooper, Jr. Lunch Wagon Mercury Mercury 7 Mercury Seven NASA National Aeronautics and Space Administration Original Seven outer space Project Mercury space exploration space programs Wally Schirra Walter Marty Schirra, Jr. https://richesmi.cah.ucf.edu/omeka/files/original/7a6c5e84d94d9403e6cf472e834297e2.JPG 6a385a2fdb669aa3a63b5c704e9a084c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title The PICO Hotel, Restaurant, and Stores Alternative Title PICO Hotel Subject Sanford (Fla.) Hotels--Florida Restaurants--Florida Retail industry Description The historic marker for the PICO Hotel, located at 209 North Oak Avenue in Sanford, Florida. The building was constructed in 1887 for Henry B. Plant (1819-1899), President of the Plant Investment Company (PICO). The onion-shaped dome located on the southwest corner of the roof resembled a Turkish minaret. The dome was destroyed by a severe thunderstorm in the 1950s and was never replaced. The PICO Hotel served as the terminal hotel for a railroad and two steamship lines owned by Plant. One of the hotel's famous guests was President Calvin Coolidge (1872-1933), who spent the night at the PICO Hotel during his visit to Sanford. Type Text Source Original historic marker, December 19, 2010. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Is Format Of Original color digital image by Austin Smith, December 19, 2010. Coverage PICO Hotel, Sanford, Florida Date Created 2010-12-19 Format image/jpg Extent 140 KB Medium 1 historic marker Language eng Mediator History Teacher Economics Teacher Geography Teacher Rights Holder This resource is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sammons, Sandra Wallus. <a href="http://www.worldcat.org/oclc/430839321" target="_blank">The Two Henrys: Henry Plant and Henry Flagler and Their Railroads</a>. Sarasota, Florida: Pineapple Press, Inc., 2010. Sanford Historical Society, Inc. <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, South Carolina: Arcadia Publishing, 2003. Sanford Historic Preservation Board. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Pico Hotel, Restaurant, and Stores - 1887</a>." City of Sanford, Florida. 2009. Donaldson, Mary B., Charles Hammack, and Lenore Hammack, eds. 1999. <a href="http://www.reocities.com/yosemite/rapids/8428/hikeplans/sanford/plansanford.html" target="_blank">Memories of Historic Sanford: Past and Present</a>. Sanford FL: Sanford Historic Trust. Transcript THE PICO HOTEL, RESTAURANT, AND STORES ERECTED - 1887 209 NORTH OAK AVENUE 200 NORTH PARK AVENUE Built as a hotel in 1887 for Henry B. Plant, President of the Plant Investment Co. (PICO), the PICO Building served as a terminal hotel for the railroads and two river steamers owned by Plant that served Sanford. The architect was W.T. Cotter of Sanford and the builder was the H.M. Papworth Construction Company. It resembled another of Plant's hotels, the Tampa Bay Hotel. The architectural style is Turkish. It was built of brick to look like a Turkish palace or mosque. The windows have horseshoe and ogee arches. A decorative bartizan tower still remains, but it's[sic] original onion shaped dome has been removed. The floor plan is rectangular with a hipped roof and a facade parapet. Immediately adjacent to and east on Commercial Street and fronting on Park Avenue is the PICO Restaurant and Stores building, also constructed in 1887. It is a plain brick and stucco stricture whose purpose was to support to the hotel. The restaurant and stores were on the ground floor. The second floors had rooms available and functioned as a part of the hotel. LISTED IN THE NATIONAL REGISTER OF HISTORIC PLACES - 1976 architects architecture bartizan towers bricks builders Commercial Street construction H. M. Papworth Construction Company Henry B. Plant Henry Bradley Plant horseshoe arch horseshoe arches hotels Oak Avenue ogee arch ogee arches parapets Park Avenue PICO PICO Building PICO Hotel PICO Restaurant PICO Stores Plant Investment Company Plant Investment Company Building Plant Investment Company Hotel Plant Investment Company Restaurant Plant Investment Company Stores' railroads rails railways restaurants retail Sanford steamboats steamers steamships stores Tampa Bay Hotel Turkish architecture U.S. National Register of Historic Places W. T. Cotter https://richesmi.cah.ucf.edu/omeka/files/original/76aeb75af64b4e730247a37a6629021e.jpg 02aeea502aa4508f7a4dfc274be77073 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Masonic Temple Postcard Description A photographic postcard of the Masonic Temple, located on 205 East Central Boulevard in Orlando, Florida. The building was constructed in the 20th Century Commercial style in 1925 and was dedicated on January 13, 1926. The original owner was the Free and Associated Masons of Orlando from 1926 until 1982. The building was purchased in 1982 for $660,000 and underwent extensive modifications, including an additional two stories. The building now serves as professional offices. The First Unitarian Church of Orlando's Unity Chapel, located at 1 North Rosalind Avenue in Downtown Orlando, Florida, can be seen to the far left of the postcard. On January 8, 1911, a congregation of Universalist Unitarians, lead by Reverend Eleanor Gordon, formed in the home of Caroline Groninger Gore, the second wife of former Mayor Mahlon Gore, which was located at 211 Lucerne Circle. The church was formally organized the following year in the home of Edward McNeill, located at 309 Robinson Street. The congregation held some of its earliest services in the Lucerne Theatre before holding its first service at Unity Chapel on February 16, 1913. Unity Chapel was designed by architects Ida Annah Ryan and Isabel Roberts in the Spanish Colonial Revival-style. The chapel was dedicated on March 16. By 1954, the congregation had outgrown Unity Chapel and moved to a new church located at 1901 East Robinson Street. In 1957, the chapel's last service took place. Sam Murrell constructed a new building, called the Murrell Building, that was designed by Richard Boone Rogers in 1957. Date Created ca. 1925-1957 Coverage Masonic Temple, Downtown Orlando, Florida Unity Chapel, Downtown Orlando, Florida Source Original 3 x 5 inch black and white photographic postcard: Private Collection of Joy Wallace Dickinson. Rights Holder This resource is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Alternative Title Masonic Temple Postcard Subject Orlando (Fla.) Freemasonry Churches--Florida Unitarianism--United States Date Copyrighted ca. 1925-1957 Contributor Dickinson, Joy Wallace Is Format Of Digital reproduction of original 3 x 5 inch black and white photographic postcard: Private Collection of Joy Wallace Dickinson. Is Part Of Digital reproduction of original 3 x 5 inch black and white photographic postcard: Private Collection of Joy Wallace Dickinson. Format image/jpg Extent 196 KB Medium 1 black and white photographic postcard Language eng Type Still Image Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. DeWolf-Hurt, Mary Louise. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">Unitarian Universalism in Florida: A Sketch of Beginnings and Efforts of Beginnings</a>. S.l: s.n.], 1995. Transcript MASONIC TEMPLE ORLANDO FLA. 20th Century Commercial Central Boulevard chapels church churches Downtown Orlando First Unitarian Church of Orlando Free and Associated Masons of Orlando freemasonry freemasosn Ida Annah Ryan Isabel Roberts Joy Wallace Dickinson Masonic Temple Masons Murrell Building orlando Rosalind Avenue Spanish Colonial Revival Unitarian Unitarianism Unity Chapel https://richesmi.cah.ucf.edu/omeka/files/original/8dc754f78542e2b20a29fd8e3a923981.pdf 90a8914bd4d2c5bdbbead62142908165 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lone Sailor Navy Memorial History Project Collection Alternative Title Lone Sailor Collection Subject Veterans--Florida Orlando (Fla.) United States. Navy Navy Sailors--United States Description Collection of digital images and oral histories related to the former Recruit Training Center Orlando (RTC Orlando) for the United States Navy. The training center transformed raw recruits into highly effective sailors. This process took place over an intensive eight-week training period, commonly referred to as "boot camp." RTC Orlando occupied roughly one half of the former Naval Training Center Orlando (NTC Orlando), which was located at present day Baldwin Park, Orlando, Florida. Between 1968 and 1994, over 650,000 men and women graduated from RTC Orlando. Contributor <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Naval Training Center, Orlando, Florida Contributing Project <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Connie Reuter Alternative Title Oral History, Reuter Subject Veterans--Florida Navy Orlando (Fla.) Description An oral history interview of Martha Reuter (b. 1964), who is nicknamed Connie. Reuter was born in Abingdon, Virginia, on March 20, 1964. She enlisted in the U.S. Navy (USN) on May 7, 1984, and completed her service on April 1, 1988. Reuter re-enlisted just six months later in the U.S. Naval Reserve (USNR) and was discharged on October 31, 2005. Reuter attended Naval Training Center Orlando (NTC Orlando). She later served at Naval Air Station Corpus Christi in Corpus Christi, Texas, and Naval Air Station Ingleside in Ingleside, Texas. This oral history interview was conducted by Leanne Wiggins on March 6, 2014. Interview topics include Reuter's background, enlistment, naval training, attending boot camp at NTC Orlando, serving was a woman in the Navy, graduation from boot camp, Liberty Call, the USS Blue Jacket, the Grinder, serving as a photographer's mater, the Naval Reserve, and the Lone Sailor Memorial Project. Table Of Contents 0:00:00 Introduction 0:00:35 Background 0:02:12 Enlistment 0:04:12 Boot camp at Naval Training Center Orlando 0:08:49 Training as a woman in the Navy 0:11:15 Responsibilities and social interactions at boot camp 0:15:09 Training 0:17:19 Proudest and memorable moments 0:19:54 USS Blue Jacket and the Grinder 0:22:48 Chapel and chow hall 0:24:12 Graduation and Navy memorabilia 0:26:56 Serving as a photographer's mate 0:32:04 Naval Reserve 0:34:44 Values learned from the Navy 0:36:59 Lone Sailor Memorial Project 0:41:49 Closing remarks Abstract Oral history interview of Martha Reuter. Interview conducted by Leanne Wiggins at the University of Central Florida in Orlando, Florida. Type Moving Image Source <a href="http://stars.library.ucf.edu/veteransoralhistories/223/" target="_blank">Reuter, Martha</a>. Interviewed by Leanne Wiggins. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/294/rec/1" target="_blank">Item DP0014908</a>, UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a><a href="http://java.com/en/download/index.jsp" target="_blank">Java</a>. <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format Digital transcript of original 43-minute and 30-second oral history: <a href="http://stars.library.ucf.edu/veteransoralhistories/223/" target="_blank">Reuter, Martha</a>. Interviewed by Leanne Wiggins. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/294/rec/1" target="_blank">Item DP0014908</a>, UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Naval Training Center Orlando, Orlando, Florida Naval Air Station Corpus Christi, Corpus Christi, Texas Naval Station Ingelside, Ingelside, Texas World Trade Center, New York City, New York Creator Reuter, Connie Wiggins, Leanne Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-03-06 Date Issued 2014-09 Date Copyrighted 2014-03-06 Format video/mp4 application/pdf Extent 373 MB 172 MB Medium 43-minute and 30-second DVD audio/video recording 14-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Leanne Wiggins and Connie Reuter and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> External Reference "<a href="http://cfnavyleague.org/lone-sailor/lone-sailor-history/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/lone-sailor-history/. "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://stars.library.ucf.edu/veteransoralhistories/223/" target="_blank">Reuter, Martha</a> Transcript Wiggins Today’s date is Thursday, March 6th, 2014. I am interviewing Martha “Connie” Reuter, who served in the United States Navy. She served on active duty between May 1984 and April 1988, and as a [Naval] Reserve between October 1988 and October 2005. My name is Leanne Wiggins. I am interviewing Ms. Reuter as part of the UCF Community Veterans History Project and as research for the creation of the Lone Sailor Memorial Project. We are recording this interview at the University of Central Florida in Orlando, Florida. Ms. Reuter, will you please start us off by telling us when and where you were born? Reuter I was born in Abingdon, Virginia. March 20th, 1964. Wiggins And what did your parents do for a living? Reuter Um, my mom was a stay-at-home mom, and, um, my dad was a, um, pastor—Lutheran minister. Wiggins And do you have any brothers or sisters? Reuter And, uh, one older brother. Wiggins Growing up, where did you go to school? Reuter Um, we moved, uh, a couple of times during my childhood. Um, started out, uh, around Shenandoah, Virginia. Moved to Martinsville, Virginia. I spent most of my, uh, ah, years in, uh, Martinsville, and then, um, moved to, uh, Newton, North Carolina, for, uh, my junior and senior year of high school. Wiggins And what did you do before entering the Navy? Reuter Uh, I was, uh, uh, trying to figure out what I was going to do with my life [laughs]. So I was working, um, at a Hardee’s. I had gone to school for retail merchandising. Um, decided, uh, not to go that route. Was trying to figure out what to do, and, uh, one of my friends came through and said “Connie, let’s join the Navy.” And we were going to go in on the [Navy] Buddy [Enlistment] Program. And, uh, I went to a recruiter about three times. The fourth time I said, uh, “If I’m going to go, I’m going to go now.” and, uh, I signed on the Delayed Entry Program in February, and I left for boot camp in May. My friend did not go [laughs]. So it was just me. Wiggins So why did you choose the Navy, as opposed to other branches of the military? Reuter As, uh—basically, I had no clue. I just, uh—like I said, when she came through and said, “I got a[sic] idea. Let’s join the Navy,”—’cause her boyfriend had joined, and, um—uh, was like, “Great.” I have, uh—some of my relatives, um, are—have also been in the military. My cousin, who was in the Air Force, my uncle, uh, in the Army, and then my grandfather was in the Army. But it wasn’t, uh—I didn’t live near any big military bases, so I really didn’t—didn’t know. So I said—when she decided—when she said, “Let’s join the Navy,” I— Alright.” [laughs]. Wiggins How did, uh, your family members feel about you joining the Navy? Reuter Uh, I think they were—they were definitely, uh, proud. Um, shocked, because I did all that and, uh, going to the recruiter and everything, um, without telling them [laughs]. So, um, after I had already join[sic], came home and told them. Wiggins So where did you attend boot camp? Reuter Uh, eh, Orlando, Florida. Wiggins And were you trained to do—what were you trained to do for your career in the Navy? Reuter Uh, while I was [inaudible] —I came in non-designated, so I didn’t decide ahead of time what career I wanted to do in the Navy. So I, uh—after, uh, boot camp, I went to Airman Apprenticeship Training School. And, um, from there got my, um, first duty station, talked to the Navy career counselor, and decided from there. Wiggins When did you begin your training at NTC [Naval Training Center] Orlando? Reuter Um, May 7th, 1984. Wiggins Before coming to NTC Orlando, what did you know about the region, militarily or otherwise? Reuter Nothing, uh, military-wise. And, of course, for Orlando, all you basically hear about is, uh, Walt Disney World. I had, a, uh—a [sic] uncle and cousins, who lived here. And so we had come down, um, once to visit them, and we went to Walt Disney World when I was a kid. And, um, so that’s all I knew. I had no idea about the military. Wiggins How long were you at NTC Orlando? Reuter Uh, I did the, uh, eight weeks of boot camp. And then, I believe Airman Apprenticeship Training was an additional four weeks. And, um, so then I left, all total, ‘round September. Wiggins When you first arrived, what was your first impression of the base or the area? Reuter Uh, well, when I first arrived, it was at night. Um, I was 20 years old, and that was my, uh, first time being on a commercial airplane. So, um, the MEPs [Military Entrance Processing] station was in Charlotte, North Carolina. So I flew from Charlotte to Orlando, as my first time on a commercial airplane. And, uh, it was at night. Uh, don’t remember much [laughs], okay? Uh, I know we had a bus, came right to the base, um, uh, everybody—when I came into the barracks, most of everybody was in their bunks already going to sleep. Um, I remember getting in my bunk, and then, uh, realizing I had to go to the bathroom. Scared to ask if I could get up and go to the bathroom, But I did, [laughs] and, uh—um, so then, I went back to sleep and woke up the next morning and that’s when it all began. Wiggins So what were your first days of service like? Reuter Pretty, um, uh, regimented—routine. Start dinner routine, start, uh, issuing, um, uniforms. uh, even though I had, uh, cut my hair short before I came to Orlando for boot camp, um, because I thought that, uh, you know, If I’m going to have my hair short, I want to be able to kind of, you know—well, do it myself. [laughs] Well, it didn’t matter. You still went to the barbershop. They still cut some more off, even though it was already short. So I had, uh, um, short hair for the first time in my life [laughs]. And, um, uh, like I said, everything was pretty much, uh, just routine. You did as you were told. You stood where they told you to stand, listen to instructions, and everything. And if you listened well, you got along great. Wiggins So what was it like to be a woman at NTC Orlando? Reuter Uh, it—it really didn’t, uh, bother me at all being a woman at NTC Orlando. Um, I didn’t have any problems at boot camp. Um, I know some of my bunkmates, uh, uh, did. Um, and it wasn’t necessarily—I don’t think—because of a woman. It’s just a—a different—it’s an adjustment. Um, but, uh, uh, we—the boys were still around. Uh, we had—went to classes with them. Um, saw them in the—at chow halls. All that. But we didn’t march with them, didn’t have them in the barracks, uh, and on—or anything. But, um, I remember we called them “trees.” and you were not allowed to look at the “trees” or anything. But, um, one of the best pieces of advice that I got before I left for boot camp, was my friend’s boyfriend, who was in the Navy already. He said “When they first ask you to raise your hand—to be on either the color guard, drill team, flag guard—raise your hand.” So I was like, “Okay.” So as soon as my company commanders, you know, asked that question, I raised my hand and they picked me and it was the best advice I had ever gotten. Uh, I had a really good time being on the drill team. Uh, you were on the drill team with the boys, so therefore you could talk to them [laughs] and meet them. Um, uh, I got out of a lot of other inspections, a lot of the PT [physical training], um, all that, because we had to go to drill practice. And so again, that was the best advice I could have ever gotten. Wiggins So besides your responsibilities with the drill team, what were—did you have any other primary responsibilities? Reuter No. That was it in boot camp. just, uh, keep everything in shipshape, um, make up your bunk correctly, have your clothes folded correctly, um, clean the barracks some, uh, go to classes, and, uh, that was about it. Wiggins So what was your overall impression of the recruits and their training during your time at the base? Reuter I felt it was very good. Um, uh, as—I felt comfortable. Um, I felt like I could trust them. Um, I said I didn’t have any problems. Um, when they yelled—you know, the company commanders yelled or—or whatever, but, you know, it didn’t bother me. I just let it roll—roll off my back. You know, do what they say. That’s it. Um, it, uh, definitely taught me a lot. Um, for, uh—everybody should go through it [laughs]. Wiggins So who did you interact with on a daily basis? Reuter It was mainly my, um—the bunkmates that were closest to me. So, um, I was in the lower bunk, so, uh, my shipmate, who was in the top bunk, uh, we became very good friends. And the shipmate pretty much right next to me, we became really good friends. And, um, uh, other than that there was, uh, one of—one of my, um, boot camp, uh, ladies that were[sic]—that was in my company, she got stationed at the same place I did for the first duty station. So, uh, when I went to my first duty station, I already knew one person. So that was great. Um, and then a couple years later, while I was there, uh, one of, um—another girl that I was in, uh—I was in boot camp with, got stationed there, and so we became really good friends after that. Wiggins Who were your instructors, and what were they like? Reuter We had, uh, the company commanders, um, was[sic] Hines[sp] and Merritt[sp] —um, Petty Officer Hines and Petty Officer Merritt. Um, of course, I do not know their first name, [laughs], because you don’t have first names in boot camp. Uh, everything is by your last name. But, um, again, like I said, when they—they would, you know, yell if they had to. Um, I remember one time, you know, they asked you about what a gig line is, and I had no idea. And, um, you know, they would go around and ask everybody, and none of us knew, but we learned awfully quick[sic] what a gig line was. And [laughs] that’s something you’ll never forget. Wiggins What was a gig line? Reuter That is the line on your shirt that overlaps, it lines up with your belt buckle all the way down. That’s the gig line. Wiggins What was the hardest thing that you remember doing at NTC? Reuter [sigh] Oh, gosh. Um, I don’t know about the hardest. There was, uh, a couple—uh, we did go in the gas chamber, and, uh, so it was kind of scary. Um, and, uh, you know, you all go in as a group. They tell you to take your mask off. You start feeling the, uh, um, burn. And, uh, uh, [laughs] I remember one of our girls in the company, way in the back, was like “Help!” And she had such a high pitched voice and everybody started laughing. And, um, so then, um, they—by that time, they finally—they opened the door and you all came out. But, um, you experience that. You experienced, um, putting out a fire and, uh, putting out a fire on a ship with a big hose and working together as a team. Um, you experienced, uh, swimming, and how to survive in swimming and using your clothes as floatation devices. Um, that’s the first time I’d ever shot a gun, uh, I think it was a, uh, .45 [caliber handgun]. And, um—so that was an experience. Um, so I can’t really say anything was really hard. I was already fairly physically fit before I went in. um, and I could—I listened well and took instructions well. Wiggins What was a moment that you felt the most proud? Reuter Oh, gosh. Um, graduation [laughs]. Wiggins What was graduation like? Reuter Um, uh, my parents had come down, and, um, my uncle had come over. And, uh, uh, it was a good time. And we went also went on a Liberty Call. And, um, I went with my parents, and—and, uh, couple of my, um, uh, friends from boot camp. I went to SeaWorld [Orlando], and, uh—yeah. Wiggins Can you tell me a story of a time at NTC Orlando that you’ll never forget? Reuter [laughs] Oh, let’s see. There’s several. Um, oh [laughs], I’ll never forget—um, after boot camp, I was at a—I went to, uh, Airman Apprenticeship Training School, which was, uh, another additional four weeks. And during that time, we could have, uh, Liberty Call at around 16:00 to 16:30— somewhere around there. Never failed. Orlando, during that time frame, would, uh—there would always be a huge thunderstorm downpour, uh, right at Liberty Call. So right when you were getting ready to go out on the [laughs] town or whatever, um, and have a little bit of your own time, they would have to cancel Liberty Call. And it would only last about an hour, and then Liberty was open. So it [laughs] —never failed. And still to this day [laughs] [sniffs]. Wiggins How would you describe the USS Blue Jacket and its function? Reuter Um, I think, uh, back then, it was, uh, a very good replica of a Navy ship. And, uh, I said that is where we went to learn how to, uh, fight a fire on a ship, to work as a team. um, and, uh, even though, during my Navy career [laughs], uh, I never went out to sea—I was on the land on shore—but, uh, I’m sure, uh, it was—it was a good replica for the real thing. Wiggins What was the official purpose of the Grinder, and what was its significance to you and the recruits? Reuter The Grinder was, uh, where you marched and you marched [laughs]. And, uh, you also did the PT out there. Uh, the Grinder was a large, um—uh, what was it? Concrete or asphalt area. Um, big rectangle that you just marched up and down. And, uh, so you learned how to march in a straight line, you learned how to, uh, take the corners while you’re marching, and, um, you spend a lot of time out on the Grinder [laughs]. Wiggins What other trainings went on at the base? Reuter Um, well, again, as I said, I went to Airman Apprenticeship Training School, and, um—but there were also, um, Nuclear Power School out there, and—um, which of course, while you’re in boot camp, you don’t know that anything else is going on around you, except for your little area. But, um, uh, during Airman Apprenticeship Training School, you could, uh, get to know a little bit more of the base. And, uh, you could go to the, uh—also during boot camp and afterwards, go to the chapel on Sundays, and—and, uh, so you get to learn a little bit more. Wiggins Were there any other areas on base that were of particular importance to you? Reuter Um, besides the chapel? It was, uh, the chapel [laughs]. And, um, another thing I will also never forget is: when you march up, getting ready to go into the chow hall, there is, um, uh, a recruit up there who has this big spiel about, uh, “You have 20 minutes, and 20 minutes only to eat your fine Navy chow.” and, uh, I know that there’s more, but, uh, [laughs] that’s the line that I remember. And, uh, you just went into the chow hall, got your food, ate. There were always huge, um, bottles of peanut butter on the tables, because peanut butter, uh, was more sustaining, and to—to help you keep full, if you needed to or whatever. But, uh, uh, you would always put peanut butter on, on the, uh, uh, chocolate bars, the ice cream, or make peanut butter sandwiches, or something, but there was always a huge jar of peanut butter. Wiggins [sniffs] So what did it feel like to graduate and finally put that hat on? Reuter [laughs] This was, uh, um, my cover that I got from, uh, boot camp. This was issued to me during boot camp. Uh, one of the, uh, things that I realize now is that, uh, we, back then, wrote our full Social Security [Insurance] number in, uh—in our, some of our gear. Uh, so I still have [laughs] my full Social Security number, uh, written in here. But, uh, it definitely has all of the stains from, uh, many years of—of wear. Um, I was also issued, uh, “birth control glasses.”<a title="">[1]</a> So I still have my “birth control glasses,” that, uh—and you could not wear contacts. You had to wear these “birth control glasses” during boot camp, and after, um, boot camp, during Apprenticeship Training School, then I could, uh, wear my contacts. But, uh, these were lovely [laughs], But hey. Everybody that needed glasses had them. Uh, we all, for the most part, looked the same. This is, uh, still my, uh, uh, tie that was issued in boot camp. I still have, uh, my initials, um, engraved—or, uh, inked on there. That was another one of the things that as soon as you were issued your gear, you all, uh, went in a line and, uh, with the stencil, and then, uh, stenciled all your gear. So, uh, this was the first time that I was issued. And, um, this was, uh, the picture of my mom and dad at, uh, graduation. And this was just a picture that they took of me in, uh, front of the sign. And then this was just my, uh, first, uh, photograph. Wiggins Did you want to share anything else of the memor—memorabilia you brought? Reuter Um, well, later on, uh, when, I got to my first duty station, and finally decided what I wanted to be in the Navy, that is when I decided to, uh, uh, be a Photographer’s Mate. And, uh—so I went and, um, during that time, the Photographer’s Mate rating was open, meaning that they needed people to be photographers in the Navy, so I was like, “I can take pictures.” So I decided to [laughs] —to go that route. And, um, this is my, um, rating badge. Uh, that is, uh, no longer, uh, used in the Navy. This, uh, was, uh, the Photographer’s Mate rating badge, it’s an IFKA[?]. And the wings represent, uh, that we were—that it was the air-dealt rating. So um, now the Navy has combined three ratings into one. So, uh. Now there are no more Photographer’s Mates. They have a new rating.<a title="">[2]</a> Wiggins So tell me a bit more about your experience as a Photographer’s Mate. Reuter Again, that was, uh, very, um, thrilling, and, a lot of fun. You were up front, uh, of everything, because you had to get the picture. And, um, you also got to tell, uh, some of the officers, uh, what to do, where to stand, and, uh, you know, what to do. So that was always fun [laughs]. And, uh, um, there was always some, some—some, uh, great opportunities. I, uh, had to take pictures of, um, a wheels-up landing. I was stationed in, uh, Corpus Christi, Texas. And, um, a [Beechcraft] T-34 [Mentor] was coming in for a landing, and the wheels would not come down. The landing gear would not come down. So, um, we—me and another Photographer Mate went out to shoot, um, pictures of this wheels-up landing to document it. And I was shooting the stills, and he was shooting the video. But, uh, at first, I was nervous and—camera was shaking while I was trying to take the pictures [laughs] but, uh, you know, we had the fire trucks there, and they just came right in on the belly of the plane—skid right in—and, uh, they were fine. Thank goodness. But, um, uh, I also went to take pictures of, uh, Naval Station Ingleside[, Texas], which is no longer there already [laughs]. The Navy’s already sold it back to Corpus Christi. But, uh, uh, we took the groundpreak[sic]—groundbreaking pictures of, um, Naval Station Ingleside. And, uh, so it’s just, um—it was always cool to be a part of history—document history. Um, uh, document, uh, happy occasions, lots of, uh, changes of command ceremonies, lots of promotion ceremonies, retirement ceremonies. Um, and uh, document some not-so-good things. You also were on duty, um, and when it was your duty day, and you got called, I had, um, three different suicide attempts. So you had to go and document, um, the scene and what had happened. And, uh, one guy had tried to slit his wrist, so you’re documenting all the blood and all that. And, uh, um, another person had jumped out a second story window. Um, so you have to go, you know, just document. And, uh, so, you never knew what was going to happen. What you were going to be called to do. So it was—it was exciting. Wiggins Do you recall the day that your active service ended? Reuter Um, well, I was on active duty for four years. And, um, as I said, I was stationed in Corpus Christi, Texas, and that was my first duty station. And from there, uh, I had met my future husband, so I decided—we got engaged, and I decided to, um, get out of the Navy, uh, so we could get married. And, uh, from there, I stayed in the Reserves. So, um, the remaining of my time, I, uh, did the, you know, uh, weekend-a-month, two weeks a year Reserve drill. Uh, still as a Photographer’s Mate. And, uh, that worked out well, because I was able to do my Reserve duty anywhere that, uh, he was stationed, because he was still active duty Navy. Wiggins So when you were not doing your Reserve duties, what were you doing otherwise? Reuter Well, I was very lucky to be able to, uh—once we had our first child, to stay at home. And, uh, so, uh, the majority of my time was as a stay-at-home mother. Uh, we ended up, uh, with three children, so [laughs], uh—and fairly close together, so that… [vacuum cleaner turns on] Reuter Kept me busy. But, um, uh, we, uh—I also would do, uh, other different things, uh, besides my Reserve time, to, uh, just stay active as far as, uh, either within their school, being a substitute teacher, going and helping out and volunteering. Um, uh, doing, uh—did the realtor for a couple of years, did pampered chef for a couple of years. So anything that I did, I made sure that my schedule, I could still be home. Wiggins What values or characteristics of the Navy do you believe made an impression on your life? Reuter Hm, um, [sighs] I think I had, um, a lot of good values, um, already instilled in me from my parents, uh, that the Navy and the military, um, uh, you know, uh, possesses, and that’s, uh, good character, uh, teamwork. There’s the honor, courage, and commitment. Um, uh, I always felt that, uh—I said, “If they were your shipmate, uh, and you were in trouble, they would be there to help.” um, so just—just a little bit more of, of continuing of what my parents had already told me. Wiggins What was the most valuable lesson that you learned, um, in your time in the Navy? Reuter Hm, um, as I said, just be a—be a team player. It’s—it’s not about you. It’s getting the job done, keeping everybody safe, um, keeping the country safe, um, being a team player. [vacuum cleaner turns off] Wiggins How has NTC Orlando base or the Central Florida region changed since the time you originally spent here? Reuter Oh, goodness. A lot. Uh, when we—my family and my husband—me and my husband and—and our three kids—um, moved back to Orlando, because, uh, he was being stationed here at NAWCTSD [Naval Air Warfare Center Training System Division], um, I was like, you know, [laughs] “Let’s go see where, uh, NTC Orlando was.” Where was I? Where did I go to boot camp? Uh, I knew that the base had been closed, but—I don’t know. I guess I was expecting to see something, um, and there was really nothing. Nothing there to show that the Navy had been here, as far as a, um, boot camp. And like, you know—like we’ve talked about, with the, um—the Grinder, the—the big replica of the, you know, the Blue Jacket ship, uh, um, there was nothing. Uh, the chapel [laughs]—and nothing and so I was very surprised. And, uh, I said, I was, um, very pleased to, uh, find a group who was trying to do something about that. And, um, so since that time, I have, uh—me and my husband have volunteered to be on the, uh, committee, to get, uh, something to show where NTC/RTC [Recruit Training Center] was. um, so that people can not only come to take their kids to Disney World or SeaWorld or, um, Universal Studios [Orlando], uh, but if they went to boot camp, they can bring them to an area, uh, that they can show their kids where they were during that time frame. I, um—when I retired, the Lone Sailor [Memorial Project] statue was the, um, one thing that I wanted as a retirement gift, and so I’m very proud. Wiggins So when they come back to visit the memorial, what do you think Naval personnel would like to see? Reuter Um, I think they would like to see, uh, um, pictures of, uh, the way—to—to show the way it used to be—what was really there. Because, you know, now it’s a Baldwin Park community. um, so it’s just really, I feel, interesting to see, um, old pictures of—of when we were there, Um, maybe a little write up of the history, um, and, um, of course, not only a—a male Lone Sailor, but a, hopefully, one day, we get a female Sailor statue there also, to represent, um, the men and women who went to boot camp there. Wiggins What do you think is the lasting legacy of the NTC Orlando or the Navy to the Central Florida region? Reuter Uh, just that it—it, uh—it’s a lot of good people. It, uh, helped a lot of people grow up, and become, uh, great, um, adults—giving adults—back to their communities and country, um, sacrificing what you have to have sacrifice for the good of all. Wiggins Is there anything else that you would like to share about your Navy experience? Reuter Um, it was definitely, uh, a good, good experience. Lots of, uh, memories. Lots of opportunities. Lots of opportunities to travel to different places, um, meet different people, uh, lots of—build lots of lasting friendships, um, see and do many different things. Uh, during one of my two weeks of active duty, I was in New York City for Fleet Week, and during that time was when they, um, brought out the last beam for, uh, the World Trade Center. and I was manning the rails as they brought out the last beam, and I was all the way down—the bottom of World Trade Center—and, uh, at Ground Zero. And, uh, to just be down there and look up—amazing. Wiggins Well, I want to thank you very much for your time and for giving this interview, and for all of the wonderful experiences that you have shared with me. Reuter Thank you. <div> <div> <a title="">[1]</a> G.I. glasses. </div> <div> <a title="">[2]</a> Mass Communications Specialist. </div> </div> Abingdon, Virginia active duty Airman Apprenticeship Training School Baldwin Park basic training Beechcraft T-34 Mentor birth control glasses boot camps chapels chow halls church churches cold war Community Veterans History Project Connie Reuter Corpus Christi, Texas CVHP Delayed Entry Program DEP drill teams education educators enlistment eyeglasses females firearms Fleet Week G.I. glasses gas chambers gig lines glasses graduations Ground Zero guns Hines inactive duty Ingelside, Texas instructors Leanne Wiggins Liberty Call Lone Sailor Memorial Project LSMP Martha Reuter memorials MEP Merritt military education Military Entrance Processing military training NAS Corpus Christi Naval Air Station Corpus Christi Naval Air Station Ingelside Naval Air Warfare Center Training System Division Naval Training Center Orlando Navy Buddy Enlistment Program NAWCTSD New York City, New York NS Ingelside NTC Orlando orlando peanut butter Petty Officer, Second Class photographer's mates photographers photography Recruit Training Center Recruit Training Center Orlando recruits RTC Orlando sailors ships suicides T-34 teachers The Grinder training U.S. Naval Reserve U.S. Navy USN USNR USS Blue Jacket veterans weather woman women World Trade Center WTC https://richesmi.cah.ucf.edu/omeka/files/original/9d752cd3aa575d9fec8b61845098d41a.pdf 8029e7962c673e092163f97adfd6ad89 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title UCF Community Veterans History Project Collection Description As part of RICHES of Central Florida, UCF intends to record, archive, and make accessible oral history interviews of Central Florida veterans. Diversity is a main focus for this project since there are many different subgroups under the group veterans, all with important stories. While the histories will be largely archived and made available through the UCF library, a portion will be contributed to the ongoing Veterans History Project based out of the Library of Congress. Contributor <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections and University Archives</a>, University of Central Florida Libraries, University of Central Florida Alternative Title CVHP Collection Subject Veterans--Florida United States. Army Army United States. Navy Navy United States. Air Force Air Force United States. Marine Corps Marine Corps Is Part Of <a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Language eng Type Collection Coverage Jacksonville, Florida Orlando, Florida Honolulu, Hawaii Pearl Harbor, Hawaii Great Lakes, Illinois Long Island, New York Newport, Rhode Island Norfolk, Virginia Germany Qaasuitsup, Greenland Keflavik, Southern Peninsula, Iceland Azores Islands, Portugal Mediterranean Sea Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Young, Mary Hughes Interviewee Levine, Lawrence "Larry" Paul Location University of Central Florida, Orlando, Florida Original Format 1 audio/video recording Duration 41 minutes and 6 seconds Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Lawrence Paul Levine Alternative Title Oral History, Levine Subject Veterans--Florida Vietnam War, 1961-1975 Air Force Description An oral history interview of Lawrence Paul Levine (b. 1947), who enlisted in the U.S. Air Force (USAF) in August of 1966, just after being drafted into the U.S. Army. Levine was born in Rochester, New York, on June 8, 1947. He served in Europe during the Vietnam War, until he was discharged on August 31, 1970. Levine received a Good Conduct Medal for his service. This oral history interview was conducted by Mary Hughes Young on April 1, 2014. Interview topics include Levine's background, his enlistment in the Air Force and drafting into the U.S. Army, basic and advanced training, being stations in Europe, getting married voerseas, returning to the U.S. after being discharged, and his life as a civilian afterward. Table Of Contents 0:00:00 Introduction 0:00:32 Background 0:02:38 Draft and enlistment 0:06:42 Basic training at Lackland Air Force Base 0:10:06 Sharpshooting and career assignment 0:13:52 Advanced training at Amarillo Air Force Base 0:21:16 Assignment in Europe 0:26:55 Relationships with other servicemen and assignments 0:30:15 Getting married overseas 0:31:09 Rank and discharge 0:33:30 Life after service 0:36:28 Treatment from civilians 0:37:29 How service affected civilian life 0:39:15 Closing remarks Abstract Oral history interview of Lawrence Paul Levine. Interview conducted by Mary Hughes Young at the University of Central Florida in Orlando, Florida. Type Moving Image Source <a href="http://stars.library.ucf.edu/veteransoralhistories/259/" target="_blank">Levine, Lawrence Paul</a>. Interviewed by Mary Hughes Young. April 1, 2014. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/277/rec/1" target="_blank">Item DP0014898</a>, UCF Community Veterans History Project, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/92" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Has Format Digital transcript of original 41-minute and 6-second oral history: <a href="http://stars.library.ucf.edu/veteransoralhistories/259/" target="_blank">Levine, Lawrence Paul</a>. Interviewed by Mary Hughes Young. April 1, 2014. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Rochester, New York Brown University, Providence, Rhode Island U.S. Bureau of Customs and Border Protection, Providence, Rhode Island Lackland Air Force Base, San Antonio, Texas Amarillo Air Force Base, Amarillo, Texas McGuire Air Force Base, Burlington County, New Jersey Rhein-Main Air Base, Germany Shaw Air Force Base, Sumter, South Carolina Rochester Institute of Technology, Rochester, New York Creator Levine, Larry Young, Mary Hughes Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-04-01 Date Copyrighted 2014-04-01 Format video/mp4 application/pdf Extent 353 MB 224 MB Medium 41-minute and 6-second audio/video recording 28-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Mary Hughes Young and Larry Levine and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> External Reference Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank">America's Longest War: The United States and Vietnam, 1950-1975</a>. New York: Wiley, 1979. Transcript Unidentified Recording. Young Today [clears throat] is April the 1st[, 2014]. I am Mary Hughes Young, and I am interviewing Lawrence Paul Levine. Levine Right. Young Who served in the U.S. Air Force [sniffs]. Um, This is part of the University of Central Floride—Florida’s Community Veterans History Project, and we’re recording this interview at University of Central Florida in Orlando, Florida. Okay. Larry, tell me first about when and where you were born. Levine I was born in Rochester, New York, in 1947. Young Okay. And did you live there for all of your educational years? Levine Uh, primarily, yes. Yes. I, uh, graduated college in Rochester also, after the—after my service. Young Okay. Uh, do you have brothers or sisters? Levine Yes. I have two brothers. Young Two. So there were three of… Levine Yes. There were three of us in the family. Young Where were you in the birth order? Levine Uh, I’m the oldest. Young The oldest? Okay. What did your parents do for a living? Levine Well, my father had a number of different jobs. Uh, He was a bread salesman for Thomas’ English Muffins for a while, and then worked for a supermarket chain as one of their managers of one of their stores. Um, my mother was pretty much of a stay-at home mom. Um, She became very si—very sick, um, at a very young age and—and passed away at a very young age also. Uh… Young Okay. And how old were you when she passed away? Levine I was, uh, 20. Young 20? Okay. Levine 21. Young Uh, Were any of your family members or extended members in the military? Levine Yes. My father—my father was. He was in World War II. He, uh, was an in-flight radio operator in—at that time, was the Army Air Corps, uh, which then became the Air Force. Uh, in-flight radio operator and served over in India, going back from Karachi to Calcutta, India. Young Okay. Uh, tell me about your education before you went into the military. Levine Well, I, um, graduated high school in 1964. Uh, was accepted to Brown University, um, in Providence, Rhode Island. [clears throat] Finished one year there, and then my mother became very ill, and I had to come back home, which led me into the next phase of my life of being in the—in the military. Um, so that was prior to me going into the service. Young Okay. Uh, And why did you decide to go into the military? Levine Well, uh, because I came back home and had to help the family out. Uh, during that time, it was the Vietnam War, obviously—back in the—in the [19]60s. Um, in all honestly, I was ultimately drafted. Now, there was a[sic] interesting—very interesting story that leads up to that. Um, When I came back home, I went to work for the U.S. Customs Service. My background is primarily: I was going to school in business and accounting, and I was fortunate enough to get a job [clears throat] with the U.S. Bureau of Customs [and Border Protection] in Rochester. Uh, went to work for them full-time. Did a number of j—jobs for them, primarily in the accounting area, and also, uh, did a few clearances of planes and—and ships and that system, where I need to, in that particular area. But I worked in the, um, government, uh—in the state office building—actually, it was a Federal building. It wasn’t even a state. It was a Federal building, because it was U.S. Customs. And, uh, the draft board was right downstairs from my offices. And I became very friendly with a number of the different people who worked in the draft board, and informed them of my situation: that, uh, I was eligible for the draft, because I wasn’t going to school full-time. I was going to school part-time. Uh, they had informed me at that particular time that, “No—no worries. No problems.” That, uh, I would be safe, because I knew everybody there. And low- and behold, before I knew it, my letter from Uncle Sam came and said I was drafted. Young Okay. Levine So I went back to the [laughs]—to the, uh, draft board and said, “What happened here?” And their excuse was, “Oh, we’re sorry. It got by us,” and everything like that. So, um, in ess—in essence, I was drafted, but before I was drafted, I enlisted in the Air Force. Young Okay. Levine Okay. Young Um, and was this before the lottery was in effect? Levine No. The lottery was in effect, if I’m not mistaken. Um, the—there was a lottery, and I had a pretty, pretty low lottery number. Young Okay. Levine Meaning that I was very eligible for the draft. Uh, I wasn’t going to Canada. I wasn’t going any place, but I was informed again by the draft board that I’d be safe. And, uh, low and behold, I wasn’t. Young Okay. Because of the work you were doing? Levine No. It’s just that—because I knew people at the draft board, who said if they saw my name come up, they would pull it [laughs]. Young Oh, okay. Okay. Well, how did you feel about being drafted then? Um, was it—was it… Levine Concerned. Young A big shock? Levine Concerned. Young Okay. Okay. Levine Shock. Uh, the first thing, obviously, that came to my mind, was: Well, if you’re drafted, then you’re going into the Army. And if you go in the Army, you are going to carry a gun. If you carry a gun, you’re going to go to Vietnam. So, uh, when that—when that happened, obviously, the family was very concerned about it. And, uh… Young And so—so… Levine They didn’t want me to go. So I figured it would be best if I went into the Air Force. Young Right. And so you signed up for the Air Force… Levine Yes. Young Right after you were drafted? Levine Yes. That’s correct. Young Okay. Levine That’s correct. Young And So your family was feeling Levine Uh… Young Concerned about the situation too? Levine They were more concerned, obviously, during that whole period of time, but not as concerned if I allowed myself to be drafted in the Army. Young Into the Army. Okay. How about your, uh peers? You friends or girlfriend? How did they feel about you going into the military? Levine Uh, my friends were kind of like, Better you than me, at that particular time. Uh, I’m sure most people realized that was not the greatest time in our history for the military. Most people were looked down on in going into the military. Uh, I had some tough experiences myself with that particular situation. Uh, my girlfriend, at the time, was pretty much—said, “If you are going into the military, then I’m not waiting around for you, so,” [laughs] “I’m—I’m gone.” Young As if you had a choice, right? [laughs]. Levine Yeah. As if I had a choice. Right. Right. Young Okay. Uh, well, now you’re in the Air Force. Levine Mmhmm. Young And where did you do your basic training? Levine Uh, Lackland Air Force Base in San Antonio, Texas. I was there in August of 1966. Young Okay. And, uh, what were your expectations of— being in the, uh—in basic training? Did you—did you have any idea of what was going—what it was going to be like? Levine No. I had an idea, but I didn’t—I didn’t think it would be as bad as it really was. Uh, I was in good shape at the time, okay? Young Uh huh. Levine Weighed a lot less than I do now. And, um, expected it to be a little different, uh, physically and mentally. Uh, The aspects of basic training are obviously to get you in a situation to where you are able to accept orders, and you’re able to—be able to do things when they’re—when you’re told to do them. And, uh, I accepted that without any problem. It’s just—there’s a little more physical on my body than I had anticipated. Young Okay. Can you elaborate a little bit on that? Levine Yeah. The marching… Young What was a typical day like? Levine The typical day is we get up at like five in the morning—4:30-5 o’clock in the morning, and we’d have to make our bunks and get everything straightened away for the day. We go to me—the mess hall, where we had breakfast. And that was one of the things that surprised me, because we just didn’t take our time in—in being able to eat breakfast. We were given a certain amount of time to get in line, eat our breakfast, and get ready to go outside. It was a lot shorter than I had anticipated. So, uh, my eating habits had to change very quickly, because of that. Young Hm. Levine Uh, after that, we would do either calisthenics or marching. Um, go to the gun range, which kind of surprised me, because I didn’t think I would be shooting a gun. Uh, had qualified in the—in the gun range. And had different classes on just general military, um—you know, the way of life of a—of a person in the military. Uh, Things—how to handle yourself, how to be able to, uh, you know, again, take orders, and anything that had to do with the military. Military history, all of that. Young Okay. And this—how long was your basic training? How many weeks? Levine Uh, wow. You see, I—that—I, uh—I want to say eight weeks. Young Eight weeks? Okay. Levine But it might be a little bit longer than that. I mean, that’s 40—what? 40—safe[sic] —48 years ago. And [laughs]… Young Okay. Levine [inaudible]. I really didn’t wanna do any… Young It’s not for everybody[?]. Levine Research on that. Young You know there’s an end to it. Levine Yes. Young It’s not gonna be forever. Levine That’s absolutely correct. Young Okay. Um, what were your instructors like? Levine [sniffs] I thought the meanest people in the world, okay? They didn’t take any—they didn’t take anything from anybody. Young Uh huh. Levine Um, which is what they were supposed to do. You were supposed to be there to listen to them. Them—they were, um, NCOs [non-commissioned officers], which is, uh, the equivalents of sergeants, okay? They were not officers, although the heads—some different, um, sections were—were officers—captains and—and, uh, lieutenants and that. But, um, you know… Young [inaudible]. Levine I realized after a while, that they were doing their job, and that if they were soft on us, and if we became—a situation, which we got involved in, we couldn’t be soft either. So the, um—they did their job, and I think they did it—looking back on it, I think they did a good job on ‘em. Young Okay. Uh, let’s back up a minute. Levine Sure. Young You said you didn’t think you’d have to shoot a gun Levine Mmhmm. Young But you did. Levine Right. Young And I think I noticed on your paper that you were, uh, a sharpshooter. Levine Yeah. I surprised myself, to be honest with you. Young Had you ever shot a gun before? Levine No. Young Okay. So… Levine No. Young You adapted to that well. Levine I adapted to it. Yeah. Well… Young Okay. Levine Which again, kind of concerned me. In effect, if I’m a sharpshooter, they might do something with me, other than what I wanted to do [laughs]. Young Did you receive, uh, any advanced, specialized training? Levine Not at that time. No. When we, uh—Just To—to go back a little bit, uh, historically, what led up to this: when I enlisted in the—in the Air Force—and I— don’t mean to take away what you’re—you—the questions you are asking—uh, I had to take a battery of tests… Young Mmhmm. Levine To determine where I was best fit for the Air Force. Uh, and, at that time, I was—I—I actually scored highest in the administrative area. It was like electronics, administrative, mechanical, uh—those I think—and—and just basic—basic air. So I scored highest in administrative, which I assumed that I would, because that was pretty much my background and what I wanted to do. However, at the time that I went in, and—there were no openings in the administrative field. So I said, “Well, if you don’t have anything in the administrative area, send me home. I don’t—I don’t need to come then.” Young [laughs]. Levine They said, “No. that doesn’t work that way, okay? Now, you’re going to be in the electronics field.” I said, “Okay. Electronics.” “Yeah. You know, putting wires together and all this kind of stuff. Wherever you’re needed in electronics.” You know, that’s a wide area, obviously. I said, “Okay.” and they gave me another battery of tests, and one of the tests was called the Ishihara [Color] Test—and I’m not sure if you’re fa—familiar with that? That’s the one where they have the numbers that are embedded in the different colors, so that if you’re looking at it, it is to determine if you are colorblind or not. Young Oh. Levine Well, I really botched that up big time. I think I only got two numbers out of all of them that they showed me. I just couldn’t pick out the different numbers in the blocks of different colors. So they sat back and they said “Well, hm. If you can’t pick out the numbers, how are you going to put a red wire together with a green wire or with a blue wire, and make sure it’s running properly? So you can’t go into electronics.” So I said, “Good. Send me home.” They said, “No. it doesn’t work that way.” I said, “Well, how about administrative again?” “No. we still don’t have any openings.” “Okay. So now what?” “Well, we’re going to give you your choice of what you want to do, Okay? This is the career that you’re going to have in the Air Force.” One: You can become a cook, okay? Number two: you can become a parachute rigger, okay? Putting together the parachutes for the pilots and [inaudible]. Three: you can be an air policeman, because you did qualify that [inaudible]. Or four: you can be an airframe repair specialist. So I sat back and I thought, Well, I could kill everybody with my cooking, because I couldn’t cook very well, okay? If I became a parachute rigger, god forbid if a parachute didn’t open when the pilot jumped out of the plane or whatever[?], I’d probably kill somebody that way. Air police? I says[sic], Nah. I’m not big enough to be a good air policeman, you know? I could direct traffic, but that would probably be all that I could do. So that left me with airframe repair, okay? So that’s where we’re back—that’s where—that’s a little bit about the background on my next point after basic training. Young Okay. So in basic training, you get your assignments? Levine Exactly. Young And you were assigned to be an air… Levine Airframe Repair. Young Airframe Repair? Okay. Levine That’s exactly correct. Young Okay. So that’s working on the outside of the airplane. Levine Uh, It could be the inside too. Young Oh, okay. Anything to do with the frame of an airplane? Levine Right. Young Okay, but, um—so where were you assigned after basic training? Levine I was assigned after basic training to advanced training at Amarillo Air Force Base—Texas also. I really didn’t leave Texas for my basic training and my advance training. And this was strictly was airframe repair now. Young Okay. Levine Okay? This was how—to teach me how to be, uh, an airframe repairman. Young Okay. Levine I have two left hands, so you can imagine Young [laughs]. Levine What it was like to be in Airframe Repair School [laughs]. Young Okay. And—so how long where you in Levine Uh… Young Airframe training? Levine Six months, actually. Young Six months? Okay. Levine Almost six months. It was—yeah. Young And What was your impression of this a—assignment? Levine I thought it would be just going to school, But unfortunately, it wasn’t. It was an extension of the basic training, only, to be honest with you, worse. First of all, the weather in Amarillo, Texas, was horrible. I was there during the wintertime, and it was cold and freezing, and we were doing calisthenics outside and we were running, and we were marching. And I said, This isn’t supposed to be like this. This is like I’m supposed to learn how to work on airplanes, not [laughs]—not—I said, “This was already done in basic training. Why do I—why do I gotta do that again?” “No, no, no.” And actually, they—they called them “TIs”—technical instructors—were worse in—in Airframe Repair School than they were in basic training. They were harder on us in—in, uh—in school. Young Okay. Levine So… Young How many hours would you actually be in—in training for repairs? Levine For repairs? It was about six to eight hours a day. Young So a long day? Levine Yeah. It was just on the repair. Just on airframe repairs. That wasn’t—again, the calisthenics or the marching and everything else. So it was a full day. Young Okay. And did it start early… Levine Yes. Young Like in basic training? Levine Not as early, but pretty close. Young Pretty close? Okay. Levine [laughs]. Young What did your duties entail as an airframe worker? Levine Well, again, there’s another story that goes along with that, okay? Young Tell it. Levine Uh,Well, in—in basic airframe repair, you do anything from sheet metal work to fiber glassing to, umm anything that has to do, again, with—with the frame. Ma—uh, making sure that the—that the actual plane itself is in good shape to fly, okay? From a sheet metal standpoint, and not the electronics standpoint. Obviously, that’s in another area. But, uh—this—this, again, is a—is another story. I had two left hands, as—as I had mentioned. Uh, I couldn’t hit a hammer—nail with a hammer great, and they’re putting me on working on airplanes. Well, each part of the course was a different thing you did with an—with the airframe. Riveting was one area, sheet met—cutting out certain, uh, pieces on the plane was another area. Uh, one of the areas that they had, they called them “blocks.” each one was a separate block, and what you did was you learned as part—as in the individual blocks was, uh, fiber glassing, okay? And how to fiberglass, how to use fiberglass, and how to be able to mold it on a plane were necessary things like that. I wish you could’ve seen me doing the fiberglass work. You’d—it’d—it’s a real comedy. It was a real comedy, a real joke. Young What was the, uh, difficulty in—in doing that? I don’t—I haven’t worked with fiberglass. Levine Well, it’s just mixing—mixing the ras—the resin together… Young Oh, okay. Levine So it’s the right consistency. Being able to lay out the sheets of fiberglass on there, and smooth it over, sand it down. All of these different areas are part of the—are part of the fiberglass work, okay? Young Okay. Levine So that—that—that’s—that was part of it. That was one of the blocks. Young Alright. And there were other things, like riveting classes? Levine How to use a rivet gun properly. Um, All different types—all different of things on—on, Again, using sheet metal, and using—and repairing aircraft. Young What did you like best about that? Levine Nothing [laughs]. Young Nothing? Okay. So you kind of felt like you were a... Levine I was a… Young Round peg… Levine Yes. Young In a square hole? Levine Exactly. Young [laughs]. Levine Exactly. I was not in the proper location. Young Okay. Levine And unfortunately, the Air Force didn’t realize at the time, okay? They put me through it. Young Were your instructors, um, understanding? Or… Levine Yes. Young Patient? Or… Levine They pretty—they were pretty understanding, with the exception of the one from the fiberglass area, because, uh, I ultimately did not pass the test to move on to the next phase of the Airframe Repair School. So I actually had to take a complete week all over—or, em, two weeks, I believe, or three weeks. I had to take that all over again. Young All the fiberglass work? Levine Yes. The fiberglass portion. And the other ones I had passed… Young Uh huh. Levine But the fiberglass portion, I had a very difficult time with, and, uh, I had to take that part of the program all over again. Young Okay. And then you passed it? Levine Yes. Young Okay. So now are you ready for the next, uh—for your next assignment? Levine Well, again, the reason—now, I was part of a group of students. My class, I think, was like 12 or 14 students in my class. Because I had failed the test, they moved on to the next phase, I had to wait until the next class came along to pick up with them, and to begin the fiberglass portion all over again. Young Okay. Levine Okay. Which I did. Uh, I think I had to wait a week before the next class came to the point that they were going to do the fiberglass… Young Oh, okay. I see. Levine Block. So I waved goodbye to all of my fellow students. They had gone—they had gone on to the next phase, and started it, and started the next group. Which a second time I did pass, okay? So I finished and graduated tech school, at that point. Young Okay. So you only had to wait behind two weeks, and then do you catch up with your class again? Levine No. Young No? Levine No. Then I’m involved with this next… Young Your [inaudible]? Levine New class. [inaudible]. Young Okay. Did you go through all the training you did before? Levine No. No. I just picked it up from the fiberglass portion. I’m not sure if it was the third block or the second block. I really don’t remember. Young Uh huh. Levine But then I just proceeded on with that class. Now, as they had finished block one and block two… Young Right. Levine And they went into fiber glassing. I had finished one and two, and started in with them as part of my new class, and we continued on together. Young Okay. [inaudible]. Levine So I had to meet all new students, and—and get involved with the new class. Young Can you describe an event that wasn’t typical in this particular time of your training? You’re in the six months training now. Is there anything that happened that wasn’t typical of an everyday experience or—that you can think of? Levine Mm. Not really. No. It was just pretty much—cou—can’t wait to get out and get an assignment type of situation. And, um, I—Like I said, I did the very best I can. I knew I had no choice, and, uh, I was able to pass and continue on. But it was pretty much the same routine. The only difference that we had was that we had, uh, leave on the weekends, and we were able to go into Amarillo, which There’s not much there. So we did have leave—we did have leave time then. It wasn’t like a seven days a week type of training. Young Okay.So not really anything memoral—memorable during this time? Levine Not really. No. Young Okay. So at six—when you finished that six-month training… Levine Mmhmm. Young What happened then? Levine ‘Nother interesting point. I guess—I guess I had more interesting points than I thought I did. When I, um, came out of my next—with my new class, my previous class had gone on. And of course. they graduated from the technical school before I did. They all got their orders, and the entire class got orders for Vietnam, okay? So if I was in that class, I would have ended up going to Vietnam, at the time. My situation was, when I graduated and I saw my orders posted, I got sent to Europe [laughs]. So… Young That’s interesting Levine It is. It was lu—very lucky. Uh… Young At that point, you weren’t too [inaudible] —too very sorry that you weren’t very adept to… Levine No. Not really. But of course, you know, that can change—that can change at any time also. But, uh, quite a relief on my family’s part, to say the least. Young Right. Levine Um, It—it was—it was very, [laughs] very interesting time, believe me. So I was sent to Europe, uh, in what they called a “TDY outfit,” which was temporary duty assignments. Now, I was assigned to work on a [McDonnell Douglas] F-4 [Phantom II] aircraft. they called it the “phantom jet.” I worked on [McDonnell] F-101s [Voodoo], [Republic F-]105s [Thunderchief], uh, various different types of programs. My basic job was to work on the outboard tanks and pylons. The pylons were, uh, the apparatus that held the bomb racks on. So we were working on putting on bomb racks on the different types of aircraft, and they would then go over to Vietnam. Young Okay. Levine Now… Young So you were specialized in your duties? Levine Yes. Yes. We were—we became specialized in our duties. Now, the government, at the time—again, we were set up as a temporary duty assignment. We had—had to go from base to base to work on these different aircraft. The government thought that it would be cheaper for us to travel in groups and work on these tanks and pylons, because the point of the—with these jets are: they had the jettison their outboard tanks and their pylon or bomb racks when they took off after their bombing runs. Because if they kept those on, it would add weight to the plane itself, in which case, they couldn’t get away—get away as quick, uh, without them. So they were continuously jettisoning these, and when they would come back to—to Europe, we’d have to refit them with new ones, and make—and—and get them all set up for them to go out again. Even though most of them were based right in Vietnam or Thailand and that[?], um, they still came for—for, uh, overall maintenance back to the, uh—back to Europe. Young Okay. Levine So… Young Where in Europe were you? Levine Okay. I was in, uh, Turkey, Italy, Greece, Libya, England, Spain, and my home base was in Germany, okay? That’s where we worked out of. We worked out of Rhein-Main [Air Base], Germany, in, uh, Frankfurt [am Main, Hesse, Germany], okay? So that’s where my main outfit was. It was Detachment 51. Young Okay. And that’s[sic] the ones you graduated with? Levine No. Young [inaudible]. Levine Actually, some—Most of them—most of them did go on to that, but I think there were about six or seven that went to different, uh— areas, okay? Uh, that’s another [laughs]—again, that’s another interesting point. Uh, When I flew over from, uh, New Jersey—McGuire Air Force Base. I left out of McGuire Air Force Base. It’s—it’s a funny story. There were like three planes lined up taking all of us over to Europe. There were two commercial airliners, and then there was what they called a “C-141 Galaxy.” And I said, “Oh, I’m going to go over to Europe in a nice, uh, airliner,” and I ended up going over on a military aircraft, sitting in the seats on the sides [laughs]. So it was kind of a bumpy ride over there. But when I landed, my orders were to catch up with my unit in what they called—in a place called Chaumont[, Haute-Marne], France, okay? So I landed at Rhein-Main Air Force Base, Germany, caught a shuttle, uh—a military shuttle. Uh, it wasn’t a plane. It was a bus, alright? Down to Chaumont, France. Caught up with my, eh—with my group down there, okay? With my detachment down there. And I noticed as I went into—to the offices to report in, that they’re packing up everything. And I went and signed in, and I said to the desk sergeant or whatever his name was, “What—what’s going on,” okay? “I was told to report here.” They said, “Well, we’re leaving.” I said, “Why are you leaving?” Well, at that time, France was not in the best, you know, of friends with the—with the United States. And, uh, this is part of the NATO [North Atlantic Treaty Organization] Pact, and we were—we were leaving out of France. And I said, “Oh,” I said, “So we’re not going to stay in France?” “No.” “Well, where are we going?” He said, “Rhein-Main Air Force Base in Germany.” I said, “Wait a minute. I just came from there.” [laughs] I said, “I just took a bus and came from Rhein-Main.” Young Going to your official[?] [inaudible]. Levine “Why didn’t anybody tell—why didn’t anybody tell me that I was going to go back to—I would never have left I would have waited for ya there.” Well, as it turned out, we went—we went back to Rhein-Main, and, um, set up shop there, and, uh, proceeded to travel all over Europe, and—and working on these tanks and pylons and—and getting them set, so that they—we can put ‘em on the planes, and they can take off. Young Did you have a schedule for where you would be and… Levine Yes. Young How… Levine Yes. We had orders every—every time. Uh… Young And how did that work? Or—or did you not know ahead of time? Levine Um, when we finished one assignment, we’d come back for a while, and, uh, work around… Young Always back to Germany? Levine Back to Germany. Right. Young Okay. Levine And then get our—get our next assignment when we were told to go out… Young Okay. Levine Again. Young What was your relationship with the oth—other service personnel that you worked directly with on the pylons? Levine Oh, we, uh—we had a good relationship. I mean, we were a unit. We pretty much hung around together. Uh, when we had time, we played softball, uh, on—in a league on base. And again, I was a lot, a lot thinner [laughs] back then. And, uh, we had—we had a good time. I mean, it was pretty much a regular eight-hour day, okay? Uh, if—whether or not it was at the—at the base that we were at, or at our home base in Germany. There was—every once in a while, we had assignments. Outside of our unit, was the, uh, uh Boeing 707—I think it was, um, at the time. It was the General of the Air Force’s plane, uh, of Europe Young Mmhmm. Levine Okay. Uh, [inaudible]. It was the General’s plane—his personal plane—was out there. Actually, come to think of it now, it was the [Boeing] KC-135 [Stratotanker] —was—which was an inflight re-fueler, where those, you know—the planes come up to it, and they drop the boom in that. Well, this was a converted KC-135 for the General. Really nice, nice plane. And we had work on that every once in a while, changing some things, and, you know, making sure that everything was okay. Young When you were, uh, at base, or on these assignments, were you always busy? Or were there times that you didn’t—were waiting for the next assignment? Levine Uh, No. We were busy most of the time. We were busy most of the time. I mean, once again, it was pretty much and eight-hour day, and when we were done, we had—we were free to do whatever we wanted. It was just, uh, like a normal job, except we worked [inaudible]… Young Okay. But there wasn’t a lot of just sit around and wait? Levine No, no, no, no. Young Okay. How did you stay in touch with your family and friends back home? Levine Well, at that time, I was—there—there was no such thing as Skype, or, uh, e-mail, and things like that. So it was pretty much by letter. Just by regular letter. Sna—snail mail. Young Snail mail. Levine [laughs]. Young Uh, do you believe you were well-trained for your assignment? Levine As best as they could, considering what they had to deal with [laughs]. Young Uh, did you always have the equipment and the supplies that you needed… Levine Yes. Young To do your job? Levine Yes. That—that we had no trouble—we had no trouble with. Young And you mentioned you played softball. Levine Mmhmm. Young How else did you entertain yourself when you weren’t on duty? Levine Mm. Well, I’d say drink [laughs]. Um, Just going to different, uh—go to the USO [United Service Organization] over there, and saw stag shows, and had one—one or two beers—four or five. Young Was there a USO show that was particularly memorable? Levine Yes. The Platters. The original Platters were there. And, um, I—I liked them from the beginning, and I was very fortunate to meet ‘em, and, uh, listen—they put on a great show. Young Uh huh.Was that in Germany? Or in one of your other assignments? Levine No. That was in Germany. Young Okay. Levine It was in Germany [sniffs]. But When I—I was in Spain, uh, over one of the New Year’s [Eve]. I was in, uh, Madrid, Spain, and got and to see a flamenco show there. A real, real flamenco show, which was pretty good. Young Did you take advantage of any, uh, sightseeing, or… Levine Oh, yes. Young Or tours… Levine Yes. Young When you were there? Levine Yes. Young Okay. That would be entertaining [inaudible] Levine Actually, um, I got married while—while I was overseas. Young Uh huh. Levine And my wife was in the States. She was a—she was an American. She was German—born German, but, um, I married—I got married. And she was able to come over to Europe and get a job in Germany, while I was gone. Fortunately enough, she, um, uh spoke German. So she was able to get around the economy very nicely while I was gone, because I was gone most of the time. Young Uh huh. Levine But it was nice to have her over there. And when—when I was back there, we were able to travel around. Young Oh, nice. Levine We were able to go to Holland,<a title="">[1]</a> and, uh, visit a lot of Germany. Go around—go around Germany. Young That’s a—that’s very, uh—very nice thing to have happened… Levine Mmhmm. Young While you’re Levine Mmhmm. Young Young, and, uh—and not a lot of money… Levine Right. Exactly. Young You cantravel around on… Levine Exactly. Young Uh, Uncle Sam’s dime. Levine Mmhmm. Young Uh, when were you—tell me about your ranking and how that—and how you… Levine Well, actually, I became a sergeant. Young You ended up a staff sergeant. Levine Uh, pardon me? Young You ended up as a staff sergeant. I saw on your… Levine Yeah. It was a… Young Okay. You start off as a—tell me how that works. Levine Well, you just go in as an airman. Young Okay. Levine Okay. And then, at that time, it was, um, second class, first class, and sergeant. Young Okay. Levine Actually, I think I mis—misstated. Um, I was three stripes, which was considered a sergeant at the time. Young Uh huh. Levine Okay. Four stripes is a staff sergeant, so… Young Okay. Levine I made three. If I had reenlisted, I probably would have gotten a fourth stripe. Young Okay. Alright. So you ended up as a sergeant? Levine Right. Young Okay. And, um, when were you discharged from the military? Levine August of 1970. When I rotated back from the States, I, uh, was stationed in, uh, Shaw Air Force Base in Sumter, South Carolina, which was about 7-8 months. So I lived in South Carolina, outside of Columbia. Young And how long were you there? Levine I think it was 7-8 months. Something like that. Young Seven—okay. Um, how did you feel once you were out of the military? Levine Relieved. Um, Glad I did what I did. Uh, kind of—Kind of upset as to what was going on, while I was in the military, back home with the individual tour—“pacifists,” I guess you call them—or against the war in Vietnam. I mean, I was not all in favor of what was going on, but, uh, when I did come home on leave at one time, uh, it was not ver— it was not a very good situation. I mean, we were—for all intents and purposes, we were spat at, at the airports, when we walked through. Nobody said, “Thank you for your service.” And, uh, they just didn’t like it. They didn’t like anybody in the military, or anybody in uniform. So that—that kind of part was tough. Um, Again, I was relieved. But on the other hand, I felt that all of my friends—I was the only one of all my friends back in Rochester. I was the only one to go into the military, and felt that I was four years behind them in education and—and, um—and just getting on with my life. So, you know, it—both sides. I felt good with serving, but on the other hand, I felt that I lost some time. Young Um, once you were out, what did you do? Levine [sniffs] Another good, interesting situation. Uh, when I got out of the service, my wife became pregnant [laughs]. And, uh, it was probably from the week I got discharged [laughs] Young Uh huh. Levine She—she got pregnant. In which case, if she got pregnant while we were in the military, the government would have paid for it. If she had given birth while I was in, the military would have paid for it. But I, uh—when I got out of the service, my main goal was to get back to school. I wanted to get my degree in accounting and—and go on from there. But a little s—s—little turn of events when your wife becomes pregnant. Going to day school is pretty difficult. So I took a job. um, and again, I got out in August, and, uh, school was going to start in September, but I was gonna take—go to night school, okay? And—and get a job during the day. But until that time started, I went to work at McDonald’s, uh, slinging hamburgers. See, eh, eh, my memory’s coming back. I was going to go to day school. Young Uh huh. Levine So I wasn’t going to enroll until September, but I needed some—to get some income coming in, uh, for my wife and that. So I went to work at McDonald’s slinging hamburgers, which was not a great experience. Because here’s an older gentleman, who’s, uh, slinging hamburgers with a bunch of teenagers, and looking at me, thinking, Boy, he must be a real loser if he’s doing this, not knowing the situation. But I got the job in telling ‘em that I was going to—I wanted to go to school training to become a manager at McDonald’s. This is how I got the job. And, uh, the owner of the place said, “Okay.” He said, “But you—but in order to do that, you have to learn all the different areas of—of McDonald’s.” French fries, working on the grill, the clean-up, the whole bit. . I said, “Okay.” Well, that lasted about a week—week and a half—and I just couldn’t handle it anymore. I would come home smelling terrible from all the fat that was in the French fries. So that lasted maybe a week—week and a half. But we managed. Um, and I did start going to school, but things got to a point where I just needed to get money. So I went—I was going back to night school. I went to night school, and got a job. Uh, at that time, [sniffs] I was working, I believe, at one of the local manufacturing companies in their finance department. I was working in their cost accounting department. Even though I didn’t have a degree, they—they put me on as—in a lower level type of position. But it was bringing in income, and I—I was able to go to school at night. Young And where was this, Larry? Levine Rochester Institute of Technology. Young Oh, you were back in… Levine Yeah. Young Back in New York. Levine I was back in Rochester. I went back to New York. Young Okay. Were you—were there any G.I.<a title="">[2]</a> benefits Levine Yes. Young That you were able to take advantage of? Levine Yes. Absolutely. I was on the G.I. Bill.<a title="">[3]</a> Helped me pay for my schooling. Yes. Definitely. Young Okay. And so you’re working in the daytime and… Levine Mmhmm. Young And going to school at night. Levine Right. Young Okay. Levine Mmhmm. Young And, uh, we talked about how you were treated… [background noise] Young When you came home, and that, um, there was, um, uh, disrespect… Levine Mmhmm. Young Dor you as a soldier. Now… Levine Right. Young Was that set across the board every time you came home on leave? Or, uh, did you notice that when you would go to New York? Or when you would go—when you came back to South Carolina? Was there a difference in the way the local people treated you? Levine Not really. No. Not that I can remember. It was just an area that they didn’t go out of their way to—to do anything. More like they were trying to ignore us, then, um—like we were the—the plague. Young Mmhmm. Levine Okay. And just no—no respect. No respect for anyone. And that’s what makes me feel so good now is that you’re seeing these, uh, individuals in the military, and people are giving them respect and thanking them for their service. So that’s one of the areas where I—I felt cheated out of also—is not getting the respect and that, because it was four years of my life, and that’s a long time. Young It is a long time, especially at that age. Levine Right. Exactly. Young Uh, did your military experience affect your civilian life in any way? Levine I became more appreciative of life. Um, More appreciative of the things that I—that I was able to get, uh, of—of my family at the time. Because being away from them most of the—now fortunately, like I said, my wife was able to come with—to come with me over to Europe, but, uh, I missed my brothers and my—and my father. My mother had passed away prior to that, so, uh—but, yeah. Uh, a lot of things, uh—a lot of things that I was more appreciative of, at the time. Young Do you think that you were more serious in your education than you would have been as a 20… Levine Most definitely. Most definitely. That’s a very good point. I looked at my education totally different. Uh, more—I—I was more involved with history. Um, I—I didn’t feel at the time—you see, there was a lot—a lot difference in going to school and being, pretty much, made to go to school, or that—that was the norm. You—you went to high school. You finished high school. You went to college and then you went on from there. And because of the interruption, I looked at it from a different stand point that, you know, this is an opportunity. This is a great opportunity, and, uh, the government is helping me with this opportunity, through the G.I. Bill. I’m going to take full advantage of it. So I took full courses. And if anybody knows about Rochester, New York, and going to school at night in Rochester, New York, in the middle of winter is not easy. Okay. It was cold. It was freezing. It was snowing. But, uh, I had a family to support, and I wanted to be able to get my education, so Luckily, I was able to complete it. Young Okay. Looking back on it all, can you describe about how you feel about your service? You said that you were glad you did it… Levine Mmhmm. Mmhmm. Young And anything else you want to add to that? Levine No. Other—other than the fact that, um, I personally think that it makes a—a person better going into the military. And I for one, feel that it should be mandatory, because there’s a lot of kids that are going to—to education and that, because they don’t know what else to do. Young And so you feel it… Levine Okay. And I think when they say it—when they say… Young Gives them time to mature and… Levine I’m sorry. What’s that? Young It gives them time to mature… Levine Absolutely. Young And to learn… Levine Absolutely. Young A little about the world and… Levine And to grow up… Young And to grow up. Levine And to grow up… Young And to learn some discipline [laughs]. Levine Yes. That’s the other area. That’s the other area. Like I said, so many don’t know what they want to do with themselves, and they end up in the military. Although they didn’t give me the opportunity to go in the direction that I wanted to. It certainly opened up my eyes to a lot of things. And one is independence. You know, being independent, being able to do things on your own, uh, washing your own clothes, making your own bed, uh, choosing the right things to do. Young Did you become more adept to working with your hands? Levine I wish I could say yes [laughs]. Young [laughs] Some things you just can’t learn. Levine Some things that you—you have a difficult time doing. That’s correct. Um, I think I’m a little better with a hammer and nails now than I was. I wouldn’t go as far as work with any kind of sheet metal or anything, because I’m sure I would cut my fingers up in shreds, but Yeah. I think I’m a little bit better. I can—I can… Young Well, Larry, I thank you for your service. And I thank you for this—for you doing this… Levine Well, it was a pleasure. Young With us. Levine Very enjoyable. Very enjoyable. Young And, uh, I enjoyed talking with you about it. Levine Mmhmm. Thank you. Thank you. <div> <div> <a title="">[1]</a> Formally called The Netherlands. </div> <div> <a title="">[2]</a> Government Issue or General Issue. </div> <div> <a title="">[3]</a> Servicemen's Readjustment Act of 1944. </div> </div> Click to View (Movie, Podcast, or Website) <a href="http://stars.library.ucf.edu/veteransoralhistories/259/" target="_blank">Levine, Lawrence Paul</a> accounting advanced training Airframe Repair School airframe repair specialists airframe repairman airframe repairmen airplanes Amarill, Texas Amarillo AFB Amarillo Air Force Base anti-war movement basic training Boeing 707 Boeing KC-135 Stratotanker Brown University BU Bureau of Customs and Border Protection Burlington County, New Jersey C-141 Galaxy colorblindness Community Veterans History Project conscription Custom Service CVHP Detachment 51 draft board draft lottery drafts education enlistment Europe F-101 F-105 F-4 fast food restaurants fiber glassing fiberglass firearms Frankfurt am Main, Germany G.I. Bill Germany Good Conduct Medal gun ranges guns instructors Ishihara Color Test jet jet fighter jets KC-135 Lackland AFB Lackland Air Force Base Larry Levine Lawrence Paul Levin marching marriages Mary Hughes Young McDonald's McDonnell Douglas F-4 Phantom II McDonnell F-101 Voodoo Mcguire AFB Mcguire Air Force Base metal military draft military education military training pacifism pacifists peace movement phantom jets planes protests Providence, Rhode Island pylon Republic F-105 Thunderchief Rhein-Main AB Rhein-Main Air Base RIT riveting Rochester Institute of Technology Rochester, New York San Antonio, Texas Selective Service System Sergeant Servicemen's Readjustment Act of 1944 sharpshooters sharpshooting Shaw AFB Shaw Air Force Base sheet metal Staff Sergeant Sumter, South Carolina TDY temporary duty The Platters TI training U.S. Air Force U.S. Air Force in Europe U.S. Army U.S. Army Air Corps U.S. Bureau of Customs and Border Protection U.S. Customs Service United Service Organization USAFE USO veterans Vietnam Vietnam War World War II WWII https://richesmi.cah.ucf.edu/omeka/files/original/8484ca00e529b1952c08d4ac340f7380.pdf 890d365fab807170fe38306cbad1935f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Vietnam War Collection Alternative Title Vietnam Collection Subject Vietnam War, 1961-1975 Veterans--Florida Description The Vietnam War was a Cold War Era "military conflict." The war was originally waged between Cambodia, Vietnam, and Laos. The United States became involved as a preventive measure to combat communism. The date of the war has been disputed, but a study in 1998 by the Department of Defense definitively put the start of the Vietnam War as November 1, 1955. The first combat military troops 9th Marine Expeditionary Brigade didn't arrive until 1965. With the arrival of the combat troops came the first traditional battles of combat fighting in the war. During the Vietnam War, not only did American military go into battle with and for South Vietnam, the military also trained members of South Vietnam to fight alongside during the war. Peace talks were attempted, with France moderating, beginning on May 10, 1968. These talks were unsuccessful and lasted over three years. The longest battle of the Vietnam War began on January 21, 1968 and didn't end until the U.S. reclaimed Route 9 on April 8, 1968, 77 days later. While the military conflict ended in April of 1975, it was a long process towards reunification and redevelopment as a country. The conflict left Vietnam in both political and economical ruins. Contributor <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Vietnam Contributing Project <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank">America's Longest War: The United States and Vietnam, 1950-1975</a>. New York: Wiley, 1979. "<a title="American Experience" href="http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html" target="_blank">American Experience</a>." Public Broadcasting Company. http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Scherer, Rose Marie "Judy" Interviewee McGuire, George G. Location University of Central Florida, Orlando, Florida Original Format 1 audio/video DVD/CD Duration 43 minutes and 22 seconds Bit Rate/Frequency 157kbps Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of George G. McGuire Alternative Title Oral History, McGuire Subject Veterans--Florida Orlando (Fla.) Vietnam War, 1961-1985 Air Force Army Description An oral history interview of George G. McGuire, who joined the U.S. Air Force in 1963 and served until 1983. He was born on Summit, New Jersey, on October 17, 1941. A veteran of the Vietnam War era, McGuire achieved the rank of Lieutenant Colonel. This interview was conducted by Judy Scherer on April 1, 2014. Interview topics include McGuire's background and family, his college education, join the Air Force Reserve Officer Training Corps (AFROTC), Whiteman Air Force Base, McCoy Air Force Base, duties as a procurement officer and a contract administrator, the Defense Contract Administration Services, serving in Bangkok during the Vietnam War, the U.S. Air Force Office of Special Investigations (USAFOSI), the Rock Island Arsenal, military retirement, U.S.-Thailand relations, and his many travel experiences. Table Of Contents 0:00:00 Introduction 0:02:33 College years 0:03:06 Air Force Reserve Officers' Training Corps and Whiteman Air Force Base 0:04:42 McCoy Air Force Base 0:05:42 George Washington University, Defense Contract Administration Services, and Bangkok, Thailand 0:07:05 U.S. Air Force Office of Special Investigations 0:14:55 Assignments in the United States 0:15:33 Bangkok and Mom Rajawongse Seni Promoj 0:21:45 Duties as a Contract Administrator 0:23:24 Interesting people and stories from Thailand 0:28:06 Communicating with family 0:30:23 Communicating with Thais 0:35:50 Visiting South Korea with his wife 0:39:42 Closing remarks Abstract Oral history interview of George G. McGuire. Interview conducted by Judy Scherer at the University of Central Florida in Orlando, Florida. Type Moving Image Source <a href="http://stars.library.ucf.edu/veteransoralhistories/269/" target="_blank">McGuire, George G.</a> Interviewed by Judy Scherer, April 1, 2014. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, RICHES of Central Florida, University of Central Florida, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/92" target="_blank">Vietnam War Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format Digital transcript of original 43-minute and 22-second oral history: <a href="http://stars.library.ucf.edu/veteransoralhistories/269/" target="_blank">McGuire, George G.</a> Interviewed by Judy Scherer, April 1, 2014. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Summit, New Jersey Baton Rouge, Louisiana Fawley, England Durban, South Africa Statue of Liberty, Liberty Island, New York City, New York University of Notre Dame, Notre Dame, Indiana Whiteman Air Force Base, Missouri McCoy Air Force Base, Orlando, Florida George Washington University, Washington, D.C. Defense Contract Administration Services Management Office, Naval Air Station Sand Point, Seattle, Washington Chokchai Building, Bangkok, Thailand Armed Forces Staff College, Norfolk, Virginia Washington, D.C. Yokota Air Base, Fussa, Japan Rock Island Arsenal, Rock Island-Moline, Illinois Warsaw, Missouri Osan Air Base, Pyeongtaek-si, South Korea Seoul, South Korea Creator McGuire, George G. Scherer, Judy Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-02-22 Date Issued 2014-09 Date Copyrighted 2014-02-22 Format video/mp4 application/pdf Extent 358 MB 257 MB Medium 43-minute and 22-second audio/video DVD/CD 27-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Judy Scherer and George G. McGuire and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> External Reference Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank">America's Longest War: The United States and Vietnam, 1950-1975</a>. New York: Wiley, 1979. Click to View (Movie, Podcast, or Website) <a href="http://stars.library.ucf.edu/veteransoralhistories/269/" target="_blank">McGuire, George G.</a> Transcript Unidentified We’re ready. McGuire Are you saying go? Scherer [laughs] Today is April the 1st, 2014. I am interviewing, uh, Lieutenant Colonel George G. McGuire. My name is [Rose Marie] “Judy” Scherer. Uh, please call me Judy. Um, his interview is being conducted at UCF [University of Central Florida] in Orlando, Florida. It is part of the UCF, um—the whole title is—is Community History Project—[Community] Veterans History Project. Um, so we are going to start with, um, the early days. I would like to ask you where you were born and grew up. McGuire Alright. Well, I was born in New Jersey—Summit, New Jersey. And When I was, uh, a few weeks old, my family moved on to Baton Rouge[, Louisiana]. Scherer Wow [laughs]. McGuire Where my father worked in the oil refinery at Baton Rouge during World War II, and where I managed to acquire twin brothers and a sister. Scherer Oh [laughs]. McGuire Um, Shortly—well, not shortly. When I was about eight years old—eight or nine years old—we moved to England. Scherer Oh. McGuire Where my father was building an oil refinery at Fawley, near South Hampton, for Esso in England. After we had been there about three years, we moved to Durban, South Africa. Scherer Wow. McGuire Where he was again a resident engineer for construction of an oil refinery—first one on the continent of Africa—and where I acquired a brother. I had acquired another sister in England, and now I had a brother in South Africa, so there are six children. We sailed back to the United States. This is now approximately 1954 on a ship called the African Enterprise, which was a, um, freighter—combination freighter and passenger ship that carried a few passengers. And we were the only children, so we had the run of the ship. Scherer [laughs]. McGuire And that was great fun. We got back to, uh, New York in the middle of the wintertime. And my memory says it was in February, but that may not be right. And of course, being good loyal little Americans who had been out of the country for so many years, we had to stand up on the ship and watch Miss [the Statue of] Liberty as we came into New York Harbor. Uh, following that, we lived in New Jersey for a number of years. And then I went off to college at the University of Notre Dame. And shortly afterwards, my father quit his job and moved to Massachusetts. Scherer [laughs]. McGuire And, uh, the bane of my life was that when I would go home for vacation to a place in Massachusetts surrounded by girls’ colleges, they all had vacation break at the same time as we did. Scherer [laughs]. McGuire So there was nobody there. Scherer [laughs]. McGuire And of course, Notre Dame at that time was all men, and there were no women there, unless we found some in the local community, which was a very difficult thing to do. Uh, At Notre Dame, they had three R—all three ROTC [Reserve Officers' Training Corps] programs. This is 1959 when I started there. There’s a shooting [Vietnam] War going on in Asia. People are being drafted. I had no interest in being drafted and being given a rifle and go shoot people, so I said Okay. I’d rather be an officer. And no, I don’t want to walk around in the mud, and I don’t want to sit on a boat bobbing up and down in the ocean. And since you have Air Force, I will go Air Force. Um, so I did. And when I was graduating Notre Dame, I was commissioned as a Second Lieutenant in the United States Air Force and promptly sent to Whiteman Air Force Base in Missouri. So one of the first things I did was I bought myself a car. I didn’t have a car at that point, so I brought a brand new, shiny red Valiant convertible. And that was a neat looking car. I shaw—showed up on base, and went into my first assignment, and the people I’m working with—one of them takes one look at that car and says, “I give you one year.” Scherer [laughs]. McGuire Uh huh. And, uh, he turned out to be right. Because a few months later, I met a young lady, and less than a year later, we were married. All fault is directed at that shiny red convertible, I suppose. Scherer [laughs]. McGuire About a year or so after we were married, I got orders to transfer to McCoy Air Force Base, which, of course that’s a hardship tour to come to McCoy Air Force Base, which is now Orlando International Airport, where I was the base procurement officer here. Now, they had assigned me to procurement when I went to Whiteman, and I didn’t know what “procurement” was. I only knew one meaning for the term, and it had more to do with what you did after hours than it did with buying anything the Air Force wanted. Anyway, I became procurement officer. “Procurement” just simply means that you’re the guy in charge of going out and buying stuff. So I was stationed here in McCoy, and, um, about that time, is when what was then called “Orlando Air Force Base” is transitioning to the Navy. And the last Air Force unit to transition out from Orlando Air Force Base was the hospital. So my two sons have the distinction of having been born in an Air Force hospital on a Navy base. Scherer [laughs]. McGuire From here, the, uh, Air Force sent me up to Washington, D.C., to go to George Washington University for a Master’s Degree in Business Administration, as my assignment for a year and a half. And then from there, to go to Seattle, Washington, to the, uh, Defense Contract Administration Services management area Office, otherwise known as DCAS. Scherer Excuse me. What was it known as? McGuire DCAS. D-C-A-S. Scherer S. McGuire Judy had a problem with this one earlier. Scherer [laughs]. McGuire Which was at, um, Sand Point Naval Air Station, which was a little pimple on the side of the wealthiest area of ci—city of Seattle, a few blocks away from the University of Washington. Not very far from it. It no longer is a military installation. It’s now high-cost residential. Um, let’s see. from there, the next assignment was to Bangkok, Thailand, to be the, uh—one of the officers assigned to the Air Force’s Procurement Center in Downtown Bangkok, which was supporting all of the Air Force and some of the Army units, uh, throughout Thailand and, uh, Vietnam. And this is at the tail end of the Vietnam War. From there, I went back to the United St—came back to the United States to go to uh, Norfolk, Virginia, to the Armed Forces Staff College. And then from there, to the, uh, Air Force OSI—Air Force Office of Special Investigations—in Washington, D.C., to act as an in-house consultant on procurement matters. Air Force OSI had been founded la—years before, in the very early days of the Air Force, because of scandal having to do with contracting. And then they had gotten away from that and they had forgotten had to spell “contracting.” Scherer [laughs]. McGuire As they got mostly inter—interested in chasing drugs. But in, um—somewhere around 1970, there was another big scandal that came up that didn’t have anything to do with the Air Force, but it did with the Navy. And the Air Force decided that it would be smart to get back into that business and pay attention, because we are spending just huge sums of money. We ought to be paying attention to it. And the first thing they needed to do was to find somebody who knew something about the procurement system and could come in and act as an in-house consultant to them, and so they chose me. Scherer Really? McGuire So for two years, I taught OSI agents how to spell “procurement” and the kinds of things to look for. The big thing coming out of it was to find out just how honest the system really is at that level. There may be corruption at other levels, but at the level of the working people doing the job, it is a very, very honest system. Um, now what did I skip? Somewhere in here, I skipped something. No. I guess not. When that was finished, they sent me to Japan to be the Deputy Director of the Air Force’s Procurement Center in Tokyo—actually, at Yokota Air Force Base,<a title="">[1]</a> which is just in the western suburbs of Tokyo—in which I had the responsibility for all of the, um, in-country support for Air Force and Army, and staff responsibilities towards the, uh, Army Center—similar to it in Korea, that took care of Air Force and Army in Korea. And, uh, let me think for a moment. Oh, yes. One of the, um, cases that I had run in the OSI had been an accusation made against the Lieutenant Colonel who commanded the Air Force Procurement Center at Yokota Air Base—that he was corrupt, and that he was accepting bribes from, uh, one of the car companies , which the, uh, U.S had a contract with for small engines. Well, the truth of the story—it turned out, that the man was an elder of the Mormon Church,<a title="">[2]</a> as well, as being a[sic] Air Force officer. And he had led a church group on a visit to the plant. Just a visit to go see what the plant looks like. And his big mistake: when he got back to his office was he had written the thank you note on Air Force letterhead, rather than on Mormon Church letterhead. And that had kicked off all of these accusations that he was, uh, a corrupt and on the take from this car company, which of course, he was not. But we had spent a bunch of time going and checking it out, so I knew all about it [laughs] before I got there. Um, then that was followed by an assignment back in the United States to go to Rock Island Arsenal [in Rock Island-Moline, Illinois] to be the Deputy Director of the ammunition procurement division for U.S. Army Armament Material and [the U.S. Army Military Intelligence] Readiness Command, functioning as something called “Single Manager for Conventional Ammunition.” Army buys all the ammunition used by the military—all production ammunition, not development, but production—ammunition used by the military, of whom the Air Force was the second largest consumer. And therefore, the Air Force, to help with that mission, sent six officers to Rock Island to participate. And at th—this point, I am a Lieutenant Colonel. And so I became the Deputy Director of that division. We spent in that one division—and this is 1980—one and a half billion… Scherer [gasps]. McGuire Dollars a year. This is peacetime. One and a half billion. Buying bits and pieces of little things, most of which costs less than one dollar a unit, and the most expensive one was ten dollars a unit. All over the country. And then, the things we bought would flow to the Army load plants to be made up into rounds of ammunition—most of them. And they spent another billion and a half or so putting the stuff together as ammunition. Okay. So I’m making decisions every day about how am I spending one and a half billion dollar budget. I’ve got a hundred people literally working for me. Uh, we are loading plants all over the country. We are making decisions about which factories we keep in business and which ones we don’t, and which communities stay in business because the factory’s there, and which ones don’t. And then I go home, and I have to be concerned if there was enough money in the checking account for my wife to go grocery shopping. Scherer Whoa. A great[?] contrast. McGuire This got a little bit mind-bending at times. Scherer Quite a contrast. McGuire Hm? Scherer Quite a contrast. McGuire Quite a contrast. Yeah. And then, uh, I retired. Scherer Yes. McGuire At this point. I had been in the Air Force for 20 years and three weeks Scherer [laughs]. McGuire And I decided it was time to go. I had three kids that needed to go to college, and they weren’t going to do it on Lieutenant Colonel’s pay, so I had to go do something else. And another interesting thing, to me at least, was that I had joined Air Force ROTC back there in college, because I had no desire to be anywhere near the Army or the Navy, but especially the Army. And so for my final tour of duty, I am winding up serving with the Army Scherer Oh. McGuire As one of their officers [laughs]. Scherer [laughs]. McGuire Anyway, so that’s it. Scherer What—when were you serving for the Army? Was that duty procur—procure—procurement, or was that when you [inaudible]? McGuire No. That was with the Army. I was Deputy Director… Scherer Yeah. McGuire For Ammunition Procurement. Scherer Yeah. McGuire Deputy Directory of Ammunition Procurement Division of that Army command. Scherer Well, it all is very impressive, and I’m sure it was most important, but it sounds to me like your career was drug[?] running and buying guns [laughs]. McGuire Uh, no. actually… Scherer Just joking. McGuire I might have bought some drugs along the way. Scherer To find out where [inaudible]. McGuire But they would have been legal ones. Scherer [laughs]. McGuire Um, Never bought any guns. Never bought an airplane, but I bought just about everything else. Scherer Well, when you were doing procurement, the rifles—what were you actually… McGuire Oh, I didn’t buy the rifles. I bought the ammunition that went in the rifles. Scherer Oh, you bought the ammunition. Sorry. Yeah. McGuire Somebody else bought the rifles. Scherer Oh, you [inaudible]. McGuire There was another group doing that. Scherer Yes. McGuire And there was another officer. Scherer Mmhmm. McGuire Other officers assigned to that. SchererSo you said you were in Bang—so—so you said you were in Bangkok McGuire Mmhmm. Scherer And then you were in Thailand—I mean, Thailand is Bangkok. McGuire Yes. Scherer And other places, but um, did you—did you do anything in the states? How long were you in the states at the end of the career? McGuire Well, it was three years in, uh, Rock Island. Scherer Yes. McGuire It was three years at McCoy Air Force Base. Scherer Yes. McGuire So two years in Whiteman’s. So that’s at least eight years of doing procurement there. And it was two years in the OSI, advising the OSI people about procurement—participating in, uh—in their actions. Scherer Could you enlarge a little about your stay in Bangkok, and tell us more about what you did, and how difficult or easy it was? Because of the place, of course, it is always very hot there. [inaudible]. McGuire Yes. As we were talking earlier, if you got a, um, weather report for Orlando and a weather report for Bangkok, for the months of July, August, and September, you could not tell the difference as to which city you’re reading the report on. It’s the same. Scherer Interesting. McGuire The difference is, of course, that Orlando does cool down—some. Bangkok doesn’t. The, uh—Bangkok only has, um, three temperatures—hot, hotter, and hellatious. Scherer [laughs]. McGuire Uh, Bangkok was a very interesting and very, very different, uh, type of assignment. At that time, the Air Force’s procurement office was in a building in the center of Bangkok. It was called the “Chokchai Building,” and it, uh—it wasn’t terribly tall. My memory says seven floors, but it might’ve been more. Uh, the city was built on swamp, so the building was constructed such that it floated. And its basement was a big concrete barge, and it was floating. Now, the technology has progressed, and you go to Bangkok, and there are skyscrapers all over the place. It’s a fairly modern city, but at that time it was not. And, uh, so I was there as one of the officers assigned to that position. My memory says there were four of us, at that point, and I was the fifth one kind of detached. And, um, we just bought all the goods and services that the U.S. Air Force required in Thailand. And at that time, we had several bases scattered all over Thailand. And we had, um, people working for us—enlisted, uh, men—working for us at each base, also during procurement, but they were doing it as our subordinates for the stuff that had to come really from the local community. But otherwise, uh, we would buy the stuff in Bangkok—things in Bangkok. And this would be stuff—oh, it would be food, it would be entertainment, it would be the gas for the propane heaters, uh.—you name it. We would be buying it in Bangkok. Um, We lived in a, uh compound, which was very much like a park, that was a little ways away from the, uh—from the office. And, uh, you walked in there and it was a beautiful little park-like area. It was lined with houses, all of which are rented to, uh, foreigners, like ourselves. Either American or Australian or somebody else, or the, uh, members of the diplomatic corps. And at the front of the—of the property, there was a very old, interesting Thai gentleman, and at the back of the property was his son and his family. And the fellow at the front—named [Mom Rajawongse] Seni Pramoj. Scherer Seni Pramoj? [laughs]. McGuire Seni Pramoj. Now Seni Pramoj is rather important in Thai-American relations. In World War II, the Japanese moved into Thailand, and Thailand declared war on the United States. Scherer I never [inaudible]. McGuire Seni Pramoj was the ambassador in Washington, D.C. He refused to deliver the declaration of war. United States chose to ignore it. When WWII ended, the United States chose—says, “Thailand was not an enemy combatant. They were an occupied country.” Other Allies had different opinions, and there’s[sic] arguments about it. And so the United States agreed, “Okay. We would take a little, tiny bit of reparations. We ‘ll take one house.” And it became the residence of the American Ambassador. Scherer That’s a fascinating story. McGuire Seni Pramoj later was president of Thailand… Scherer Oh, really? McGuire At one time or another.<a title="">[3]</a> Scherer Oh. McGuire But at the time we met him, he is the landlord, sitting up at the front of the compound. Scherer Oh[?]. McGuire And we didn’t see him very often, but we did—knew who he was. But, um… Scherer I thought you were going to say he was the watchman. You know, because [inaudible]. McGuire No. We figured that the—there was very little obvious security in that compound. There was no real guard at the gate or noth—but there were gardeners all over the place, and we figured they were all Thai CID [Criminal Investigator's Department]. Scherer [laughs]Well, one of them was very important. McGuire And, uh… Scherer And I—I think that’s a story that is well worth recording, because it shows how a war was, uh—was, um, avoided by simple, you know… McGuire Yeah, um… Scherer Simple contacts. McGuire So, America has been—had a treaty of friendship with Thailand since 1835, or something like that. It was the first one we signed with anybody in Asia. Scherer Oh, that’s interesting. [inaudible]. McGuire ‘Course, at that time, I think Thailand was probably about the only independent Asian country that we could get into. Japan was closed. China was, uh, occupied by several people. The—the British had Burma<a title="">[4]</a> and Malaya, And Dutch had Indonesia, and the French had Cambodia and Vietnam. And Thailand was in the middle. And we signed a treaty of friendship with those folks. Scherer Yeah. McGuire which I think has paid off very handsomely for us. Scherer Too bad it’s so unique. McGuire And it’s very unique. Scherer Yeah. McGuire During the, um, Vietnam War, Thailand actively participated in the war. And Thailand provided us with access to their facilities, and that’s the only time they have ever done that for anybody that’s not Thai. Scherer Yes[?]. [inaudible]. McGuire So, um, [inaudible]. Scherer I wish—wish they had done the same thing in Vietnam. McGuire Well… Scherer You know, after [Ngô Đình] Diệm [inaudible]. But I’m supposed to ask you questions, and you answer at length McGuire Yeah. So… Scherer And I ask very short questions, but you’re asking at length very well [laughs]. McGuire One of the… Scherer So I don’t have to ask you many questions. McGuire One of the jobs I had, while I was there in Thailand, was to be the Contract Administrator for the Thai security guard contract. We employed… Scherer That sounds like a Chinese title. It’s so long. McGuire Almost. Scherer Can you say it again? McGuire Thai security guard contract. To be the contract administrator. We had a contract, and it was written as a regular Air Force Procurement contract, between ourselves and the [Thai] Ministry of Defense, whereby they provided, uh, Thai military reserves to act as the security guards for all of our forces—our locations, rather—all over the country of Thailand. Scherer Interesting. McGuire Every little—every U.S… Scherer [inaudible]. McGuire Space. Now, some of those were big. They’re big air bases. There’re lots of people. And some of them were little tiny listening posts… Scherer [laughs]. McGuire Out in the jungle… Scherer Wow. McGuire With maybe one or two Americans—well, usually more than that—maybe four Americans, and four or five Thai security guardsman to take care of them, to keep them safe, and literally keep the tigers from coming into the, uh… Scherer [inaudible]. McGuire Into the post. Scherer Mmhmm. That’s unusual. McGuire Yeah, and part of my duties were[sic] to go and inspect every one of those installations all over that country to make sure people are doing the job right. Scherer Well… McGuire Which I did. Scherer Yes. I’m sure you… McGuire Which was a very interesting [inaudible]. Scherer I’m sure you did it very arduously, but it sounds very interesting. McGuire It was. It was very interesting. Scherer Yeah. McGuire Uh, so where do we go next? Scherer I want to ask you if you, in all—in all these different places you’ve been, if you met any characters that stay—stayed in your mind as being particularly interesting, either, you know, um, good, bad, or eccentric, or whatever? McGuire Hm. Strange… Scherer Because your experiences are so different from other people’s in the military. McGuire Yeah. Scherer Usually[?], they’re in a unit, or they’re on some ship, and so on. But you were all over the place with all kinds of people, from the important ones to the not-so important ones. McGuire Yeah, but some of them were just ordinary folk. Uh, like[?] I was. [inaudible]. Scherer But you had to find people who spoke English, I presume. McGuire Yes. And in most of the world, you can get by on English. Scherer That’s true. McGuire Most educated Thais could speak some English. Scherer Mmhmm. McGuire The, uh, officers on the Thai side, with whom I interfaced—one was an Admiral, the other was an Army Major, uh—spoke—spoke beautiful English. Scherer Yes[?]. McGuire Um… Scherer That was—your stories are so interesting. McGuire That… Scherer Can you tell another story that—of interest… McGuire From that… Scherer [inaudible]. McGuire Well, there is one other one of interest from that. I went to one of the bases, and the, uh—the guardsmen work on the base. They work for the American, uh, military police chief, whoever he is. And so, I was talking to him one day, and he was telling me about a young airman who wanted to get married. Now, before a serviceman can get married overseas, especially in a warzone, his, uh, bride has to be vetted through the American Embassy. Scherer Mmhmm. McGuire And most Americans, when they look at a Thai woman, cannot tell how old she is… Scherer [laughs]. McGuire Until she is elderly, and then it’s obvious that she’s elderly. But as long as she is fairly young up through middle age, you’ve got no idea how old she is, when you look at her. So there was this, uh, one young fellow, who wanted to get married and this—this is, um—now, this is 1974 time period—to, uh, his Thai honey. And when they started checking on her, they found out that she had been a prostitute for the Japanese forces, when the Japanese had occupied this particular base 30 years earlier. Unidentified [laughs]. Scherer Very interesting turnaround[?]. Unidentified [laughs]. Scherer [laughs]. McGuire [laughs] So our 18 year old—18 year old… Scherer Yeah. McGuire American G.I. couldn’t tell she was probably 45. All [laughs]. Scherer Interesting. That’s interesting story. McGuire Yeah. Scherer Do you have friends around the world that you made at that time? McGuire We did have for a long time, but then, um, over the years… Scherer Yeah. McGuire They’re gone. The Admiral that[sic], uh, had been in charge from the Thai side—I kept in touch with for a long time, but then he died. Scherer I’m not supposed to add anything to this, but I have to say that a prostitute who was a prostitute for the Japanese was[?]—was, uh—was quite often recruited and kept as a slave for soldiers. McGuire Oh, more than likely. Scherer What did they call them? There’s a name for them. But anyway… McGuire Uh, comfort girls. Scherer Comfort girls. McGuire Or comfort women, rather. Scherer She—that could have happened to her. I mean, but still, she was old. McGuire It might have been. Scherer [inaudible]. McGuire But the point of the story wasn’t so much that she’d been a prostitute. Scherer That she was old. McGuire It was that she was at least 45 years old… Scherer [laughs]. McGuire And our 18 year old airman couldn’t tell. Scherer [laughs] That would’ve been an interesting—or a—have made a rather easy decision for the superior to make [laughs]. McGuire Yes. I don’t think she got her clearance. Scherer [laughs] So do you—yeah. Do you keep in touch with anyone that[sic] was posted in those places with you? McGuire No. By now, I have lost—well, with all, except one. I still keep in touch with the man I worked for when I was in Japan. Scherer Oh, yes. McGuire But, uh… Scherer [inaudible]. McGuire The rest of them, time has gone by. Scherer Tell us about more colorful characters you’ve met. McGuire ike, I don’t, uh—Well, one of the most colorful characters was a fellow out there when I was a Thailand—American officer, who had lost the, um, first two joints of[?] one of his fingers, through some kind of accident. He cut it off with a saw or something. It wasn’t—it wasn’t particularly interesting. But the thing was he only had that much. Now in Thailand, you bargained at that time. You bargain for everything, and—but the currency is baht. So we would go and we would say, “Four baht,” and “Five baht,” “Ten baht.” whatever. Well, he could bargain in half baht. Unidentified [laughs]. Scherer [laughs] I see why you remember him. McGuire That’s my main memory of him, is he could bargain in half bahts. Scherer I’m going to ask you a two-step question. Number one: did you ever keep a diary or make notes of what you were doing? Um… McGuire No. Scherer Oh, that’s [inaudible]—that’s more or less the answer then. Because, uh, it would be interesting, and you probably would have forgotten by now some of the things. Some of the [inaudible]. McGuire Oh, I’m sure I’ve forgotten probably most of it by now. Scherer Yeah. McGuire But no. I did—never kept any diary. I got movies and slides and stuff like that, but… Scherer So what about your family, that were in the states whilst you were doing all this? Did you keep in touch with them fairly well? McGuire Well, my family was with me. Scherer No. Not your immediate family. I mean, your… McGuire Oh. Scherer Parents and siblings[?]. McGuire My parents, and my brothers and sisters and siblings? Scherer Yeah. McGuire Oh, yeah. Scherer Yeah. McGuire I still do keep in touch with them. Scherer Yeah. McGuire Now, my parents are long gone, but yeah. My brothers and sisters and I still keep in touch. Scherer Well, of course, we didn’t have email or anything, so what did you do? Write to them? McGuire Yeah. We write—wrote letters. And every time you circulated that through the country, you would, um, go and see people. Um, yeah. My wife’s, uh, parents lived in War—in Warsaw, Missouri, which, uh, is kind of south and west of Kansas City[, Missouri]—a couple hundred miles out in the country at the head waters of the Lake of the Ozarks in the Missouri countryside—hill towns. And it was amazing how Warsaw became on the way to everything. Scherer Oh [laughs]. Via Warsaw [laughs]. McGuire Yeah. It didn’t matter where we were going. Scherer [laughs]. McGuire It was always by way of Warsaw… Scherer [laughs]. McGuire Missouri. It could have been—it was Washing—Florida to Washington, D.C., is by way of Warsaw, Missouri. Uh… Scherer [laughs] Oh, that’s good. McGuire Seattle to Alabama for Squadron Officer School is by way of Warsaw, of course. That’s not too bad. Scherer [laughs]. McGuire But, uh, everything was by way of Warsaw. Scherer Wow[?]. That’s funny. McGuire And then… Scherer Does your wife like traveling? McGuire Did she—yeah. She did. Scherer Oh, I [inaudible]. McGuire She’s now passed, but, uh, yeah. Scherer Oh, I’m sorry. McGuire She did. Scherer I didn’t know. Um… McGuire Yeah. Scherer Well, you’ve had a very interesting life. McGuire Yeah, ‘cause that particular—That first wife died about six years ago, but then she sent along a replacement, who ordered me up off of Match.com as her souvenir of her visit to America—the United States. And, uh, she’s Thai. Scherer Oh, really? Scherer Well, how is your Thai? [laughs]. McGuire My Thai is good enough… Scherer [inaudible] mai tai [laughs]. McGuire My Thai—Yeah. I can order one of those. Um… Scherer Mai tai [inaudible] [laughs]. McGuire My Thai is probably good enough to tell you “Hello” and “Goodbye.” Scherer [laughs]. McGuire All of which is the same word: sà-wàt-dee. And to ask, “Hông náam yòo têe năi?” “Where’s the toilet?” in Thai. Scherer [laughs] Good one[?]. Good phrase [laughs]. McGuire And I could say thank you: kòp kun mâak. And that’s about it. Uh, fortunately… Scherer [inaudible] If you were in procurement, people must have been saying, “Thank you” to you often. McGuire Oh, they were. Scherer Okay[?]. Were you bribed at any time? Or tempted to be bribed? McGuire No. No. Though, uh, some people had trouble with the U.S. standards on that. And in one particular instance in Thailand, uh, the contractors just could not understand when we said, “No. We cannot take anything.” So one Thanksgiving or Christmas or something, they showed up with a lot of turkeys and stuff. “No. we cannot take it.” “But I can’t take it.” “Well, okay.” we gave it to the orphanage. Scherer Oh, that was a good idea. McGuire But no. Scherer You must have come across a lot of interesting situations like that. That’s a—that’s… McGuire We came across a lot of things that were cultural differences. Scherer Yes, but I mean in the actual process of what you were doing. First of all, you had to find out who to start with to ask for what you needed. And then you had to choose between them. McGuire You had to choose between—yes. You have to define what you need. You have to find the people that can fill your need. And then you have to make a choice as to which one is going to fill it, and you have to pay attention to a whole long list of social things, as to which person can have this particular contract. Um… Scherer So you had to do a lot of hard work? McGuire Yeah. Yeah. Well, this is all goes with part of the job. Scherer The job. Yeah. McGuire Government procurement and commercial are not the same. Scherer Oh. McGuire And the big difference is the rules that, uh, the government person has to follow. And people that[sic] I was—when I was teaching at OSI, one of their frequently raised complaints was: “Well, it would be so much cheaper if we did this, or if we did it that way.” And I would have to explain to them that the, um, military procurement regulations, which fill a space like this, were not designed for the efficient and economic acquisition of goods and services for the military. They were designed to fill the social aims of Congress first. And after you fill the social aims of Congress, then we do things to make sure we get stuff. But we have things like—you have Buy American Act [of 1933]. You have a, um, law that governs the amount of money that must be paid to the contractors on the job, which often is very different than the local prevailing wages. You have to procure from minority-owned businesses. You want to procure from women- owned businesses. Scherer They did that then? Back that far? McGuire Oh, yeah. They’ve done this for a long time. And it goes on and on and on. On certain type of business would be set aside, to be filled by only people who meet these social constraints. Whatever they were. Scherer Yeah. McGuire To fill the social aims of Congress. Um, I [inaudible]… Scherer Tell me what was your biggest disappointment during this time? McGuire Uh… Scherer Something… McGuire I can’t think of one at the moment. Scherer Go wrong after you went half way into it, or something like that? McGuire Pardon? Scherer Did anything go wrong after you went half way into it? McGuire No. The only interesting thing was I never intended to stay there. Scherer [laughs]. McGuire I intended to do my first tour of duty, and then get out. Scherer Yes. McGuire But by the time that, uh, point came up, Air Force requirement is four years of service after commissioning. And the point I had four years of service, and I had three little children. And I knew I needed a Master’s Degree, and there wasn’t any way that I was going to be able to support four little children and a wife and go get a Master’s Degree on my own. And the Air Force says, “We will send you to, uh, George Washington University for your MBA [Master’s of Business Administration], if you would like. All you have to accept is an extended service commitment of three times the length of that year and a half of school.” And then every time I did that, or I got promoted, or I got sent somewhere, there was always a service commitment attached to it. It wasn’t until I had 18 years of service in, that I could’ve get out if I wanted to. At that point, I stopped accepting any offers for anything that had a commitment on it. Scherer I see. That’s understandable. And I think you [inaudible]… McGuire But by then, I was at Rock Island Arsenal in Illinois. Scherer I think—I think you’ve your judgments in order. McGuire Hm. Scherer Because I—I admire what you put first[?]. McGuire [laughs]. Scherer But you certainly had an intering—interesting career. McGuire Yeah. Scherer Tell me about something that—funny that happened whence you—when—when you were in one of these places. McGuire Well, alright. Well, uh, the one we were talking about at lunchtime. Military people on active duty, and as a retiree, are entitled to fly space available on military aircraft from one point to another. ‘Course you have last priority. So we were in Japan, and my wife wanted to go to [South] Korea, which there were frequent flights between Yokota Air Base in Japan and Osan Air Base in Korea. So we went over to Korea, and on the way over we rode on a chartered airliner. And this just like riding in any other airliner, except this one is under charter with the [U.S.] DOD [Department of Defense]. And we went shopping in Seoul[, Gyeonggi-do, South Korea]. She bought all kinds of stuff. We got back down to Osan Air Base with the—almost a pick-up truck full of, um, things that she wanted to take, and found out there was no space available going back to Japan. There were lots of people like us and no space going back. And furthermore, there were no hotel rooms available in this little town outside Osan to spend the night. So I called up my friend, who was the OSI boss in Osan, because this was shortly after my—my OSI tour, so I still knew the people. And he called around, and he called me back, and says, “Okay. Go down to this hotel,” [clears throat] “and they’ll take care of you and put you up for the night.” We did. And the next morning, I informed her that she had just spent the night in a whorehouse. All [laughs]. Scherer And how… McGuire That’s what it was. Scherer And how did you get back? [inaudible]. McGuire So we went back to the base to wait along with all of these other people, and the, uh, wing at Yokota sent a training flight over to Osan. The Air Force flies training flights all the time. They have to. To train the people. Keep their skills up. So they said, “Okay. Well, we got all these people waiting over there. We’ll send this flight over today to Osan to, uh—to pick these folks up.” And they did, in a [Lockheed] C-130 [Hercules]. The C-130 is a flying truck. You sit in the back end of this, and it’s like sitting in the back end of a big truck, on a canvas seat with very little in the way of heat or any sort of comforts whatsoever. So we all filed in there, put all of our luggage in there in front of us, and then… Scherer In front of you? McGuire Yeah. Yeah. Yeah. This is a… Scherer All down the middle of the plane? McGuire Down the middle. This is the bay of a cargo airplane. This is not an airliner. Scherer Oh. McGuire You—you’ve seen pictures though Scherer Yeah. McGuire Now, they’re—they’re… Scherer In the movies. McGuire There—they’re about as—about like sitting in the back of a dump truck. Now, you load over the rear of that airplane. That’s how its tailgate goes down. And they can drive tanks, and trucks… Scherer Oh, I’ve seen McGuire And things like that. So everybody’s in there. We’re all sitting down, and the loadmaster goes to life the tailgate, and it won’t shut. Can’t get the door of the airplane shut. Scherer [laughs]. McGuire So he takes a piece of wire, wraps it around the door, holds it in place… Scherer [laughs]. McGuire Take off to go back to Japan. Scherer All wired up [laughs]. McGuire And my brother-in-law, who is a—at that time, a paratrooper in the Army—uh, standard joke people ask him, “Why would you want to jump out of a perfectly good airplane?” And his answer is “Because the Air Force doesn’t have any.” Scherer [laughs] Oh, really? McGuire This was… Scherer Very interesting. McGuire A perfectly good airplane by Air Force standards. You could wire the door shut and fly. Scherer Is there anything else you would like to tell us before we end? McGuire Oh, I guess that’s probably about it. Scherer Well, you’ve been an easy person, because I was supposed to tell you at the beginning, that this is for you to tell your stories, and I’m just… McGuire Okay[?]. Scherer Just there to ask the questions. But it was, uh—I didn’t have to do that, because you had so many stories, and you told them so well, and it was really interesting, and I’m sure everyone who reads veterans’ stories will like this story. McGuire If we’ve got time for one more quick[sic] one… Scherer Yes. We do. McGuire This is a funny one—to me, a funny one. Seattle is bordered on the eastern side of the city by a 20-mile long fresh water lake called Lake Washington. And One particular day, one of my friends up[?] there and I decided to check out some sailboats, because we had a—a sailboat, rather—as the Navy base had sailboats, and do sailing on Lake Washington. And we did. And we promptly knocked the sailboat down. Scherer [laughs]. McGuire And we got it back up, and then we promptly knocked it down again. Now, the big lesson that I learned about doing that was that a can of beer, if it has not been opened, will float. Scherer [laughs]. McGuire Because the beer we had, we can’t—that hadn’t been opened yet—all of it just floated every time we knocked the sailboat over, and so we got it back up, and we got out beer back on board. Scherer Oh, really? That’s interesting. Is it because there’s air in the can? McGuire Sure. Scherer Or because there’s not very much in it? [laughs]. McGuire There’s air in the can, and a can of beer is sealed. It can’t get out, and it floats. And I… Scherer [inaudible]. McGuire Didn’t know until then that a can of beer will float. Scherer Is there anything else you’d like to tell us… McGuire No. Scherer We conclude? McGuire Now that I’m thinking about it, I could go all afternoon. Scherer Yes[?]. Well, you were the easiest person to interview, I must say. Um, let’s see there was something I wanted to say to you, as well. Well, we—we thank you very much for being part of this program, McGuire Sure. Scherer And, um, I certainly enjoyed listening to your story, so I think you’ll be a great contributor. And… McGuire I hope so. Scherer So thank you very much. McGuire You’re welcome. Scherer Good luck. McGuire Thank you. <div> <div> <a title="">[1]</a> Correction: Yokota Air Base. </div> <div> <a title="">[2]</a> Officially the Church of Jesus Christ of Latter-day Saints (LDS Church). </div> <div> <a title="">[3]</a> September 17, 1945-January 31, 1946. </div> <div> <a title="">[4]</a> Also known as the Republic of the Union of Myanmar. </div> </div> 2nd Lieutenant African Enterprise AFROTC Air Force Air Force Reserve Officers' Training Corps aircraft airplanes Ambassador AMC ammunition procurement division Armed Forces Staff College Army Materiel Command Army Military Intelligence Readiness Command BAA baht Bangkok, Thailand bargains Baton Rouge, Louisiana bribery bribes business administration Buy American Act of 1933 C-130 cargo Chokchai Building Church of Jesus Christ of the Latter-Day Saints CID comfort girls Community Veterans History Project Congress conscription construction consultants contract administrators contracting contractors corruption Criminal Investigator's Department CVHP DCAS declaration of war Defense Contract Administration Services deputy directors DOD Downtown Bangkok drafts Durban, South Africa engineering engineers Fawley, England Fussa, Japan George C. McGuire George Washington University GWU hospitals Judy Scherer Korea Lake Washington LDS Church legislation lieutenant colonel Lockheed C-130 Hercules McCoy AFB McCoy Air Force Base Ministry of Defense MIRC Missouri Mom Rajawongse Seni Pramoj Mormonism Mormons NAS Sand Point Naval Air Station Sand Point New Jersey New York City, New York New York Harbor Norfolk, Virginia Notre Dame, Indiana OIA oil oil refineries oil refinery orlando Orlando AFB Orlando Air Force Base Orlando International Airport Osan AB Osan Air Base OSI planes President of Thailand presidents procurement centers procurement officers prostitutes prostitution Pyeongtaek-si,South Korea regulations Reserve Officers' Training Corps retirement Rock Island Arsenal Rose Marie Scherer ROTC sailboats sailing scandals Seattle, Washington Second Lieutenant Seni Pramoj Seni Pramoj, Mom Rajawongse Seoul, South Korea sex workers Single Manager for Conventional Ammunition Squadron Officer School Statue of Liberty Summit, New Jersey Thai Thai Ministry of Defense Thailand tour of duty U.S. Air Force U.S. Air Force Office of Special Investigations U.S. ambassador U.S. Army U.S. Army Materiel Command U.S. Army Military Intelligence Readiness Command U.S. Department of Defense U.S. Navy UND University of Notre Dame University of Notre Dame du La USAF USAFOSI veterans Vietnam Vietnam War Warsaw, Missouri Washington, D.C. Whiteman AFB Whiteman Air Force Base World War II WWII Yokota AB Yokota Air Base https://richesmi.cah.ucf.edu/omeka/files/original/298fa4199b1be42ccad13d5166f7c745.mp3 33ef739b315ce75f10c436b4aa8f7f60 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Hot House" by Arturo Sandoval Alternative Title "Hot House" by Arturo Sandoval Subject Orlando (Fla.) Music--Florida Jazz--United States Description An audio recording of "Hot House," composed by Tadd Dameron (1917-1965), and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Hot House" was written by Dameron and recorded by Sandoval for his 1998 Grammy award-winning album of the same name. Type Sound Source Original 3-minute and 54-second audio recording: Dameron, Tadd. "Hot House," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Creator Dameron, Tadd Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sandoval, Arturo Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 3.57 MB Medium 3-minute and 54-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Tadd Dameron, performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Tadd Dameron and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/298fa4199b1be42ccad13d5166f7c745.mp3" target="_blank">"Hot House" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval Arturo Sandoval Jazz Club bebop bop CAH College of Arts and Humanities Cubop Hot House jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service Tadd Dameron Tadley Ewing Peake Dameron trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/0fbf8109d6be4805a6257af7283bba36.mp3 6a4eeb1a87c975c0bf9716b9037867f9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Drum Solo" by Arturo Sandoval Alternative Title "Drum Solo" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Drum Solo," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. Type Sound Source Original 2-minute and 26-second audio recording: Sandoval, Arturo. "Drum Solo," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 2.23 MB Medium 2-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/0fbf8109d6be4805a6257af7283bba36.mp3" target="_blank">"Drum Solo" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval Arturo Sandoval Jazz Club bebop bop CAH College of Arts and Humanities Cuban jazz Cubop Drum Solo jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/d846ac4c83f0cffbb725c7f8ff52736e.mp3 1c29bb72f5e8b65f789e71c9ce439d62 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "I Got You (I Feel Good)" by Arturo Sandoval Alternative Title "I Got You (I Feel Good)" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Rhythm and blues music--United States Funk (Music)--United States Soul music--United States Description An audio recording of "I Got You (I Feel Good)," composed by James Brown (1933-2006), and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "I Got You (I Feel Good)" was written and recorded as a single by Brown, who is often referred to as the "Godfather of Soul," in 1965, becoming his highest charting song. Type Sound Source Original 6-minute and 56-second audio recording: Brown, James. "I Got You (I Feel Good)," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Creator Brown, James Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sandoval, Arturo Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 6.35 MB Medium 6-minute and 56-second audio recording Language eng Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by James Brown, performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by James Brown and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/d846ac4c83f0cffbb725c7f8ff52736e.mp3" target="_blank">"I Got You (I Feel Good)" by Arturo Sandoval</a> Transcript Wo! I feel good, I knew that I would now I feel good, I knew that I would now So good, so good, I got you Wo! I feel nice, like sugar and spice I feel nice, like sugar and spice So nice, so nice, I got you When I hold you in my arms I know that I can do no wrong And when I hold you in my arms My love won't do you no harm And I feel nice, like sugar and spice I feel nice, like sugar and spice So nice, so nice, I got you When I hold you in my arms I know that I can't do no wrong And when I hold you in my arms My love can't do me no harm And I feel nice, like sugar and spice I feel nice, like sugar and spice So nice, so nice, well I got you Wo! I feel good, I knew that I would've I feel good, I knew that I would So good, so good, 'cause I got you So good, so good, 'cause I got you So good, so good, 'cause I got you Hey! Oh yeah-a Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities Cubop funk I Got You (I Feel Good) James Brown James Joseph Brown jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service R&B rhythm and blues trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/06ba64498e590f6336fd917a96b608cb.mp3 a808b1917f3d1c59233ccb0203d89ffc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Jewsharp Solo" by Arturo Sandoval Alternative Title "Jewsharp Solo" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Jewsharp Solo," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. Type Sound Source Original 40-second audio recording: Sandoval, Arturo. "Jewsharp Solo," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 636 KB Medium 40-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/06ba64498e590f6336fd917a96b608cb.mp3" target="_blank">"Jewsharp Solo" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities composer Cubop jazz jazz ensembles Jewsharp Solo Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service scat scat singing trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/2c6f150e371ba2db36e2e413b29fe372.mp3 1ab0388531c882c60cdc38cfe3a0cfd2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues for Diz" by Arturo Sandoval Alternative Title "Blues for Diz" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues for Diz," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Blues for Diz" was written and recorded by Sandoval on his 2005 album, Live at the Blue Note, and features Sandoval's renowned scatting. Type Sound Source Original 1-minute and 25-second audio recording: Sandoval, Arturo. "Blues for Diz," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 1.3 MB Medium 1-minute and 25-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/2c6f150e371ba2db36e2e413b29fe372.mp3" target="_blank">"Blues for Diz" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop Blues for Diz bop CAH College of Arts and Humanities Cubop jazz jazz ensembles Latin jazz Live at the Blue Note Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service scat scat singing trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/8eb60bd9fdc2c1a534111659653acaf8.mp3 24eb83858539334af95f4be8064da735 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Solo Scat" by Arturo Sandoval Alternative Title "Solo Scat" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Solo Scat," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. Type Sound Source Original 1-minute and 12-second audio recording: Sandoval, Arturo. "Solo Scat," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 1.11 MB Medium 1-minute and 12-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="" target="_blank">"Solo Scat" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities Cubop jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service scat scat singing Solo Scat trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/b73e598e2d4c44bc54ddc5afc656f1e9.mp3 89707d15d13da7d9a71cf34833e8eaad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Englishman in New York" by Arturo Sandoval Alternative Title "Englishman in New York" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Reggae music--United States Description An audio recording of "Englishman in New York," Sting, and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Englishman in New York" was written and recorded by Sting for his 1987 album, ...Nothing Like the Sun. Type Sound Source Original 9-minute and 21-second audio recording: Sting. "Englishman in New York," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Creator Sting Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sandoval, Arturo Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 8.56 MB Medium 9-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sting, performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sting and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/b73e598e2d4c44bc54ddc5afc656f1e9.mp3" target="_blank">"Englishman in New York" by Arturo Sandoval</a> ...Nothing Like the Sun Arturo Sandoval CAH College of Arts and Humanities Englishman in New York Gordon Matthew Thomas Sumner jazz ensembles Miami Beach music musicians National Public Radio NPR orlando pianists pianos pop Public Broadcasting Service reggae rock music scat singing Sting trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/fb5661abb5f468bd61b07c2d823393a0.mp3 1d0da40cefc37939665ab239d4c97ba9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Rhythm of Our World" by Arturo Sandoval Alternative Title "Rhythm of Our World" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Rhythm of Our World," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Rhythm of Our World" was written and recorded by Sandoval for his 1998 Grammy award-winning album, Hot House. Type Sound Source Original 9-minute and 39-second audio recording: Sandoval, Arturo. "Rhythm of Our World," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 8.84 MB Medium 9-minute and 39-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/fb5661abb5f468bd61b07c2d823393a0.mp3" target="_blank">"Rhythm of Our World" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities Cubop Hot House jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianist pianists piano pianos Public Broadcasting Service Rhythm of Our World trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/55e5358c1af35db3865202b5d9807065.mp3 118861dd389497f1a7efc0f71bfa6fe9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "'O Sole Mio" by Jeff Rupert + Dirty Martini Alternative Title "'O Sole Mio" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "'O Sole Mio," composed by Eduardo di Capua (1865-1917), with lyrics by Giovanni Capurro (1859-1920), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "'O Sole Mio" is an internationally popular Neapolitan song composed in 1898 that has been recorded by numerous artists. The 1980 recording by Luciano Pavarotti (1935-2007) won the Grammy Award for Best Classical Vocal Performance. Type Sound Source Original 4-minute and 3-second audio recording: Capurro, Giovanni, and Eduard di Capua. "'O Sole Mio," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Naples, Campania, Italy Creator Capurro, Giovanni di Capua, Eduardo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 3.71 MB Medium 4-minute and 3-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Eduardo di Capua and Giovanni Capurro, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Eduardo di Capua and Giovanni Capurro and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/55e5358c1af35db3865202b5d9807065.mp3" target="_blank">"'O Sole Mio" by Jeff Rupert + Dirty Martini</a> ’O Sole Mio CAH College of Arts and Humanities Dirty Martini Eduardo di Capua Flying Horse Records Giovanni Capurro Italian jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio Neapolitan jazz NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/4bb860562f0d1aa5f181988c71721a13.mp3 f72fcba79fc939f42f5e342d6b7bbc06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "No More Blues" by Jeff Rupert + Dirty Martini Alternative Title "No More Blues" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "No More Blues," composed by Antônio Carlos Jobim (1927-1994), with lyrics by Vinícius de Moraes (1913-1980), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "No More Blues," or "Chega de Saudade," is a jazz standard that is considered to be the first recorded bossa nova song. The song was first recorded in 1958 by Elizete Cardoso, but the second recorded version in 1959 by João Gilberto became an international hit. Type Sound Source Original 5-minute and 35-second audio recording of Jeff Rupert + Dirty Martini, <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007: WUCF-FM, University of Central Florida. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Brazil Creator Jobim, Antônio Carlos de Moraes, Vinícius Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 5.12 MB Medium 5-minute and 35-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Antônio Carlos Jobim and Vinícius de Moraes, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Antônio "Tom" Carlos Brasileiro de Almeida Jobim and Vinícius de Moraes and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/4bb860562f0d1aa5f181988c71721a13.mp3" target="_blank">"No More Blues" by Jeff Rupert + Dirty Martini</a> Antônio Carlos Brasileiro de Almeida Jobim Antônio Carlos Jobim bossa nova Brazilian jazz CAH Chega de Saudade College of Arts and Humanities Dirty Martini Flying Horse Records jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini Marcus Vinícius da Cruz e Mello Moraes music musicians National Public Radio No More Blues NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists Tom Jobim UCF University of Central Florida Vinicius de Moraes WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/cb340dd192858625e2a5a00db0dd78de.mp3 98ec16ca888b894aa11cfe5e7d593b42 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Descarga" by Jeff Rupert + Dirty Martini Alternative Title "Descarga" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Descarga," composed and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Descarga" is the Afro-Cuban equivalent to an improvised jam session. Type Sound Source Original 2-minute and 32-second audio recording: Rupert, Jeff. "Descarga," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Cuba Creator Rupert, Jeff Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 2.32 MB Medium 2-minute and 32-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jeff Rupert and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/cb340dd192858625e2a5a00db0dd78de.mp3" target="_blank">"Descarga" by Jeff Rupert + Dirty Martini</a> Afro-Cuba jazz bossa nova CAH College of Arts and Humanities Descarga Dirty Martini Flying Horse Records jam sessions jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini Latin jazz music musicians National Public Radio NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/06525c8a65caca453ff762be64ecb873.mp3 ad0448f4a90ae6470b203f112028c91a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Bad Moon" by Jeff Rupert + Dirty Martini Alternative Title "Bad Moon" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bad Moon," composed and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Bad Moon" was written by Rupert and recorded on his 2009 album, From Memphis to Mobile. Type Sound Source Original 5-minute and 10-second audio recording: Rupert, Jeff. "Bad Moon," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Brazil Creator Rupert, Jeff Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 4.74 MB Medium 5-minute and 10-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jeff Rupert, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jeff Rupert and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/06525c8a65caca453ff762be64ecb873.mp3" target="_blank">"Bad Moon" by Jeff Rupert + Dirty Martini</a> Bad Moon bossa nova Brazilian jazz CAH College of Arts and Humanities Dirty Martini Flying Horse Records jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/6cd03a6b41b54a39ae61f9b9fe266ae7.mp3 fd44df2b78928b58d464060231b35e42 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "The Jitterbug Waltz" by Jeff Rupert + Dirty Martini Alternative Title "The Jitterbug Waltz" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United State Jazz--United States Description An audio recording of "The Jitterbug Waltz," composed by Fats Waller (1904-1943), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "The Jitterbug Waltz" is a jazz standard composed and recorded by Waller in 1942. It was one of the first jazz records that used a Hammond organ. Type Sound Source Original 4-minute and 26-second audio recording: Waller, Fats. "The Jitterbug Waltz," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Brazil Creator Waller, Fats Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 4.07 MB Medium 4-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Fats Waller, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Fats Waller and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/6cd03a6b41b54a39ae61f9b9fe266ae7.mp3" target="_blank">"The Jitterbug Waltz" by Jeff Rupert + Dirty Martini</a> CAH College of Arts and Humanities Dirty Martini Fats Waller Flying Horse Records jazz jazz ensembles jazz standard Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists The Jitterbug Waltz Thomas Wright Faller UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/dd904d974435b166f49f6a24c6eb6eda.mp3 883f9095759b35d7d658b528e3c842ad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Tenderly" by Jeff Rupert + Dirty Martini Alternative Title "Tenderly" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Tenderly," composed by Walter Gross (1909-1967) with lyrics by Jack Lawrence (1912-2009), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Tenderly" is a jazz standard first published and recorded in 1946. Sarah Vaughan's early recording was a hit in 1947, but the best-known version was by Rosemary Clooney in 1952. Type Sound Source Original 5-minute and 48-second audio recording: Gross, Walter, and Jack Lawrence. "Tenderly," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Brazil Creator Gross, Walter Lawrence, Jack Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 5.32 MB Medium 5-minute and 48-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Walter Gross and Jack Lawrence, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Walter Gross and Jack Lawrence and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/dd904d974435b166f49f6a24c6eb6eda.mp3" target="_blank">"Tenderly" by Jeff Rupert + Dirty Martini</a> CAH College of Arts and Humanities Dirty Martini Flying Horse Records Jack Lawrence jazz jazz ensembles jazz music jazz standard Jazz Studies Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service Tenderly tenor saxophones tenor saxophonists UCF University of Central Florida Walter Gross WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/72298c3432bb0437bf58f019c655e38e.mp3 798c36ad2deb28a22c030c7ca29a614f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "You're Blasé" by Jeff Rupert + Dirty Martini Alternative Title "You're Blasé" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "You're Blasé," composed by Ord Hamilton and Bruce Sievier, and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "You're Blasé" is a 1931 jazz standard that was popularized by Ella Fitzgerald, who recorded the song in 1957 and agian in 1973. Type Sound Source Original 7-minute and 1-second audio recording: Hamilton, Ord, and Bruce Sievier. "You're Blasé," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Brazil Creator Hamilton, Ord Sievier, Bruce Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 6.42 MB Medium 7-minute and 1-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Ord Hamilton and Bruce Sievier, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Ord Hamilton and Bruce Sievier and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/72298c3432bb0437bf58f019c655e38e.mp3" target="_blank">"You're Blasé" by Jeff Rupert + Dirty Martini</a> bossa nova Brazilian jazz Bruce Sievier CAH College of Arts and Humanities Dirty Martini Flying Horse Records jazz jazz ensembles jazz standard Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR Ord Hamilton orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha You're Blasé https://richesmi.cah.ucf.edu/omeka/files/original/582b62e48fb1577a52a9e344c5bd4828.mp3 04c89515f53edca7d74951623d82e5f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "When Lights Are Low" by Jeff Rupert + Dirty Martini Alternative Title "When Lights Are Low" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "When Lights Are Low," composed by Benny Carter (1907-2003) and Spencer Williams (1889-1965), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "When Lights Are Low" is a jazz standard that was composed in 1936 and has been recorded by numerous artists. The most famous versions were recorded by Miles Davis (1926-1991) in 1956 and Tony Bennett in 1964. Type Sound Source Original 5-minute and 21-second audio recording: Carter, Benny, and Spencer Williams. "When Lights Are Low," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Brazil Creator Carter, Benny Williams, Spencer Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 4.9 MB Medium 5-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Benny Carter and Spencer Williams, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Benny Carter and Spencer Williams and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/582b62e48fb1577a52a9e344c5bd4828.mp3" target="_blank">"When Lights Are Low" by Jeff Rupert + Dirty Martini</a> Bennett Lester Carter Benny Carter bossa nova Brazilian jazz CAH College of Arts and Humanities Dirty Martini Flying Horse Records jazz jazz ensembles jazz standard Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service Spencer Williams tenor saxophones tenor saxophonists UCF University of Central Florida When Lights Are Low WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/43fb19a85d75ff03587fe54876db7807.mp3 fd4c92543629a9f1d96edc7a128e50f2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini Alternative Title "Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Spring Can Really Hang You Up the Most," composed by Tommy Wolf (1925-1979), with lyrics by Fran Landesman (1927-2011), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Spring Can Really Hang You Up the Most" is a popular song composed in 1955 and recorded by numerous artists. The most famous version is Ella Fitzgerald's 1961 recording. Type Sound Source Original 7-minute and 3-second audio recording: Wolf, Tommy, and Fran Landesman. "Spring Can Really Hang You Up the Most," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Brazil Creator Wolf, Tommy Landesman, Fran Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 6.47 MB Medium 7-minute and 3-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Tommy Wolf and Fran Landesman, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Tommy Wolf and Fran Landesman and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/43fb19a85d75ff03587fe54876db7807.mp3" target="_blank">"Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini</a> bossa nova Brazilian jazz CAH College of Arts and Humanities Dirty Martini Flying Horse Records Fran Landesman jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service Spring Can Really Hang You Up the Most tenor saxophones tenor saxophonists Thomas Joseph Wolf Tommy Wolf UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/fac6b51a9de60ded25045af43867f20e.mp3 7912017379398273c2bcb6758080bda2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Con Alma" by Ira Sullivan Alternative Title "Con Alma" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Con Alma," composed by Dizzy Gillespie (1917-1993) and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Con Alma" is a jazz standard written and recorded by Gillespie for his 1954 album, Afro. The song combines aspects of bebop jazz and Latin rhythm. Type Sound Source Original 7-minute and 52-second audio recording: Gillespie, Dizzy. "Con Alma," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Gillespie, Dizzy Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 7.2 MB Medium 7-minute and 52-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Dizzy Gillespie, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Dizzy Gillespie and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">About WUCF</a>." WUCF.ucf.edu. http://wucf.ucf.edu/about.php (accessed March 9, 2015) Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/fac6b51a9de60ded25045af43867f20e.mp3" target="_blank">"Con Alma" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH College of Arts and Humanities Con Alma Dizzy Gillespie flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensembles jazz standard John Birks Gillespie music musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/0bdc571c78ac5a030d9922f0a4106e5b.mp3 f61c1760efb8641537b26ba26e6efa84 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "You Must Believe in Spring" by Ira Sullivan Alternative Title "You Must Believe in Spring" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "You Must Believe in Spring," composed by Michel Legrand (b. 1932), with lyrics by Alan Bergman (b. 1925), Marilyn Bergman (b. 1929), and Jacques Demy (1931-1990), and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "You Must Believe in Spring" is a 1967 jazz standard often associated with Bill Evans (1929-1980), who recorded the song for his 1981 album of the same name, and as a duet with Tony Bennett (b. 1926) on their 1977 album, Together Again. Type Sound Source Original 5-minute and 50-second audio recording: Legrand, Michel, Alan Bergman, Marilyn Bergman, and Jacque Demy. "You Must Believe in Spring," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Legrand, Michel Bergman, Alan Bergman, Marilyn Demy, Jacques Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 5.35 MB Medium 5-minute and 50-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Michel Legrand, Alan Bergman, Marilyn Bergman, and Jacques Louis Demy, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Michel Legrand, Alan Bergman, Marilyn Bergman, and Jacques Louis Demy and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/0bdc571c78ac5a030d9922f0a4106e5b.mp3" target="_blank">"You Must Believe in Spring" by Ira Sullivan</a> Alan Bergman alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan Jacques Demy jazz jazz ensembles jazz standard Marilyn Bergman Marilyn Keith Michel Legrand music musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM You Must Believe in Spring Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/2d3709ae914276fe30970dcccbb3b504.mp3 fb5fac5babfe1286125176315963929b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Samba de Orpheus" by Ira Sullivan Alternative Title "Samba de Orpheus" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Samba de Orpheus," composed by Luiz Bonfá (1922-2001) and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. One of the first bossa nova compositions to gain popularity outside Brazil, "Samba de Orpheus" has become a jazz standard. The song originally appeared in the 1959 film, Orfeu Negro ("Black Orpheus"). Type Sound Source Original 6-minute and 24-second audio recording: Bonfá, Luiz. "Samba de Orpheus," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Bonfá, Luiz Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 5.86 MB Medium 6-minute and 24-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Bonfá performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Bonfá and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/2d3709ae914276fe30970dcccbb3b504.mp3" target="_blank">"Samba de Orpheus" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns bebop bop bossa nova Brazilian jazz Brazilian music CAH College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensemble jazz ensembles Luiz Bonfá Luiz Floriano Bonfá music musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service samba Samba de Orpheus Samba of Orpheus soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/36478f45be3a7b8c35bbec95005c163c.mp3 ca4d34f28f024d80b6abdeb8dee522eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Christmas Time is Here" by Ira Sullivan Alternative Title "Christmas Time is Here" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Christmas Time is Here," composed by Lee Mendelson (b. 1933) and Vince Guaraldi (1928-1976), and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Christmas Time is Here" is a jazz standard written for the 1965 network television special, A Charlie Brown Christmas. Type Sound Source Original 7-minute and 8-second audio recording: Mendelson, Lee, and Vince Guaraldi. "Christmas Time is Here," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Mendelson, Lee Guaraldi, Vince Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 6.53 MB Medium 7-minute and 8-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Lee Mendelson and Vince Guaraldi, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Lee Mendelson and Vince Guaraldi and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/36478f45be3a7b8c35bbec95005c163c.mp3" target="_blank">"Christmas Time is Here" by Ira Sullivan</a> A Charlie Brown Christmas alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH Charlie Brown Chicago, Illinois Christmas Time is Here College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensembles jazz standard Lee Mendelson music musicians National Public Radio NPR orlando PBS peanuts peck horns Public Broadcasting Service soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami Vince Guaraldi Vincent Anthony Dellaglio Vincent Anthony Guaraldi WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/de4d6f53611f7ae73ee1bed3e85b74f5.mp3 339900e337f32b87b9c883245f5ebab9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues-ette" by Ira Sullivan Alternative Title "Blues-ette" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues-ette," composed by Curtis Fuller (b. 1934) and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Blues-ette" was written and recorded by Fuller for his 1959 album of the same name. Type Sound Source Original 5-minute and 4-second audio recording: Fuller, Curtis. "Blues-ette," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Fuller, Curtis Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 4.64 MB Medium 5-minute and 4-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Curtis Fuller, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Curtis Fuller and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/de4d6f53611f7ae73ee1bed3e85b74f5.mp3" target="_blank">"Blues-ette" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns band leader bebop Blues-ette bop CAH Chicago, Illinois College of Arts and Humanities Curtis DuBois Fuller Curtis Fuller flautists flugelhornists flugelhorns flutes hard bop Ira Sullivan jazz jazz ensembles musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/895a409de8de511b530c30e4a997dd1a.mp3 811ef076017fa56db2288a558577f43a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Imagination" by Ira Sullivan Alternative Title "Imagination" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Imagination," composed by Jimmy Van Heusen (1913-1990), with lyrics by Johnny Burke (1908-1964), and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Imagination" is a 1940 jazz standard that has been recorded by numerous artists. The best-selling recordings were by Glenn Miller (1904-1944) and Tommy Dorsey (1905-1956) in 1940, but Ella Fitzgerald (1917-1996) is considered by many to be the definitive jazz interpreter of the song. Type Sound Source Original 7-minute and 1-second audio recording: Van Heusen, Jimmy, and Johnny Burke. "Imagination," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Van Heusen, Jimmy Burke, Johnny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 6.42 MB Medium 7-minute and 1-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jimmy Van Heusen and Johnny Burke, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jimmy Van Heusen and Johnny Burke and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/895a409de8de511b530c30e4a997dd1a.mp3" target="_blank">"Imagination" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH Chicago, Illinois College of Arts and Humanities Edward Chester Babcock flautists flugelhornists flugelhorns flutes Imagination Ira Sullivan jazz jazz ensembles jazz standard Jimmy Van Heusen John Francis Burke Johnny Burke music musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/875a98f98e15f470cbcd606ebcd9a2c3.mp3 bafced2003b095a3048472021c440b02 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Softly, As in a Morning Sunrise" by Ira Sullivan Alternative Title "Softly, As in a Morning Sunrise" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Softly, As in a Morning Sunrise," composed by Sigmund Romberg (1887-1951), with lyrics by Oscar Hammerstein II (1895-1960), and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Softly, As in a Morning Sunrise" is a jazz standard written by Romberg and Hammerstein for the 1928 operetta, The New Moon. Originally composed as a tango, the first noteworthy jazz version is the 1938 recording by Artie Shaw (1910-2004). Type Sound Source Original 8-minute and 1-second audio recording: Romberg, Sigmund, and Oscar Hammerstein II. "Softly, As in a Morning Sunrise," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Romberg, Sigmund Hammerstein, Oscar Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 7.35 MB Medium 8-minute and 1-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sigmund Romberg and Oscar Hammerstein II, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sigmund Romberg and Oscar Hammerstein II and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH Chicago, Illinois College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensembles jazz standard music musicians National Public Radio NPR orlando Oscar Greeley Clendenning Hammerstein II Oscar Hammerstein PBS peck horns Public Broadcasting Service Sigmund A. Romberg Sigmund Romberg Softly, As in a Morning Sunrise soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists The New Moon UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/d2e3991118079b9dd8a39beca3636958.mp3 36343a4e993607ec2b4c222f80f0da81 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Shiny Stockings" by the John Whitney Trio Alternative Title "Shiny Stockings" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Shiny Stockings," composed by Frank Foster with lyrics by Ella Fitzgerald (1917-1996), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "Shiny Stockings" is a 1955 jazz standard written by Foster and Fitzgerald for the Count Basie Orchestra. Type Sound Source Original 5-minute and 45-second audio recording: Foster, Frank, and Ella Fitzgerald. "Shiny Stockings," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Foster, Frank Fitzgerald, Ella Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.27 MB Medium 5-minute and 45-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Frank Foster and Ella Fitzgerald, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by FFrank Foster and Ella Fitzgerald and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/d2e3991118079b9dd8a39beca3636958.mp3" target="_blank">"Shiny Stockings" by the John Whitney Trio</a> Axel Stordahl CAH College of Arts and Humanities conducting conductors Ella Fitzgerald Ella Jane Fitzgerald Frank Benjamin Foster III Frank Foster jazz jazz ensembles Jazz Lab jazz standard John Whitney John Whitney Trio music musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn Shiny Stockings UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/9a7111f2ac83a86f2412b2559779f87a.mp3 340ac851720e91dc1ed484e4cf44b3c7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "One Note Samba" by the John Whitney Trio Alternative Title "Samba de Uma Nota Só" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "One Note Samba," composed by Antônio Carlos Jobim (1927-1994) with Portuguese lyrics by Newton Mendon, and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "One Note Samba" is a jazz standard in a bossa nova rhythm, which was made popular on the 1963 Grammy-winning, number one album, Jazz Samba. It has been recorded by numerous artists, including Quincy Jones (b. 1933), Frank Sinatra (1915-1998), Barbra Streisand (b. 1942), and Ella Fitzgerald (1917-1996). Type Sound Source Original 5-minute and 35-second audio recording: Antônio Carlos Jobim and Newton Mendon. "One Note Samba," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Jobim, Antônio Carlos Mendon, Newton Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.12 MB Medium 5-minute and 35-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Antônio Carlos Jobim and Newton Ferreira de Mendon, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Antônio Carlos Jobim and Newton Ferreira de Mendon and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Antônio Carlos Brasileiro de Almeida Jobim Antônio Carlos Jobim Axel Stordahl bossa nova Brazilian music CAH College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab Jazz Samba jazz standard John Whitney John Whitney Trio musicians National Public Radio Newton Mendon NPR One Note Samba orlando Paul Weston Public Broadcasting Service Samba de Uma Nota Só Sammy Cahn Tom Jobim UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/43ca42d5899312cdf06c3853aee0ef60.mp3 cb3f7e35f5de20a08da04105d107022b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Li'l Darlin'" by the John Whitney Trio Alternative Title "Li'l Darlin'" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Li'l Darlin'," composed by Neal Hefti (1922-2008) with lyrics by Jon Hendricks (b. 1921), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "Li'l Darlin'" is a jazz standard composed in 1957 for the Count Basie Orchestra. Type Sound Source Original 5-minute and 56-second audio recording: Hefti, Neal and Jon Hendricks. "Li'l Darlin'," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Hefti, Neal Hendricks, Jon Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.43 MB Medium 5-minute and 56-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Neal Hefti and Jon Hendricks, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Neal Hefti and Jon Hendricks, and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl CAH College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab jazz standard John Whitney John Whitney Trio Jon Hendricks Li'l Darlin' musicians National Public Radio Neal Hefti Neal Paul Hefti NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn swing music UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/6c94372240a44e20464101545a37fe77.mp3 a6762f6bbdfcefd326c2acda6bbf17cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "The Second Time Around" by the John Whitney Trio Alternative Title "Second Time Around" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "The Second Time Around," composed by Jimmy Van Heusen (1913-1990) and Sammy Cahn (1913-1993), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "The Second Time Around" was first recorded by Bing Crosby (1903-1977) and Henry Mancini (1924-1994), and featured in the 1960 film, High Time, where it was nominated for the Academy Award for Best Original Song. The song is associated with Frank Sinatra (1915-1998), who recorded several versions. Type Sound Source Original 4-minute and 38-second audio recording: Van Heusen, Jimmy, and Sammy Cahn. "The Second Time Around," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Van Heusen, Jimmy Cahn, Sammy Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 4.24 MB Medium 4-minute and 38-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sammy Cahn and Jimmy Van Heusen, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl band leader CAH College of Arts and Humanities conducting conductors Edward Chester Babcock High Time jazz jazz ensembles Jazz Lab Jimmy Van Heusen John Whitney John Whitney Trio musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn The Second Time Around UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/af834c0872bec100fb269703c5fbc7ea.mp3 95a5e82f82f90599569890937dded054 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Stella by Starlight" by the John Whitney Trio Alternative Title "Stella by Starlight" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Stella by Starlight," composed by Victor Young (1900-1956) and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "Stella by Starlight" is a popular jazz standard first featured in the 1944 film, The Uninvited. It has since been recorded by numerous artists, including Frank Sinatra (1915-1998), Charlie Parker (1920-1955), Nat King Cole (1919-1965), Miles Davis (1926-1991), Larry Coryell (b. 1943), Ella Fitzgerald (1917-1996), and Ray Charles (1930-2004). Type Sound Source Original 5-minute and 50-second audio recording: Young, Victor. "Stella by Starlight," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Young, Victor Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.34 MB Medium 5-minute and 50-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Victor Young, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Victor Young and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl CAH College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab John Whitney John Whitney Trio musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn The Uninvited UCF UCF Jazz Lab band University of Central Florida Victor Young WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/f9c784e7294e86445eb7fa3939637ca6.mp3 27e7b8c0ef31285c2b5df98a13a7fef6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "The Gentle Rain" by the John Whitney Trio Alternative Title "Gentle Rain" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "The Gentle Rain," composed by Luiz Bonfá (1922-2001) and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. Type Sound Source Original 6-minute and 27-second audio recording: Bonfá, Luiz. "The Gentle Rain," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Bonfá, Luiz Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.91 MB Medium 6-minute and 27-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Bonfá performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Bonfá and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl bossa nova Brazilian jazz CAH Chuva Delicada College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab John Whitney John Whitney Trio Luis Bonfá Luiz Bonfá Luiz Floriano Bonfá musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn The Gentle Rain UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/a3670e799cdeda4bdda7312b3f278521.mp3 672aa43ce8a6c55b90a0fe7a3c880fb5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "I Should Care" by the John Whitney Trio Alternative Title "I Should Care" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "I Should Care," composed by Axel Stordahl (1913-1963), Paul Weston (1912-1996), and Sammy Cahn (1913-1993), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "I Should Care" is a popular standard that was published in 1944 and first appeared in the 1945 film, Thrill of a Romance. It has been recorded by numerous artists, including Bing Crosby (1903-1977), Thelonious Monk (1917-1982), Nat King Cole (1919-1965), Dizzy Gillespie (1917-1993), Frank Sinatra (1915-1998), and Sammy Davis, Jr. (1925)-1990). Type Sound Source Original 4-minute and 39-second audio recording: Stordahl, Axel, Paul Weston, and Sammy Cahn. "I Should Care," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Stordahl, Axel Weston, Paul Cahn, Sammy Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 4.26 MB Medium 4-minute and 39-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Axel Stordahl, Paul Weston, and Sammy Cahn, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Axel Stordahl, Paul Weston, and Sammy Cahn, and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl CAH College of Arts and Humanities conducting conductors I Should Care jazz jazz ensembles Jazz Lab John Whitney John Whitney Trio musicians National Public Radio NPR orlando Paul Weston popular standard Public Broadcasting Service Sammy Cahn Thrill of a Romance UCF UCF College of Arts and Humanities University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/de41c8383c5ed2a9940b166cc0155824.mp3 b9828f02c8646cf5fd27ae9c883ef1be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blue Bossa" by Larry Coryell Alternative Title "Blue Bossa" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blue Bossa," composed by Kenny Dorham (1924-1972) and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Blue Bossa" is a jazz standard that first appeared on the 1963 Joe Henderson album, Page One. Type Sound Source Original 9-minute and 48-second audio recording: Dorham, Kenny. "Blue Bossa," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Dorham, Kenny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 9-minute and 48-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Kenny Dorham, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Kenny Dorham and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Blue Bossa bossa nova CAH College of Arts and Humanities free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Kenny Dorham Larry Coryell McKinley Howard Dorham musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/c854e91cd963e277416da0a930145002.mp3 1122b5da6afa1aace63e6a69f5fb4582 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Manhã de Carnaval" by Larry Coryell Alternative Title "Manhã de Carnaval" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Manhã de Carnaval" ("Morning of the Carnival"), composed by Luiz Bonfá (1922-12001) and lyricist Antônio Maria (1921-1964), and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums.One of the first bossa nova compositions to gain popularity outside Brazil, "Manhã de Carnaval" has become a jazz standard. The song appeared as the theme to the 1958 film, Orfeu Negro (Black Orpheus). Type Sound Source Original 4-minute and 26-second audio recording: Bonfá, Luiz, and Antônio Maria. "Manhã de Carnaval," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Bonfá, Luiz Maria, Antônio Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 4-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Floriano Bonfá and Antônio Maria, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Floriano Bonfá and Antônio Maria and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Antônio Maria Antônio Maria de Araújo Morais Black Orpheus bossa nova Brazilian jazz CAH College of Arts and Humanities free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Larry Coryell Luis Bonfá Luiz Bonfá Luiz Floriano Bonfá Manhã de Carnaval Morning of the Carnival musicians National Public Radio NPR Orfeu Negro orlando PBS post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/b6b60b8bb94d9e8f0f882a0e006c3d43.mp3 b38bd7fc966178df4979528321eb9476 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Something" by Larry Coryell Alternative Title "Something" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Something," composed by George Harrison (1943-2001) and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Something" was written by Harrison and released on the Beatles' 1969 album, Abbey Road. It is the second-most covered Beatles song after "Yesterday." Type Sound Source Original 4-minute and 21-second audio recording: Harrison, George. "Something," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Harrison, George Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 4-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by George Harrison, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by George Harrison and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Beatles, the CAH College of Arts and Humanities free jazz George Harrison Harrison, George jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz-rock Larry Coryell musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service The Beatles UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/7480563401a3f01f67a5e36de82f81e8.mp3 b09dc96b3f3085af669d771f4fcc011c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Round About Midnight" by Larry Coryell Alternative Title "Round About Midnight" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "'Round About Midnight," composed by Thelonious Monk (1917-1982), Bernie Hanighen (1908-1976), and Cootie Williams (1911-1985), and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "'Round About Midnight" was first recorded by Miles Davis in 1955 and released on his album of the same name in 1957. It is the most recorded jazz standard composed by a jazz musician. Type Sound Source Original 8-minute and 42-second audio recording: Monk, Thelonious, Bernie Hanighen, and Cootie Williams. "'Round About Midnight," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Monk, Thelonious Hanighen, Bernie Williams, Cootie Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 8-minute and 42-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Thelonious Monk, Bernie Hanighen, and Cootie Williams, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Thelonious Monk, Bernie Hanighen, and Cootie Williams and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. 'Round About Midnight 'Round Midnight Bernard D. Hanighen Bernie Hanighen CAH Charles Melvin Williams College of Arts and Humanities Cootie Williams free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz-rock Larry Coryell Monk, Thelonious Sphere musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service Thelonious Monk Thelonious Sphere Monk UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/038e0483b1294b95ff81c5b2af2fb05f.mp3 59935b4443e8f4b9c3ba2d7a9d1e2c48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Autumn Leaves" by Larry Coryell Alternative Title "Autumn Leaves" by Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Autumn Leaves," composed by Joseph Kosma (1905-1969) with lyrics by Jacques Prévert (1900-1977, and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Autumn Leaves" is a jazz and pop standard composed by Kosma in 1945. American songwriter Johnny Mercer (1909-1976) wrote English lyrics in 1947. Type Sound Source Original 7-minute and 34-second audio recording: Kosma, Joseph and Jacques Prévert. "Autumn Leaves," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Kosma, Joseph Prévert, Jacques Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 7-minute and 34-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Joseph Kosma and Jacques Prévert, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Joseph Kosma and Jacques Prévert and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Autumn Leaves free jazz Jacques Prévert jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Larry Coryell musicians National Public Radio NPR orlando PBS pop standard post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/cac4f33d754341766925e4847db6ed60.mp3 6a1ec358c222c13a6bee944b3e21e81b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Bags' Groove" by Larry Coryell Alternative Title "Bags' Groove" by Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bags' Groove," composed by Milt "Bags" Jackson (1923-1999) and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Bags' Groove" is a jazz standard first recorded by Davis' quintet in 1954. Type Sound Source Original 8-minute and 49-second audio recording: Jackson, Milt. "Bags' Groove," by the Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Jackson, Milt Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 8-minute and 49-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Milt Jackson, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Milt Jackson and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Bags Jackson Bags' Groove free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Larry Coryell Milt Jackson Milton Jackson musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/4911fd773c7b253c5891b1649691b736.mp3 6f2f597c81e09a14c55ec4e71caa1494 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues in the Key of Page" by Nathen Page Alternative Title "Blues in the Key of Page" by Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues in the Key of Page," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 7-minute and 51-second audio recording: Page, Nathen. "Blues in the Key of Page," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 7-minute and 51-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. <a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">”Nathen Page, Jazz Maverick</a>.” The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Blues in the Key of Page CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/0e6d1bd8d3b63f1f7e9dc6fcae5818d3.mp3 0d7bf0d7c2577cd1ba39a87a27bb2aeb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues for Brad" by Nathen Page Alternative Title "Blues for Brad" by Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues for Brad," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 6-minute and 38-second audio recording: Page, Nathen. "Blues for Brad," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 6-minute and 38-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. <a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">”Nathen Page, Jazz Maverick</a>.” The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/cde5ace2577b6e34864567cb73375225.mp3 573d30ba12388016a158abc0bed5dc47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Thinking of You" by Nathen Page Alternative Title "Thinking of You" by Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Thinking of You," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 4-minute and 57-second audio recording: Page, Nathen. "Thinking of You," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 4-minute and 57-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH College of Arts and Humanities guitar hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars jazz music Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/551d470f2b43af80c42a85a28225f7e4.mp3 feae5213725efa2e24ffb128320f586e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues for Alvin" by Nathen Page Alternative Title "Blues for Alvin" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues for Alvin," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 9-minute and 21-second audio recording: Page, Nathen. "Blues for Alvin," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 9-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Blues for Alvin CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/feaa1ccd05231006ef843a7724daa7a3.mp3 6849e15178f5ec486cf509f957af9634 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Bistro Stomp" by Nathen Page Alternative Title "Bistro Stomp" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bistro Stomp," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 5-minute and 23-second audio recording: Page, Nathen. "Bistro Stomp," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 5-minute and 23-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Bistro Stomp CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/7e8208ba115758a73cea7b92def254ee.mp3 63c5e0e8deb3554c073dec1e0f583c16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Carrie" by Nathen Page Alternative Title "Carrie" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Carrie," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 5-minute and 50-second audio recording: Page, Nathen. "Carrie," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 5-minute and 50-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH Carrie College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/2234eb20147120d2b9d33a8605f2d372.mp3 8e679381085915d1aa89c60e537cc94c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues in the Key of Page" by Nathen Page Alternative Title "Blues in the Key of Page" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues in the Key of Page," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 7-minute and 3-second audio recording: Page, Nathen. "Blues in the Key of Page," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 7-minute and 3-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Blues in the Key of Page CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/eb1cfbbaf18bc6b773bcffdd7b795782.mp3 50c3078e43b907cbeadfab4a6cc66792 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Stepping" by Nathen Page Alternative Title "Stepping" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Stepping," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 8-minute and 12-second audio recording: Page, Nathen. "Stepping," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 8-minute and 12-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando Page, Nathen PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/0b6fa091cb6163d78f2b8ec5736b64f4.mp3 f922b5352315b145cb6520881dd0500c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Out" by the Sam Rivers Trio Alternative Title "Out" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Out," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound Source Original 8-minute and 30-second audio recording: Rivers, Sam. "Out," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 7.79 MB Medium 8-minute and 30-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando Out PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/236d20a9af719b72227029b01b272f90.mp3 9afcb38a19375b98c5fbf57f239ea7c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Xtemporanious" by the Sam Rivers Trio Alternative Title "Xtemporanious" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Xtemporanious," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound/Podcast Source Original 2-minute and 51-second audio recording: Rivers, Sam. "Xtemporanious," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 2.62 MB Medium 2-minute and 51-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM Xtemporanious https://richesmi.cah.ucf.edu/omeka/files/original/4f672be2f99d763903592412a11dd31a.mp3 9dede9c7ae30872ab66beaace55ad5ee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Firestorm" by the Sam Rivers Trio Alternative Title "Firestorm" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Firestorm," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Firestorm" would be recorded and released on the 2007 Sam Rivers album of the same name. Type Sound Source Original 4-minute and 40-second audio recording: Rivers, Sam. "Firestorm," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 4.27 MB Medium 4-minute and 40-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews Firestorm flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers saxophonist soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/655878c64c211acee93af867c8c888a8.mp3 ac62695870e8c5bb4467353b35bf3a12 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Ever After" by the Sam Rivers Trio Alternative Title "Ever After" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Ever After," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Ever After" was recorded and released on the 1999 Sam Rivers album, Winter Garden. Type Sound Source Original 4-minute and 58-second audio recording: Rivers, Sam. "Ever After," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 4.55 MB Medium 4-minute and 58-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews Ever After flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida Winter Garden woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/faf673794d810b28b9804eb9224595d0.mp3 1db9655cb35f887ef476e12eacd3629f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Rapture" by the Sam Rivers Trio Alternative Title "Rapture" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Rapture," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Rapture" was recorded and released on the 1999 Sam Rivers album, Winter Garden. Type Sound Source Original 4-minute and 43-second audio recording: Rivers, Sam. "Rapture," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 4.33 MB Medium 4-minute and 43-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Rapture Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida Winter Garden woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/8f08914cbd82ff2dbe6c7de6fd05815d.mp3 0f872aeeb2729228d3ee16edcbce756b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Beatrice" by the Sam Rivers Trio Alternative Title "Beatrice" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Beatrice," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Beatrice" was recorded and released on the 1964 Sam Rivers album, Fuschia Swing Song. Type Sound Source Original 3-minute and 44-second audio recording: Rivers, Sam. "Beatrice," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 3.43 MB Medium 3-minute and 44-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets Beatrice CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz Fuschia Swing Song jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/75e5270e88333ddfe2418bc24bf77285.mp3 53c021e5015c9e04a97973ee880af420 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Bouquet" by the Sam Rivers Trio Alternative Title "Bouquet" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bouquet," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound Source Original 5-minute and 37-second audio recording: Rivers, Sam. "Bouquet," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 5.14 MB Medium 5-minute and 37-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets Bouquet CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ad285e5aa755668ff3e757ad7714c954.mp3 a4964e796c61b72635abb3f70ccb1415 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Twilight" by the Sam Rivers Trio Alternative Title "Twilight" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Twilight," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound Source Original 3-minute and 29-second audio recording: Rivers, Sam. "Twilight," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 3.19 MB Medium 3-minute and 29-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz jazz ensembles jazz saxophone jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists Twilight UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/feecd261d2ee499e16ba006220859b72.mp3 2b5bd74b5fb4cffd1d446a2df427f150 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Torch" by the Sam Rivers Trio Alternative Title "Torch" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Torch," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Torch" was recorded and released on the 1978 Sam Rivers album, Waves. Type Sound Source Original 3-minute and 42-second audio recording: Rivers, Sam. "Torch," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 3.39 MB Medium 3-minute and 42-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists Torch UCF University of Central Florida WAVES woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/363d02de7cb206c705f066f5539cb10b.mp3 fc292b63460ba50b9b542f7c83779b97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Do Nothin' Till You Hear From Me" by Terry Myers Alternative Title "Do Nothing Til You Hear From Me" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States R&B (Music) Description An audio recording of "Do Nothing till You Hear from Me," composed by Duke Ellington (1899-1974), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Do Nothin' Till You Hear From Me" was composed by Ellington in 1940 and lyrics were later added by Bob Russell (1914-1970). It was recorded by Ellington in 1944, reaching number one in the rhythm and blues charts. Type Sound Source Original 6-minute and 15-second audio recording: Ellington, Duke and Bob Russell. "Do Nothing Til You Hear From Me," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Ellington, Duke Russell, Bob Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.72 Medium 6-minute and 15-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Duke Ellington and Bob Russell, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Duke Ellington and Bob Russell and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Bob Russell CAH Church Street Station College of Arts and Humanities Do Nothin' Till You Hear From Me Duke Ellington Edward Kennedy Ellington Ellington, Duke Ellington, Edward "Duke" Kennedy Epcot Francis Albert Sinatra Frank Sinatra jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service R&B radio stations radios Reed reed players Reuben Bloom rhythm and blues Rosie O'Grady's Good Time Jazz Emporium Rube Bloom Sidney Keith Russell soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/fff8a7b681743b6c27e74b48fe485a68.mp3 c69d8cd269ef99518d9ae1338c9ce9e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "My One and Only Love" by Terry Myers Alternative Title "My One and Only Love" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Pop music Description An audio recording of "My One and Only Love," composed by Guy Wood (1911-2001) with lyrics by Robert Mellin (1902-1994), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "My One and Only Love" is a pop standard composed and published by Wood and Mellin in 1952 and recorded by Frank Sinatra (1915-1998) in 1953. It has since been recorded by numerous artists. Type Sound Source Original 5-minute and 58-second audio recording: Wood, Guy and Robert Mellin. "My One and Only Love," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Wood, Guy Mellin, Robert Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.47 MB Medium 5-minute and 58-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Guy Wood and Robert Mellin, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Guy Wood and Robert Mellin and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). CAH Church Street Station College of Arts and Humanities Epcot Francis Albert Sinatra Frank Sinatra Guy B. Wood Guy Wood jazz jazz ensembles jazz saxophones jazz saxophonists musicians My One and Only Love National Public Radio NPR orlando PBS pop music pop standard Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Robert Mellin Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/15787dfd68243bc27ed8df5c5359f9ef.mp3 53d55d09c661bc1032338dd0f7d3400f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Strike Up the Band" by Terry Myers Alternative Title "Strike Up the Band" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Pop music Description An audio recording of "Strike Up the Band," composed by George Gershwin (1898-1937) and Ira Gershwin (1896-1983), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. Brothers George and Ira Gershwin composed "Strike Up the Band" in 1927 for a musical of the same name. Although the musical was unsuccessful, the song became popular. Type Sound Source Original 5-minute and 44-second audio recording: Gershwin, George and Ira Gershwin. "Strike Up the Band," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Gershwin, George Gershwin, Ira Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.25 MB Medium 5-minute and 44-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by George Gershwin and Ira Gershwin, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by George Gershwin and Ira Gershwin and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). CAH Church Street Station College of Arts and Humanities Epcot Francis Albert Sinatra Frank Sinatra George Gershwin Ira Gershwin jazz jazz ensembles jazz saxophones jazz saxophonists musicals musicians National Public Radio NPR orlando PBS pop music pop standard Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists Strike Up the Band tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/52a1d60538b3174fdc0e56c8af9e73b4.mp3 f49986224ee0bb82986c5dcac394beb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "It's a Wonderful World" by Terry Myers Alternative Title "It's a Wonderful World" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "It's a Wonderful World," composed by Jan Savitt (1907-1948), Harold Adamson (1906-1980), and "Johnny Guitar" Watson (1935-1996), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. Although most songwriters were under contract to publishers during the big band era, in rare cases, a bandleader would write his/her own song. Savitt, along with Adamson and Watson, composed "It's a Wonderful World," and recorded it on Savitt's 1938-1941 recording collection, It's Time to Jump and Shout. Type Sound Source Original 4-minute and 21-second audio recording: Savitt, Jan, Harold Adamson, and Johnny Watson. "It's a Wonderful World," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Savitt, Jan Adamson, Harold Watson, Johnny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 3.99 MB Medium 4-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jan Savitt, Harold Adamson and Johnny Watson, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jan Savitt, Harold Adamson and John "Johnny Guitar" Watson, Jr. and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). CAH Church Street Station College of Arts and Humanities Epcot Francis Albert Sinatra Frank Sinatra Harold Adamson It's a Wonderful World It's Time to Jump and Shout Jacob Savetnick Jan Savitt jazz jazz ensembles jazz saxophones jazz saxophonists John Watson, Jr. Johnny Guitar Watson musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/c50e2ea092f19ce47ee01e86a745117f.mp3 c3f8dbdf59d96ba1b58133305e221e38 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Recado Bossa Nova" by Terry Myers Alternative Title "Recado Bossa Nova" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Recado Bossa Nova," composed by Luiz Antonio and Djalma Ferreira, and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Recado Bossa Nova" was written by Brazilian composers/musicians Antonio and Ferreira and first recorded by Hank Mobley (1930-1986) on his 1965 album, Dippin'. Type Sound Source Original 6-minute and 13-second audio recording: Antonio, Luiz and Djalma Ferreira. "Recado Bossa Nova," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Rio de Janeiro, Greater Rio de Janeiro, Brazil Creator Antonio, Luiz Ferreira, Djalma Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.7 MB Medium 6-minute and 13-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Antonio and Djalma Ferreira, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Antonio and Djalma Ferreira and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). bossa nova Brazilian jazz Brazilians CAH Church Street Station College of Arts and Humanities composers Djalma Ferreira Epcot Francis Albert Sinatra Frank Sinatra Hank Mobley Henry Mobley jazz jazz ensembles jazz saxophones jazz saxophonists Luiz Antonio musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Recado Bossa Nova Reed reed player reed players Reuben Bloom Rio de Janeiro, Brazil Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonist tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ff2c257bf19b64a1f84e3100b5e68733.mp3 b36e7fc0a7de96ba4a7ef81b49453cc5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Gone With the Wind" by Terry Myers Alternative Title "Gone With the Wind" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Pop music Description An audio recording of "Gone with the Wind," composed by Allie Wrubel (1905-1973) with lyrics by Herb Magidson (1906-1986), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Gone with the Wind" is a pop standard written by Wrubel and Magidson in 1937. It was a number one song for Horace Heidt (1901-1986) that same year, and recorded by numerous artists over the next several decades. Type Sound Source Original 5-minute and 26-second audio recording: Wrubel, Allie and Herb Magidson. "Gone With the Wind," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Wrubel, Allie Magidson, Herb Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 4.98 MB Medium 5-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Allie Wrubel and Herb Magidson, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Allie Wrubel and Herb Magidson and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Allie Wrubel CAH Church Street Station College of Arts and Humanities Elias Paul Wrubel Epcot Francis Albert Sinatra Frank Sinatra Gone With the Wind Herb Magidson Herbert A. Magidson Horace Heidt jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS pop pop music pop standard Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/153f1936f31ed3518f50e03f8552c2eb.mp3 1086aa5382e5073065e479126ed05187 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Don't Worry 'Bout Me" by Terry Myers Alternative Title "Don't Worry 'Bout Me" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Don't Worry 'Bout Me," composed by Rube Bloom (1902-1976) with lyrics by Ted Koehler (1894-1983), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Don't Worry 'Bout Me" was composed by Bloom and Koehler in 1938 and has been recorded by numerous artists, including Ella Fitzgerald (1917-1996), Billie Holiday (1915-1959), and Frank Sinatra (1915-1998). Type Sound Source Original 5-minute and 40-second audio recording: Bloom, Rube abd Ted Koehler. "Don't Worry 'Bout Me," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Bloom, Rube Koehler, Ted Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.2 MB Medium 5-minute and 40-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Rube Bloom and Ted Koehler, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Reuben "Rube" Bloom and Ted L. Koehler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Billie Holiday CAH Church Street Station College of Arts and Humanities Don't Worry 'Bout Me Eleanora Fagan Ella Fitzgerald Ella Jane Fitzgerald Epcot Francis Albert Sinatra Frank Sinatra jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists Ted Koehler Ted L. Koehler tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/5aee10848080824c892b973fde31650f.mp3 391c3ca39117ee2fd2e40942c72e5b56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "I Thought About You" by Terry Myers Alternative Title "I Thought About You" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "I Thought About You," composed by Jimmy Van Heusen (1913-1990) with lyrics by Johnny Mercer (1909-1976), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. The jazz standard, "I Thought About You," was written by Van Heusen and Mercer in 1939 and has been performed and recorded by numerous jazz artists, including Miles Davis (1926-1991), Ella Fitzgerald (1917-1996), Billie Holiday (1915-1959), Frank Sinatra (1915-1998), Mal Waldron (1925-2002), and Dinah Washington (1924-1963). Type Sound Source Original 7-minute and 31-second audio recording: Van Heusen, Jimmy and Johnny Mercer. "I Thought About You," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Van Heusen, Jimmy Mercer, Johnny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 6.89 MB Medium 7-minute and 31-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jimmy Van Heusen and Johnny Herndon Mercer, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jimmy Van Heusen and John "Johnny" Herndon Mercer and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Billie Holiday CAH Church Street Station College of Arts and Humanities Dinah Washington Edward Chester Babcock Eleanora Fagan Ella Fitzgerald Ella Jane Fitzgerald Epcot Fagan, Eleanora Fitzgerald, Ella Jane Francis Albert Sinatra Frank Sinatra Holiday, Billie I Thought About You jazz jazz ensembles jazz saxophones jazz saxophonists Jimmy Van Heusen John Herndon Mercer Johnny Mercer Mal Waldron Malcolm Earl Waldron Miles Davis Miles Dewey Davis III musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Reed reed players Rosie O'Grady's Good Time Jazz Emporium Ruth Lee Jones soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ed1c6aedbd6f5f10454867a62a027c0e.mp3 9b7c2b7040386b9bfb49efeb65c47713 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Yes or No" by The Jazz Professors Alternative Title "Yes or No" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Yes or No," composed by Wayne Shorter (b. 1933) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians "Yes or No" was written and recorded by Shorter for his 1964 album, JuJu. The album demonstrates the influence of John Coltrane (1926-1967), who Shorter studied under. Type Sound Source Original 4-minute and 29-second audio recording: Shorter, Wayne. "Yes or No," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Shorter, Wayne Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.12 MB Medium 4-minute and 29-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Wayne Shorter, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Wayne Shorter and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities drummers drums educators Flying Horse Records higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert JuJu Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Drexler teachers tenor saxophones tenor saxophonists The Jazz Musicians UCF University of Central Florida Wayne Shorter WUCF-FM Yes or No https://richesmi.cah.ucf.edu/omeka/files/original/51fafc22571d4246ea959cd31fce8e28.mp3 3b8cb35f8570d8d3fee913e20dff6f91 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "My Shining Hour" by The Jazz Professors Alternative Title "My Shining Hour" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "My Shining Hour," composed by Harold Arlen (1905-1986), with lyrics by Johnny Mercer (1909-1976), and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians "My Shining Hour" was written by Arlen and Mercer for the 1943 film, The Sky's the Limit, for which it was nominated for and Academy Award for Best Song. Type Sound Source Original 4-minute and 55-second audio recording: Arlen, Harold. "My Shining Hour," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Arlen, Harold Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.5 MB Medium 4-minute and 55-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Harold Arlen, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Harold Arlen and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). Academy Awards alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities drummers drums educators Flying Horse Records Harold Arlen higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert John Herndon Mercer Johnny Mercer Marty Morrell Michael Wilkinson music musicians My Shining Hour National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Drexler teachers tenor saxophones tenor saxophonists The Jazz Professors The Sky's Limit UCF University of Central Florida WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ef9455dc8072358bd9ca63c7c5d2af1b.mp3 e881dac85e146445183aeb0326563905 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Two Bats" by The Jazz Professors Alternative Title "Two Bats" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Two Bats," composed and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. "Two Bats" would be recorded on the band's second album, Do That Again, which was released in 2013 and reached Number 6 on the JazzWeek charts. Type Sound Source Original 7-minute and 10-second audio recording: Rupert, Jeff, Per Danielsson, Michael Wilkinson, Bobby Koelblle, Richard Drexler, and Marty Morell. "Two Bats," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor The Jazz Professors Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 6.56 MB Medium 7-minute and 10-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by The Jazz Professors and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by The Jazz Professors and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities drummers drums educators Flying Horse Records higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombone jazz trombones jazz trombonists Jeff Rupert Marty Morrell Michael Wilkinson musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Drexler teachers tenor saxophones tenor saxophonists The Jazz Professors Two Bats UCF University of Central Florida WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ffe9bbea8548a4967ceeea6bbf889fc1.mp3 8c5a48dcf3ed80e64b63e37e614279b1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Nardis" by The Jazz Professors Alternative Title "Nardis" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Nardis," composed by Miles Davis (1926-1991) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. "Nardis" was written by Davis in 1958, during his modal period. In modal jazz, musical modes are used as a harmonic framework, rather than chord progressions. The song is often associated with Bill Evans (1929-1980), who recorded several versions. Type Sound Source Original 4-minute and 34-second audio recording: Davis, Miles. "Nardis," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Davis, Miles Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.19 MB Medium 4-minute and 34-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Miles Davis, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Miles Dewey Davis III and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). bebop Bill Evans Drexler Flying Horse Records higher education jazz Miles Davis Miles Dewey Davis III modal jazz music Nardis National Public Radio NPR orlando PBS Public Broadcasting Service Richard The Jazz Musicians UCF University of Central Florida William John Evans WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/0f51cb0d448d6fc8967308c0849ca186.mp3 87a33179910829841c881a3e33b774e9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Lover Man" by The Jazz Professors Alternative Title "Lover Man" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Lover Man," composed by Jimmy Davis (1915-1997), Ram Ramirez (1913-1994), and James Sherman and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. The jazz standard, "Lover Man," was written in 1941 by Davis, Ramirez, and Sherman for Billie Holiday (1915-1959), whose 1945 version would be inducted into the Grammy Hall of Fame. Type Sound Source Original 4-minute and 35-second audio recording: Davis, Jimmy, Ram Ramirez, and James Sherman. "Lover Man," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Davis, Jimmy Ramirez, Ram Sherman, James Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.19 MB Medium 4-minute and 35-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Jimmy Davis, Ram Ramirez, and James Sherman, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jimmy Davis, Roger "Ram" J. Ramirez, and James Sherman, and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Billie Holiday Bobby Koelble CAH College of Arts and Humanities Drexler drummers drums educators Eleanora Fagan Flying Horse Records James Edward Davis James Sherman jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz standards jazz trombones jazz trombonists Jeff Rupert Jimmy Davis Lover Man Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Ram Ramirez Richard Roger J. Ramirez teachers tenor saxophones tenor saxophonists The Jazz Professors UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/6c0a2fd47ce358a787e9a657b5f91655.mp3 b8a08ba38be782beb67c2c4657480bb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "This is for Albert" by The Jazz Professors Alternative Title "This is for Albert" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "This is for Albert," composed by Wayne Shorter (b. 1933) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. "This is for Albert" was composed by Shorter for the 1963 album, Caravan, by Art Blakey (1919-1990) and the Jazz Messengers, with whom Shorter played tenor saxophone and was musical director. Type Sound Source Original 4-minute and 46-second audio recording: Shorter, Wayne, "This is for Albert," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Shorter, Wayne Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.37 MB Medium 4-minute and 46-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Wayne Shorter, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Wayne Shorter and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). Abdullah Ibn Buhaina alto saxophones alto saxophonists Art Blakey Art Blakey and the Jazz Messengers Arthur Blakey bass guitarists bass guitars bebop Bobby Koelble CAH Caravan College of Arts and Humanities Drexler drummers drums educators Flying Horse Records higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Rupert, Jeff teachers tenor saxophones tenor saxophonists The Jazz Messengers The Jazz Professors This is for Albert UCF University of Central Florida Wayne Shorter WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/19bc9750db9ccde841c8e9a295dcf2d4.mp3 889a944c88f419bb0851554ca98489b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Soul Eyes" by The Jazz Professors Alternative Title "Soul Eyes" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Soul Eyes," composed by Mal Waldron (1925-2002) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians "Soul Eyes" is a jazz standard first recorded for the 1957 Prestige All Stars album, Interplay for 2 Trumpets and 2 Tenors. Composer Waldron, who was in the group, wrote the song with bandmate and tenor saxophonist, John Coltrane (1926-1967), in mind, who would make the song famous with his own recording in 1962. Type Sound Source Original 4-minute and 31-second audio recording: Waldron, Mal. "Soul Eyes," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Waldron, Mal Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.14 Medium 4-minute and 31-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Mal Waldron, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Mal Waldron and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities Drexler drummers drums educators Flying Horse Records higher education Interplay for 2 Trumpets and 2 Tenors jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz standards jazz trombones jazz trombonists Jeff Rupert John Coltrane John William Coltrane Mal Waldron Malcolm Earl Waldron Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson Prestige All Stars professors Public Broadcasting Service radio radio stations Richard Soul Eyes teachers tenor saxophones tenor saxophonists The Jazz Professors UCF University of Central Florida WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/47d3a7a847d7f67026cf4e424c212428.mp3 bd8a7ddaaf7a1b174e083f0e8d78fc7d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Grandfather's Waltz" by The Jazz Professors Alternative Title "Grandfather's Waltz" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Grandfather's Waltz," composed by Lasse Farnlof (1942-1994) and Gene Lees (1928-2010) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. "Grandfather's Waltz" was first recorded by Stan Getz (1927-1991) and Bill Evans (1929-1980) in May 1964 and released on their self-titled album in 1973. Type Sound Source Original 5-minute and 1-second audio recording: Farnlof, Lasse and Gene Lees. "Grandfather's Waltz," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Farnlof, Lasse Lees, Gene Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.6 MB Medium 5-minute and 1-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Lasse Farnlof and Gene Lees, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Lasse Farnlof and Frederick "Gene" Eugene John Lees and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bill Evans Bobby Koelble CAH College of Arts and Humanities Drexler drummers drums educators Flying Horse Records Frederick Eugene John Lees Gene Lees Grandfather's Waltz higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert Lasse Farnlof Marty Morrell Michael Wilkinson musicians National Public Radio NPR orlando PBS Per Danielsson professors radio radio stations Richard Stan Getz Stan Getz & Bill Evans Stanley Getz teachers tenor saxophones tenor saxophonists The Jazz Professors UCF University of Central Florida William John Evans WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/d20c9e1f3aa795067dc1be7b5b6a207e.mp3 00c60665816027538678ac8123f54f47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "One by One" by The Jazz Professors Alternative Title "One by One" by Jazz Professors Subject Orlando (Fla.) Music--Florida Jazz--United States Description An audio recording of "One by One," composed by Wayne Shorter (b. 1933) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors is a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. The medium swinger, "One by One," was composed by Shorter and first recorded by Art Blakey (1919-1990) and the Jazz Messengers, with whom Shorter played tenor saxophone and was musical director, for their 1963 album, Ugetsu: Art Blakey's Jazz Messengers at Birdland. Type Sound Source Original 4-minute and 9-second audio recording: Shoter, Wayne."One on One," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Shorter, Wayne Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 3.81 MB Medium 4-minute and 9-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Wayne Shorter, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Wayne Shorter and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/d20c9e1f3aa795067dc1be7b5b6a207e.mp3" target="_blank">"One by One" by The Jazz Professors</a> alto saxophones alto saxophonists Art Blakely Art Blakey's Jazz Messengers Arthur Blakely bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities college professors Drexler drummers drums educators Flying Horse Records guitar higher education jazz jazz ensembles jazz guitarists jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert Marty Morell Michael Wilkinson music musicians National Public Radio NPR One by One orlando PBS Per Danielsson Public Broadcasting Service radio stations radios saxophone saxophonist Shorter, Wayne teacher teachers tenor saxophone tenor saxophonist The Jazz Messengers The Jazz Professors UCF Ugetsu University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/41cdd26d528b13716bce4e196199673e.pdf ed9a10b71f3b016a2ce50866e72408fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Bette Skates Alternative Title Oral History, Skates Subject Sanford (Fla.) Teachers--Florida Education--Florida Churches--Florida Description An oal history of Bette Skates, conducted by Diana Dombrowski on July 9, 2010. As the historian of the Holy Cross Episcopal Church in Sanford, Florida, Skates discusses growing up in Sanford, how Sanford has changed over time, her educational and family history, her career as a teacher, school integration, the history and activities of the Holy Cross Episcopal Church, her role as church historian, how education has changed over time, ad Florida's Comprehensive Assessment Test (FCAT). Table Of Contents 0:00:00 Introduction 0:00:47 Growing up in Sanford 0:07:13 How Sanford has changed over time 0:08:47 Mother's beauty shop 0:11:05 Going to college, getting married, and raising a family 0:13:43 Career in education and school integration 0:20:03 Home and family 0:23:07 Church life 0:24:45 History of General Henry Shelton Sanford and the Holy Cross Episcopal Church 0:36:08 Trends in congregational membership 0:37:59 Church involvement in the Sanford community 0:42:08 Church memorials and artifacts 0:49:33 Role as church historian 0:52:40 How education has changed over time 0:56:59 Florida's Comprehensive Assessment Test (FCAT) 1:01:21 Historical events 1:04:51 Children 1:05:47 Schools that Skates taught at 1:09:01 Closing remarks Abstract Oral history interview of Bette Skates. Interview conducted by Diana Dombrowski at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Type Sound Source Skates, Bette. Interviewed by Diana Dombrowski. July 9, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Coverage St. Gertrude's Grove, Sanford Florida Montezuma Hotel, Sanford, Florida Stetson University, DeLand, Florida Geneva Elementary School, Geneva, Florida Holy Cross Episcopal Church, Sanford, Florida's. Gertrude's Grove, Sanford Florida Belair Grove, Lake Mary, Florida Creator Skates, Bette Dombrowski, Diana Date Created 2010-07-09 Date Modified 2014-10-01 Date Copyrighted 2010-07-09 Format audio/wav application/pdf Extent 702 MB 263 KB Medium 1-hour, 9-minute and 34-second audio recording 27-page typed transcript Language eng Mediator History Teacher Economics Teacher Provenance Originally created Bette Skates and Diana Dombrowski. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference "<a href="http://www.sanfordholycrossepiscopal.com/about-us.html" target="_blank">Holy Cross Episcopal Church est. 1873</a>." Holy Cross Episcopal Church. http://www.sanfordholycrossepiscopal.com/about-us.html. Stinecipher, Grace Marie. <a href="http://www.worldcat.org/oclc/10878290" target="_blank">A History of the First Baptist Church, Sanford, Florida, 1884-1984</a>. Baltimore: Gateway Press, 1984. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Click to View (Movie, Podcast, or Website) <a href="http://youtu.be/CHLpeA7LzOk" target="_blank">Oral History of Bette Skates</a> Transcript Dombrowski This is an interview with Bette Skates, the church historian for Holy Cross Episcopal Church in Sanford. This interview is being conducted on July 8, 2010,<a title="">[1]</a> at the Museum of Seminole County History. Interviewer is Diana Dombrowski, representing the museum for the Historical Society of Central Florida. Skates Good. Dombrowski I just have some basic questions first. Your name is Bette Skates, but where and when were you born? Skates I was born in Philadelphia[, Pennsylvania] in 1933. Dombrowski Oh, wow. What brought your family to Florida? Skates My father’s ill health, which is what brings most people to Florida back in the day. Dombrowski Yeah. That’s true. When did you move here? Did you grow up in Central Florida? Skates I moved to Sanford in 1944. Dombrowski Oh, okay. What was it like? Could you describe it? Was it very big? Was it busy? Skates Sanford was a railroad town. And my father worked for the railroad—is the reason, besides the fact that his health was not good, and he needed to get out of the North. And he was a Georgia boy to begin with. So he wanted to come south. And so when he had this opportunity to work for the Atlantic Coast Line Railroad, at the freight station, he was very eager to accept the job. We came in on a train that they call the—well, there’s two of them. One was the Orange Blossom Special, and the other was the Champion. And this was the passenger train from the North—from Philadelphia and New York. All points north. When we came into the station, my mother had never—well, yes. Mother had been south before, but we hadn’t, as children—very young children. I was ten—nine or ten. And when we pulled into the station and got off the train, the humidity hit us like it was going to knock us out. And I said, “Oh. Let’s get back on the train.”[laughs]. Dombrowski [laughs]. Skates And that was before air—trains were air-conditioned too, but—but it was still cooler on the train. Dombrowski Wow. Skates So my dad said, you know, “This is nothing. This is fine. This feels wonderful. Get used to it.” Dombrowski [laughs]. Skates [laughs]And my mother—she’s just kind of being quiet and fanning herself. We had this—it—it was the old station that was on—on Ninth Street, and they’ve since torn it down. Dombrowski Oh. Skates On Ninth and, uh—well, it was just Ninth Street. I guess there was side street, but I don’t recall. right off of French Avenue. Because then the tracks still all—we still had tracks running all over downtown. Dombrowski Hmm. Skates They’re—they’re not there now, because back in the day, when trains first came in—all of the wharves and the produce—everything came in to downtown to the river. So, um, we had—let me get back to my story. So we got off the train and my sister and I—and she was a year younger than I am—and we both started—“Something smells funny. What is it?” My dad said, “Oh, that’s sulfur water! Oh, come over here, girls!” He says. “Come over here!” And here’s a water fountain, right up against the train station. I think it was a brick train station. Right there, it’s all green inside, where the water is coming out. And we’re looking at this saying, “Oh, this smells so bad!” You know. We’re holding our noses, and he’s getting very annoyed with us. “Take a taste of that water. That’s healthy water. That’s better than drinking that Schuylkill River water you’ve been drinking in Philadelphia.” Of course, my mother is being as she always is—long-suffering. And she said, “Well, they can taste it if they want to.” We tasted it and we almost gagged! Sulfur water—the first time you ever taste it, is horrible. You do get used to it. And you do realize that it is healthy. Dombrowski Okay. Skates But, it’s all the water fountains in the city. And there were water fountains in the parks, and there was one in front of the [First] Baptist Church [of Sanford], and different places. They were all over town. And they were all sulfur water. Dombrowski Wow. Skates So you did get used to it. Dombrowski Oh my goodness. So was the smell everywhere too? Skates Everywhere. Sulfur smells like rotten eggs. Dombrowski It does. Yeah. I remember we went to the [Ponce de Leon’s] Fountain of Youth [Archaeological Park] and they were giving it out, you know. Skate Yes, yes. But it’s supposed to be good for you. So, we got off the train there. And we—I think we took a cab, because we didn’t have a car at that time. And we went to an apartment my father had rented. And I guess I need to say this too, because these are the things that people that haven’t lived here don’t understand or can’t get used to. When we got to the apartment—we had an upstairs apartment. A lovely old two-story house in Sanford just two blocks from where I live now, by the way. And the whole upstairs—this was during the war—and every house in Sanford had been made into apartments and efficiencies, because the Navy base<a title="">[2]</a> was here, and housing was a premium. As we started to go up the stairs, and on the porch was a burlap sack that had something in it. My dad said to me, “Bette, grab that bag and bring it upstairs.” We had our suitcase and everything. I went to pick up the bag, and roaches came out of the bag. They were flying roaches and they were flying all over. I don’t know how many. It might have been two, but it seemed like a hundred. Of course, I dropped it and screamed and had a hissy fit, a good Southern expression. Someone had left a bag of oranges there for us. And, so roaches, of course—so that was my introduction to Sanford. The apartment was lovely and it was cool with oak trees. Of course, I found out that oak trees breed roaches too, so we had roaches flying in the windows and things like that. Yeah, like the water, and the humidity—you try to get used to it. I don’t think I ever got used to the roaches. But that was my introduction to Sanford. Dombrowski How long did you live in the apartment? Skates We lived there for four years, and then my mom bought a house. And my father was ill. I mean, he was very ill, and he knew he was dying. My mother opened a beauty shop downtown, just in 1956, because she knew that she was going to have to support the family. He died in ’56. So she had her beauty shop for 25-30 years in Downtown Sanford. Dombrowski That’s really nice. Skates She’s the one that could tell the stories [laughs]. Dombrowski Okay [laughs].How has Sanford changed when you were growing up there? It was a big railroad town, and your mother, it seems, was there for a very long time. Did you see it get busier? Or develop more? Skates Yes, development. The stores that I remember, as growing up, are—I was trying to think if there are any that are still downtown. But, coming from a big city, it was very nice that we could walk everywhere. Ride bicycles. We went to school at the grammar school and then at Seminole High School, which was just up not too far from my house. I mean, everything was convenient. It was very nice. It was a good, homey feeling, and everybody was friendly. It was a very nice place to grow up, I think. And the schools—my father did not think much of the schools, but then again, in the South, schools hadn’t really caught up by that time. It took quite a few years for them to catch up to what we had been used to. But it, you know, was a nice place to grow up. Very nice. Dombrowski That’s—that’s nice [laughs]. Skates [laughs] Yeah. Dombrowski What was it like for your mother to set up the beauty shop? Was it very difficult? Or… Skates It was very difficult. My grandparents—her mother and father—had lived in Philadelphia. And they had, um—they sold their property up there and came down, just after my dad died, to live with my mother. I know—to help her. We didn’t realize it, at the time, but, um—and they helped her with finances for the beauty shop Dombrowski Okay. Skates So that was—it was very nice. And they lived with us actually, until they both died. They lived with my mother. Um, So that was, um—that was the way she could do what she did. The beauty shop was, um—what—what she would charge for what—for the work she did—I wish I had a price list. But I remember one time, she said something about a dollar and quarter for a manicure. We all said, “Is that all?” She said, “If I had charged a dollar and a half, they wouldn’t come back.” Dombrowski Oh, wow. Skates So, I mean, the prices were—were—were really… Dombrowski Different. Skates Different. Dombrowski [laughs]. Skates [laughs] Yeah. Yeah. So yeah. But it was her—her hopes[?]—her beauty shop was in the Montezuma Hotel, which that building has burned down since… Dombrowski Oh. Skates Then. It was a big hotel that was built here in the 1880s. Dombrowski Hmm. Skates It was about four blocks from the river, and People would get off the steam ships and walk up the little hill and—to the hotel. It was called the “Bye Lo Hotel,” at the time—I mean, at that time. It was later changed to the Montezuma. But it was—when Mother had the beauty shop there, it was a little spooky Dombrowski Really? Skates It was old, you know? Dombrowski Yeah. Skates And—and there’s a lot of people who still lived there. But, uh, it burned down a few years ago. [inaudible]… Dombrowski Hmm. Skates About 12 years ago, I guess. So, uh, that was—that was a loss, but it was the first hotel in Sanford that had a swimming pool. Maybe the only… Dombrowski Oh, wow. Skates One. It was in the basement… Dombrowski Oh, okay. Skates Of the hotel. Dombrowski That would be cool. Skates Yeah. Dombrowski Yeah. Skates So that was neat. Later, they, uh, put a furnace in the swimming pool and didn’t use that anymore. I never saw the swimming pool with water in it. Dombrowski [laughs]. Skates I did see it with a furnace in it. Dombrowski Oh [laughs]. Skates But, uh, um… Dombrowski Um, Where did you go to school? Did you go to college? Skates Yes. Dombrowski Okay. Skates I did. I went to Stetson University, um… Dombrowski Oh. Skates I started at Stetson in 19well, let’s see. I was going to OJC—Orlando—it was Orlando Junior College. I went there for a while, and then I went to Stetson. It took me—I—I figured this out one time, but I don’t remember. Let’s see. 70—It took me about—I hate to say too much, because I—I—it took me a long time to graduate. I got married when I was 18. Dombrowski Oh. Skates I went to college, and I spent three months at Middle Georgia College, up in, uh, Cochran, Georgia. My cousins, uh—my dad’s sister wanted their daughter to go, and she wouldn’t go. She was homesick. And they said, “Well, if Bette would come and go with her, she would go.” So I went there, and I spent three months. Had a wonderful time. Made the Dean’s List. Was just doing fine, except I had a boyfriend, and I was in love Dombrowski Aww [laughs]. Skates [laughs]. And my moth—the woman’s—the—the—the boy’s mother kept saying, “Well, I was married when I was 18,” So I decided that it was good enough for her, it was good enough for me. So I married him. So… Dombrowski Oh. Skates I went to college in between having my children. Dombrowski Oh. Skates Every time I could get, uh—I could find some money, or get a loan, or—there—there were student loans—there were [Federal] Pell Grants we could get. They—Loans were much easier to get in those days, so I could get student loan. So I would go to school for a while and then I would get pregnant again. And then I’d… Dombrowski [laughs]. Skates Go to school for a while and then I would get pregnant again. Dombrowski [laughs]. Skates This went on until 1964—well, it—let’s see when. I don’t remember how many years. But I finally started teaching when I was—when it was, um—it was 1965, I think. Dombrowski Oh, okay. Skates So it took me a long time to get certified to teach, but I did. And then I taught for 30 years in Seminole County. Dombrowski Wow. Skates Yeah. Which has been exciting. Dombrowski How many children did you have? Skates I have four children. Dombrowski Oh, okay. Skates Yeah. So I was kind of spacing this. Finally—I might want to censor this—finally about 1968, my husband got tired of it. Anybody, I guess, could understand that. He said—he didn’t sign on for that. So that was alright. But we managed, very well, and thank goodness I had my education so I could support my family. So it was good. Dombrowski So you taught in the school system for 30 years. What was it like in the 60’s? What was integration like? Skates My first 10 years, I taught out in Geneva [Elementary School]. Dombrowski Oh, I like Geneva. Skates Oh, I love Geneva. I still hear from those kids. They’re great. Of course, they’re not kids. They’re grown. It was wonderful. It was probably the best teaching assignment you could have for a beginning teacher. Because by that time, I was 35 when I started teaching. I was trying to think of how to put this. The schools had not been integrated much at that time. I don’t remember the year that I had the first black student, but I had a sweet boy. Now I was teaching fifth grade. He had come up through the grades. There was only five grades—five classrooms—at Geneva. And the first year that I taught there, I taught in the auditorium, because there was no place. So what they did was take out the first couple rows of seats and let us set the classroom up right in front of the stage. Which was good until I got a couple of kids that were a little bit older than they should have been in fifth grade—a boy and a girl. And next thing I knew, they were behind the stage, and I had to go get them. They were good kids, and they really didn’t do anything bad, I don’t think. But I would have been in big trouble. But anyway, the first black child I had—I was going to say I’ll never forget his name, and I did. What a sweetheart he was [laughs]. Dombrowski [laughs]. Skates But he was just testing. He was testing us, going to see if the system was going to work. He was a nice kid. Good parents. If I called his parents before he left school, by the time he got off the bus at home, they were back at the school to see what he had done or hadn’t done. Because he didn’t like to do homework and he didn’t like to do class work. Guess he had just been allowed to get away with more than he should have. But he wasn’t used to me. Anyway, he was a nice kid. Yeah, it was interesting, and the children we had at Geneva—the black and the white children—were I think just the salt of the earth. I mean they were really good people. Parents were country folks, most of them at that time. Now, later on, when UCF [University of Central Florida] opened, we started getting a different group of children. Their parents were more educated. They were professors and people that worked at the college. And so by the time I left Geneva, it had changed a good bit. My two younger boys, I brought with me to Geneva, so I taught two of my own children in fifth grade. Which was—everybody says, “How is it working?” I said, “It works fine.” No problem. They were good kids to begin with. It worked out. It was fine. That was good too, because, that was, at the time, in Sanford. My two older children—there were a lot of problems at schools in Sanford, with the integration. They started busing—I don’t remember the year. When I was going to Geneva, my daughter was being bused to what used to be an all-black high school—Crooms High School—which they did just to integrate. And that was wrong. Because the kids—the black kids were not happy, the white kids were not happy. And the black teachers and the white teachers were all upset about it, but they were busing the kids across town. So I’m driving to Geneva ten miles away and my daughter is in a bus driving across the city, and I don’t know where she is and what’s happening. It was worrisome. But it all worked out. It just took time and a lot of patience on both sides. It should never have been separate to begin with, but we have to fix our mistakes. Dombrowski So tensions were high? Skates Very high. Dombrowski Was it ever violent? Skates Yeah. There was violence. A lot of it was threatened. You know, just like, if you go down this street, we’re going to throw rocks at the bus and things like that. That was very worrisome. And my oldest son, when he was in ninth—and well, high school. It was ninth grade at Crooms. But when he was in ninth grade and tenth grade—all through school, he was a big boy, and had red hair. And it was a novelty. He got a lot of—he did his best to stay out of trouble, but trouble came to him. And of course, he tells me now he got blamed for a lot of things he didn’t do, but I’m not going to go there. You know how kids are. Anyway, he hung in there. His high school experiences were very bad. Very bad. Yeah. It was real sad. But my daughter didn’t seem to have the problems. She was also redheaded, but she seemed to go with the flow easier. He was a target. You know, a big guy. But he’s not a fighter. He didn’t want to fight, but anyway. We got through it [laughs]. Dombrowski Good [laughs].Did you all live in Sanford at the time? Did you drive to Geneva and back? Skates I drove to Geneva. Yeah. I bought the house that I’m still living in, in 1958. Dombrowski Wow. Skates Yeah. So I raised my family there. And just last couple years ago, we celebrated our 50th—I said, I’ll never have a golden wedding anniversary—so we celebrated our golden anniversary living in the house. So the kids got together and each one did something. But anyway, they have a photograph of the house framed in a beautiful frame that my grandson found when he was working for the College Hunks Hauling Junk. He found a frame and on the bottom of it my daughter wrote in gold, “Thanks for the memories.” So it’s very nice. I have it hanging over the piano. It’s very nice. Dombrowski That’s wonderful. So it’s downtown? Skates Yes. It’s downtown. If you go—First Street is the street where all the commerce is, where the business is. I live between Eleventh [Street] and Twelfth [Street] on Park Avenue. And Park Avenue’s the main street that goes down to the lakefront, and used to be [U.S. Route] 17-92 back in the day. That is where traffic went through the town. It’s in the historic district. The house was built in 1924. It’s probably more than anybody wants to know, but it’s called a “Craftsman Airplane Bungalow.” Because the upstairs is one room, and a bathroom, and it has 12 windows all the way around. So it looks like you’re looking out airplane windows. You’re not. They’re regular windows, but anyway, that’s what it’s called. Dombrowski That sounds really cool. I love Craftsman style. Skates Yes. It’s really nice. I have pillars on that house that are real unique. They’re made out of coquina. Dombrowski Wow. Skates Yeah. My fireplace—the chimney is made out of coquina. And it’s much higher than the first floor. It goes up past the second floor, because the second floor is sitting kind of in the middle of the house. It’s really neat. You’ll have to come see me. Dombrowski This sounds like a real Florida house. Skates It is a real Florida house. Yeah. For a good many years we didn’t have air conditioning, so we had what they called an “attic fan” that’s up in the second floor attic. When you turn it on and you open a window in each room, one window—it sucks the cool night air in and keeps the house cool. Only it slams doors, you have to be real careful, because doors get sucked. You get slamming doors all day. But it was neat. I don’t remember being miserable. Dombrowski Well, good. Skates I don’t remember being exactly hot. So it must have worked. Dombrowski Were you a member of the church since you moved here? Skates No. We were Lutheran when we first moved here. My sister and I had both been confirmed in the Lutheran Church in Philadelphia. And so I convinced my husband that he should join the Lutheran church, and so we went as a family until he left. And well, the kids were teenagers, and you know how hard it is to get teenagers to go to church. So I just decided that I had always loved the [Holy Cross] Episcopal Church, and I loved the architecture, and the history, and Jesus. I’m sorry, Jesus. I get carried away. But so we—my daughter and I, and my youngest son—all joined the Episcopal church. My two older sons were not interested. But they were grown by that time, and I didn’t feel like I could force them to do that. They had to want to do that. And I’m still a member. But how I got the job as historian, I made the mistake of correcting someone. You know how when someone says, “Oh, it was 1873—2, or something?” I said, “No. it was ’73.” “We need a historian. You’re—you’re it. You’re going to do it.” [laughs]. Dombrowski [laughs]. Skates I said, Oh, my gosh. I should keep my mouth shut. [laughs]. Dombrowski [laughs]. Skates But I love it. I’ve been doing this since, um, [20]04. Dombrowski Wow. Okay. Skates Yeah. So the church, they said, had no written history. I’ve—I’ve found all kinds of stuff, so it’s—I’ve collected it. I’ve got it together. I write a news, uh, article each month for our church newsletter that goes out every month, telling, you know, whatever it is I found out recently about the church. And so it’s—it’s a good thing. I enjoy it. Dombrowski Could you speak a little about the church? When it was founded, you know? Skates Yes,. This was General [Henry Shelton] Sanford’s church. When General Sanford—Henry Sheldon Sanford—came to this area in 1870—probably 1870. It was after the Civil War, and he was trying, as a lot of—I don’t want to call them “carpetbaggers,” but some people do. A lot of people—wealthy northerners—came down and tried to make their fortune, or another fortune. He had been ambassador to Belgium. They called him a liaison. Liaison? That doesn’t sound right. Well, anyway, yeah. I guess he was. But he also was a spy for the Union Army during the war—the Civil War. Dombrowski Oh, my goodness. Skates And he was traveling around going to different foreign capitals, trying to get some of those countries to send ammunition and guns to the North. So there’s a whole big story that I haven’t even started on of his spying for the North. But when he finished up with that job—I guess he retired from that job, because he was probably in his 50s then, I think. He married a beautiful lady. She was living in Belgium, but she was from the United States. The Sanford Museum has a huge, gorgeous painting of the home they lived in, in Belgium. It looks like a small—like maybe the Queen might have had that summer home, or something. It was beautiful. We have friends in Sanford that have visited that area and that house, and they’re using that house as a retreat for nuns now. Anyway, General Henry Sanford—he became a general, because he gave some cannons to the state of Minnesota, because he wanted a title. So the Governor of Minnesota [Alexander Ramsey] made him a general. So, anyway, let’s see. Let me get back to the church. So he bought a lot of land down on the lakefront. He was right for his time, that Sanford—and of course it wasn’t called Sanford in those days) —that this area, Mellonville, was going to be the “Gateway to South Florida.” Because all supplies—food, you know, everything that people need to start up a homestead—they would have to buy in Sanford. So he had a lumber mill. Somebody else had a grocery store. I mean they had all things people, you know, the pioneers, would need. He bought orange trees from all over, and he planted orange trees. One of his groves—his first grove [St. Gertrude’s Grove] —was downtown right on the lakefront where there’s apartment buildings and city hall and things there now. Citrus didn’t do too well there. The soil apparently wasn’t good enough, and so they moved out to what he called Belair [Grove], and that’s out towards Lake Mary, around the lakes. So, his Belair Groves[sic] were very profitable. About 1873, he decided that there needed to be a church. He and his wife, Gertrude [Dupuy Sanford]—now, Gertrude didn’t come here much, because this was not her cup of tea. And when you see pictures of her as a young girl, she’s absolutely beautiful. Beautiful clothes, and very high class. And they had about five children and they were all born in Europe. She didn’t come here often. But he planted Belair in orange and lemon trees. He had a grove manager whose name was Reverend Lyman Phelps. General Sanford was from Connecticut. And he convinced this Episcopal priest to come down to start a church. Well, he did, but he also made Lyman Phelps his agent and his farm grove manager, because the man had a background in botany too. The man was very, uh,—he was very versatile. When, um—when General Sanford—I call him “General Sanford”. A lot of people say he—he doesn’t deserve that title, but it just comes easy to me, for some reason. It—it denotes a lot of the things that he did, other than just being Henry Sanford. Um, so they started to build this church, and Mrs. Sanford wrote to all of her wealthy friends, and in her letters, she said, “Please, um, help us build our dear little church.” And that was her—the way she called it—their “dear little church” in San—in—in this city. Someone, finally, along the line—a friend of his daughter—[inaudible] said—said, “Well, we should call this city ‘Sanford,’ after you, Mr. Sanford.” And Mr. Sanford said, “Ha. What a good idea.” Dombrowski [laughs]. Skates [laughs]. And I don’t remember the years that that was—that was started. But, so anyway, by 1873, they had completed the church. Lyman Phelps and Reverend Holeman—H-O-L-E-M-A-N—um, were priests there. And they had, um, services that—these priests—I—when I read their—in the diocesan records, there’s—they had to keep records of what trips they went on and where they went. They rode horses, walked—horse and buggy—through Florida sand, which anybody that walks through it knows that—there was[sic] highways. The only way you went were by animal, you know, roads, where animals, or maybe the Indians, had made them. Um, they went to, um—but they went all over Central Florida. They went to Eustis, to Longwood, to Orlando. They started the St. Luke’s Church in Orlando, which is now the Cathedral [Church of St. Luke]. They went all over Central Florida, uh, especially Lyman Phelps. Um, But he—they were, um—it just amazes me, when I read their exploits, and the alligators… Dombrowski [laughs]. Skates You know, the mosquitoes, the—oh, my soul. But, um, anyway, so that’s how the—the Episcopal church got its start. That church—that was built in 1873. 1880, along comes—and they called it a “tornado,” and I haven’t been able to say that it wasn’t, but I think it was more like a hurricane, and maybe a tornado—a tornado was [inaudible]. It blew down Mrs. Sanford’s dear little church. Dombrowski Oh. Skates And we have pictures of it. And the—the steeple is laying on the ground, and the church is still standing, but it’s—it’s—it’s damaged. So they got busy. Mrs. Sanford raised some more money, and by, um, 1880, they had built another—well, yeah. It was 1873. By 1880, the church blew down. By 1881, they had a new church built. That church survived until 1923, and it burned down. Dombrowski Oh. Skates So they—1924 and ’25, they rebuilt it. So the church standing on that property is still on the same property that Sanford gave us. That church now was built, uh, in 19—1924, it was completed. It’s, uh, what they call “Spanish Mediterranean” [Architecture]. It’s… Dombrowski Oh. Skates Very Spanish-looking. It’s a very pretty church. Dombrowski Where is it? Skates It’s on the corner of Fourth—Park Avenue and Fourth Street. Dombrowski Okay. Skates And the parish hall was built by 1926. So one of the things I always thought was interesting, when they first built—or probably the second church—in the side where they had some room, they put orange trees so that in case times were bad, they would have some money. They would have a way of getting money still. Dombrowski Aw. Skates That was kind of interesting. Dombrowski Um,I do have a question. I don’t know much about the church in Sanford. Is it the main church for the city? Are most of the people in Sanford Episcopalian? Skates No, no. They’re not. Probably back in the day, it was the only church, but then of course, the South is mostly Methodist and Baptist. And right now the street—Park Avenue should have been called “Church Street.” Because there’s the Episcopal—well, first, a block closer to the lake was the Congregational church. But since they’ve moved that—they tore it down and moved down Park Avenue. The next church was Holy Cross. Then, next door to us is the [First United] Methodist Church [of Sanford]. Right next door to that is the [First] Baptist Church [of Sanford]. So on Sunday mornings, we used to have a real traffic jam down there. Not so much anymore. No, Holy Cross—I think it’s like all the churches. They’re struggling. But we’re still here. We have two services, an 8 o’clock service and a 10 o’clock service. If we had everybody at 10 o’clock, we would have a good crowd. But when you separate it into two—the people who go at 8 o’clock won’t come at 10. The people who come at 10 o’clock won’t go at 8 o’clock. So our priest does two services. And yeah, it’s a busy little church. We have a fairly good-sized Sunday school, considering Sunday schools are hard for churches these days too. So, probably at one time it was the center of the area, church-wise, but not anymore. Dombrowski In your time as a historian there, have you—reading through the documents and that sort of thing, have you noticed any trends in how many members they had? Like when UCF came, did more people come to the church? Skates It was the biggest—the largest crowds that we have ever had was through the war years when we had a Navy base in Sanford. And that started up as a training base for carrier—for planes to land on carriers. I’m not as familiar with the history of the Navy base, but it closed at the end of World War II, and it was a big drop in the congregation. But then when [the] Korea[n War] came back, they started the base up again. And a lot of those people too have been Navy people—very sophisticated—have been all over the world. Lived in many different places. So those are the people we seem to pull in more than the people that grew up here. Most Southern people are Baptist. My dad’s family—they were all Baptist. But it’s different. Different churches suit different people. I mean, you want whatever it is that makes you feel the presence, or that you feel that you need, that’s where you should be. So I’m very ecumenical. I can, um, belong to any church you want to [laughs]. But Holy Cross is lovely. And the services are beautiful [laughs]. Dombrowski Uh, how involved has the church been in the community? Do they hold a lot of, have they held a lot of events? Skates Sanford—Holy Cross—was the “Guiding Light for Grace and Grits,” which is to feed the homeless. It’s a feeding program that we had at Holy Cross. And I can’t remember these years, it’s been going on for a long time. And we had it at Holy Cross. Every Wednesday night, Holy Cross would feed, oh, a hundred people. But it would depend on the season and what. Homeless people from all over. And not just men, but families. People would come to eat. A few years ago, we wanted to remodel the parish hall, which is where the kitchen is. And we opted to find another place to hold the Wednesday night feedings—dinners, I should say—and that was—that was hard, because the people at the church—and we have some people who are so dedicated to this—they finally found that the City [of Sanford] would let them use the [Sanford] Civic Center. It costs, I think, $200 a month or something like that. We have to pay the City for that. So now they’re feeding them down there. And also, during the transition when the parish hall was being refurbished, and the kitchen was—when we had a new priest—he really has done a lot. I mean, he has Wednesday night services, and so they had a meal there on Wednesday nights, and classes and everything. So that kind of made them want to keep the “Grace and Grits” out there. And Holy Cross wasn’t the only one that does this. I must explain this. Every church—not every church, but many churches in Sanford—there’s a Methodist church, St. Peter’s Episcopal Church in Lake Mary, the [All Souls] Catholic Church [of Sanford]. All of them. Dombrowski Just a minute here. Just to make sure. Skates All of them have people that come and help so we’re not doing it by ourselves. Did it run out of battery? Dombrowski No. It’s working. No. It’s working, I just wanted to make sure that the whole thing had recorded and everything. I’m sorry. Skates But anyway, it’s a whole city thing. There’s a whole lot of people involved in this. So, yeah. We do that. We also have our new priest—well at least not that new anymore. He’s been here 2 or 3 years, and he’s very much involved in helping the homeless. They call it “SACON[sp].” I couldn’t tell you what it stands for, but they go to different places in the neighborhoods and help homeless people get ID cards. Because if they don’t have an ID card, they can’t—well, there’s a lot of things they can’t do. They can’t even get shelter sometimes, if they’re going to shelters. So this has been a good thing. And helping—it’s helping the city to know what the population is of the homeless, and where they’re staying and what they’re doing. So that’s a good thing. He was just very much involved in that. We have some kind of a health thing one day a week at Holy Cross in the mornings, where people can come. I’m not really sure what, I guess I shouldn’t say anything about it, because I’m not sure what that is. I don’t what the group is that’s doing it. But yeah, Holy Cross is involved. Dombrowski Uh, is there anything about the church that you’d like to discuss that we haven’t covered? Skates We have a lot of memorials in Holy Cross that I’ve been trying to—and this is a hard job. We actually have two memorial books that from the beginning people have—the gifts of love that they’ve given in memory of someone that they lost. But when I go to the memorial books, there are items in there that we no longer have. We’ve had a couple of break-ins over the years, so they’ve lost some things, and then there’s items that we have that aren’t listed. So we’ve endeavored to work on this. I was trying to take pictures and it’s just one other job that I haven’t finished. It takes a lot of time to do that. And I really—I could get help—old-timers, because I’m not an old-timer there. They’ll say, “Oh no, I remember that was given in memory of so-and-so.” Right now, I’m working on—when the church was rebuilt in 1923-1924, the altar and the pulpit at the front was very plain. I can only tell from pictures, but unattractive. And in 1940, sometime, a member of the choir—and I’m still working on this. This is one of those strings you have to keep following and try to see if you can come to the end—was killed in an automobile accident. And he is—what’s the word? They have said that he had given in 1945 money to buy a new altar. A new altar, and reredos behind the altar, and an altar, and chairs. We have a lot of furniture, because it’s a very formal church. I don’t think you call it “High Episcopal.” I think some people might, but we have a good candelabra, good communion-ware. A lot of stuff. And anyway, this man—apparently there was a big brouhaha that the vestry wanted to put a new roof on the church, which is a tile roof—which always needs work—or to buy the altar furniture. And just recently I talked to a lady, who’s in a—a Heritage [at Lake Forest] nursing home out here, who was telling me about this. I didn’t know this story. And she said, “Oh, my goodness.” She said, “Everybody was fighting, and everybody was mad. They wanted the roof.” “No, no. We want the altar.” Well anyway, the altar people won out, because the priest wanted the altar… Dombrowski [laughs]. Skates Redone [laughs]. So, uh—so I’m still working on that. And, as, uh, oral tradition says, that that money was used for the new altar-ware—altar and furniture, I should say—um, by this man, who gave it, But, um—in honor—in [inaudible] —yeah. In of our members who fought in World War II. Dombrowski Okay. Skates So I asked one of our older members if he remembers that. He says, “Oh yeah, there’s a plaque up there in the front of the church someplace that tells all the members that died. I’m sure it says something about ‘in memory of’ that.” Well, the plaque wasn’t there, so several ladies started on a search of the rooms, and they found the plaque. Only, it wasn’t a plaque. It’s a big framed picture with 70 names beautifully written by someone on there, with little gold stars next to five men who were killed during the war. But I still don’t know if it’s a memorial to them for the furniture. So I’m working on that, because I have the big memorial plaque reframed and I guess we’ll rededicate it one of these days when we find out what’s the story on it. But there’s things like that that come up when someone will say, “Well, who gave that baptismal font? What was that all about?” Or, we have two things in the church—this is interesting—we have two things in the church that we know for certain were there in the first church. That General Sanford gave: a crucifixion picture that he had bought in Belgium and donated it to the church. That picture—and we were trying to get an idea of the value of it—and the man that we had restore it said, “It’s not worth a thing. All it’s worth is what it’s worth to the congregation. But as far as famous artist, no.” It’s the crucifixion. Even after it as restored, still doesn’t look very good. Because it went through the hurricane the first time. Through the fire the second time. Someone rescued it. So it has—the restorer said it has water damage. So that was something that we know General Sanford physically probably touched, and that it was there. The other thing is a small lectern, where they put the Bibles on, or the prayer book. And that’s in the chapel that was given by Reverend Lyman Phelps. We think he built it. He made it in memory of his wife. So that’s pretty interesting to have two things back a hundred and how many years—138 years or whatever it is. Dombrowski Oh. That’s very special. Skates Yeah. It is special. So it’s the history. I mean, I could go to any church. I love—just love churches. But I love the history of this church. It’s—and I’m sure that if I were in Philadelphia I’d go to Christ Church I went to Williamsburg [,Virginia]<a title="">[3]</a>—my mother and I—we went to the—oh, what was the name of that Episcopal church<a title="">[4]</a> there? It’s so beautiful in Williamsburg.<a title="">[5]</a> Where Patrick Henry gave his speech. Dombrowski In Virginia? Skates In Virginia. That was—so it’s the ambiance. It’s what you feel. It’s very interesting. And I do get excited about it [laughs]. Dombrowski I’m just going to check the battery one more time. Oh, it looks fine. Whoa. I didn’t notice the bars. They change as I talk and get closer. But the battery’s fine. Okay, great. So, uh, you’re a historian there. It sounds like you do a bunch of different things. Skates I’m kind of a detective. There’s not a day goes—well, a day—there probably is. But not a week goes by that someone says, “Bette”—well somebody asked me the other day, “Isn’t our,”—we have a huge bell on the bell tower—“Isn’t that bell called ‘Raphael?’” I said, “No, I don’t think—that’s not the name of the bell.” And he said, “Oh, I’m pretty sure it is.” Well, now I have to figure it out. Is it or isn’t it? Or, people will say, “Well, where did the bell come from?” Oh, and then we have this magnificent organ of Ferrante[sp] Brothers organ from—I can’t remember where it’s from. I want to say Canada, but I may be wrong. It was installed in 1947, and this is just a magnificent piece of furniture. Ferrante[sp] Brothers. I believe there’s another name that goes with that. I guess I can’t remember. But anyway, it doesn’t matter. This is not a test. That was put in in 1947, and I’ve forgotten how many pipes there are for it, but—oh, more than 100 pipes. There’s pipes and pipes. Pipes that you can see over the choir loft, but there’s also a whole closet full of pipes. Our organist—she knows how to play it. It’s just beautiful. So that was—I don’t know where the money for that came from. As far as that being a memorial, or something, I don’t know. I don’t think so. So many things are, but that’s not. But someone will say, “Well, what year was the organ installed?” Or, “Where did it come from?” So I—yeah. I do. I have to have a little notebook in my pocketbook and I keep writing it down and then I have to go back and research it. And I have a lot of friends too that have been long, long-time members there, so I usually go to them and say, “Do you know anything about this?” And some of them will say, “No, I don’t know.” Or, “We’ll look it up.” But we have—and I’m trying to get all the histories together and put them in one place so it’s pretty organized. It’s fairly organized, but not as much as I would like to have it done. But I’ve saved all the newsletters[sic] columns that I’ve written over the years. I have them each in a different notebook with acid-free paper so after I type them I print them off and put them in the folders and so I’ve got all that. So that’s a pretty good history right there. It’s good. Did I answer the question? [laughs]. Dombrowski Yeah. Oh yeah, yeah, yeah. Skates Also, I must give credit to Alicia Clarke at the Sanford Museum. We have much help from her. And then some! Sorry. Dombrowski [laughs] No. I don’t mind at all. I know we’ve been talking for a long time now, but if you wouldn’t mind, I’d like to find out more about what your time as an educator was like Seminole County. Skates Oh, I think I had the best 30 years that you could have had really, because it was—right now, I have friends, my neighbors. I have a lot of friends still teaching, and it’s very different now. It’s very different. We had—the wonderful thing we had that teachers today don’t have, and that’s freedom. You can’t say—if Johnny brings in a whole bag of shells that he had his mother just collected at the beach, we can’t dump those shells out and sit down and go through them and maybe catalog them or talk about them or what can we do with it. There’s no way of being spontaneous, because teachers today—if that child brought that in, I would have to say, “I’m sorry, you’re going to have to put that away. We don’t have time to look at that.” And that bothers me a lot. Because I really feel like the teachable moment is when the kid is interested. And if nobody is interested, then there’s no teachable moment. It’s—when I was teaching at Idyllwilde [Elementary School] one year, the kids found a dead rabbit on the playground. I have a friend who had just moved here from Chicago[, Illinois], and she was working with me at the time. She was getting ready to take over half of my class, because I had 45 kids in my class. And they had hired her to take part of my kids. But she tells me about this every time she thinks about it. She said, “So, the kids wanted to know what to do with the rabbit.” And I said, “Well, we’re going to have to bury it. Let’s bury it.” So we got a shovel from the janitor and the boys dug a hole right outside the classroom door. And buried the rabbit. Well, they got to talking about what was going to happen to the rabbit in the ground. Well, of course the kids—and these were fourth and fifth graders—they would say, “Well, the bugs and the worms are going to eat him,” and so forth. So, just before school was out, the boy that dug the hole said, “Ms. Skates, can we dig that rabbit up? See what’s left? See if we can find his bones?” And I said, “Well, that’s a good idea. Let’s do it.” So we did. We couldn’t find it! This kid dug up a whole are as big as this table. Couldn’t find a thing left of the rabbit. Dombrowski Oh, my goodness. Skates But that sounds—and it would probably almost be silly to some educator—but those are things that—what did they learn? Well, we could put a whole bunch of things on the board. We learned this. We learned, you know—what is this? So, or you know—well like the space shuttle. We had classes when the Space Shuttle [Challenger] blew up. We all went outside on the playground to watch the space shuttle go up. And this was—what was this? [19]89? Dombrowski Oh, I have it here. No, I don’t. Skates But anyway, we were all out on the playground, watching, and we saw it went up, and we saw all these stars and everything. The kids were all saying, “Look at that. They’re putting out stars,” all kinds of things that kids would think of. And my fellow teacher was standing next to me, she said, “I think we ought to take the kids in.” I said, “Okay.” So we take the kids in. Well, she happened to have a little TV set in her closet. And we brought that out to see what had happened. And we could do that. You couldn’t do that today. Dombrowski That’s true. Skates She brought it out and we set that out between our two classrooms. We watched it all day long. The kids—it was very sad. We all were grieving. So we grieved together. So, what is this? How did this happen? All we could do was speculate. We didn’t know. But what would you, you know, you… Well, first off, I think taking time outside would probably take time away from teaching about the FCAT [Florida’s Comprehensive Assessment Test]. Dombrowski I was going to ask how you think the FCAT has influenced—okay. Skates You know, every week, teachers, back in the day—and I retired in [19]97. Every teacher gave a test at the end of the week. You would take your math book and go through—and everything that I had taught in math that week—the test would be on Friday. Same thing with spelling tests—on Friday. Social studies on Friday. And we did teach social studies. We did teach the Constitution. We did teach early American history. We did teach that. I think that, in fifth grade, we stopped at the Civil War, but that’s all we had time for. So, you gave the test. At the end of the week, you knew what the child had done. By the time you correct those papers, you knew that Johnny and Mary and Susie were having trouble with multiplication. So next week, let’s zero in on those three and their multiplication tables. How hard is that? I mean, why do we have to do what they’re doing now? I don’t understand. Dombrowski I don’t want to interject my opinion too much, but my mother teaches middle school. And so I’ve heard a lot about FCAT, and a great deal about how it’s changed. She used to teach in New York and it’s very different. Skates Oh, yes. I think, even now—well, this friend of mine that came down—she wasn’t a friend at the time, but now she’s my best friend—from Chicago, you know. She’d said, “Oh, my gosh. These schools—they’re so far behind! In Chicago in fifth grade, we were doing this.” And you know, well, it takes a long time. I mean, you know, the [Great] Depression hit the South harder. The agricultural society makes a difference. Kids are not—they may be working in the fields some. I mean not so much in my time, but it was just different. And it takes a long, you know—I think this a lot about even the ship of state, it takes a long time to turn a ship around. And it takes a long time to turn the education system around. It’s like it’s the biggest boat you ever saw and you’re just trying to turn it around and make things better. I think we’ve come a long way, but I think there probably still is a way to go. But now we’ve got—it’s so muddled with this FCAT and this—pushing, pushing these kids. My grandson goes to a parochial school. Goes to St. Luke’s Lutheran Church School in Oviedo. He doesn’t have that stigma hanging over his head. He’s going in third grade. He loves school. He’s a good student. And he struggled to begin with. He had problems with his reading. But if he were in the public school, he would really be in trouble. First off, he’d be going into the third grade. You have to take the FCAT. If you don’t pass that, you have to repeat third grade. Well, his handwriting is very poor, what are you going to do about that? But the private school—they give them more time. They also give them more one-on-one situations. I don’t know. I’m just so that glad that his mother and father—my son and his wife—are so wise. And it’s a sacrifice. It’s a lot of money every month to keep him in private school. He’s their only child, which is a good thing. It’s tough. Your mother is right, and she’s right in the middle of that FCAT business in middle school. Dombrowski Uh, you mentioned the Challenger accident. Are there any other events that stick out in your mind, that you remember teaching or going through with your students? Skates What did we have? [John F.] Kennedy’s assassination didn’t affect me, but it did my children. They were in elementary school and Kennedy was assassinated—my two older ones. They were talking about this, not long ago, about the atomic bomb scare with the Cuban Missile Crisis. They were talking about the duck-and-cover. You know, an atomic bomb is blowing up over your state, and what do you tell the kids to do? You tell them to get under their desks and cover their head[sic]. That involved them. I wasn’t teaching in ’63. Let’s see, what else could there be? Thinking back to Kennedy, I can’t think of anything else. Dombrowski Okay. Did UCF opening or Cape Canaveral opening change… Skates It did. I think it changed. With the Cape, with Geneva—the school—when we started getting the influx of people moving to that area. The fathers were engineers and the moms worked, most of them, over there too. Those were great kids. I don’t know, maybe because the parents were involved in scientific things like the engineering and everything. Every couple years, it seems like they come up with something new. Your mother can relate to this too. They taught us what they call the “New Math.” And I’d only been teaching a couple years and we had this great, and I still have the book—a great big blue book about New Math. Well first off, we were supposed to be teaching the metric system, and that was because of the engineering thing, I think. But they had—I remember one of the fathers was an engineer and he came to school and I was struggling as much as the kids were. They gave us the course in the summer and we were supposed to start teaching it in the fall. So I really didn’t—nobody had a chance. The father came in, he said, “Do you have any idea what you’re doing?” Now, how do you talk to an engineer? And I was honest with him, “Well, yes. I do.” I said, “We had six weeks.” I think we had a course. And I said, “Not as much as I’ll know at the end of this year.” And he said, “Well, my son doesn’t know what the hell’s going on.” I said, “Well, I am really sorry.” But he was very nice about. But he really kind of put me on my toes. Which was a good thing. I’m glad he did. But by the end of the year, I even knew what prime numbers were [laughs]. Dombrowski [laughs]. Skates In fifth grade, you teach addition, subtraction, multiplication, and division. I figured the fact that I could multiply and divide fractions—I was pretty smart [laughs]. Dombrowski [laughs]. Skates Don’t go beyond that. Oh dear. Dombrowski I just have a couple specific questions left. If you wouldn’t mind, just because it’s a personal history about you, what were the names of your children—are the names of your children? Skates Phillip, Pamela—well, he’s Jimmy. And the youngest is Bill. They all have their given names, but that’s what we call them. They were—Phillip was born in [19]5—he was born ’54. I have a nice little rubric here. Pam was born in ’56. Jimmy was born in ’58. And Bill was born in ’63. I think I was busy going to school there or something. Dombrowski Uh, where—which schools did you teach at? You taught at Geneva. Skates I taught at Geneva. That was my first assignment. Well, I went to Southside, which is a school in Sanford right near my home—was where I did my internship, and that’s where my kids went to school. And that’s an old—that was—when I bought my house, that was the best school in Sanford. And that’s the reason I bought that house. It’s now been turned into—what did they call it? A nursing home. Golden Years nursing home. It’s a lovely school. It’s built in a square and in the center is an atrium. And all the classrooms are built around the atrium. And down in the basement is the lunchroom, and up a little flight of stairs in the auditorium. It was a very nice plan for a school, but it’s a nice plan for a nursing home, I guess. But they closed the school, because they built new schools and whatever. But my kids got to go through that, which I was glad for that. At least the two oldest ones did. And then the other two came with me to Geneva. What was the question? Dombrowski Oh. Which schools have you taught at? Skates Oh, and then I went, I was at Goldsboro [Elementary School. This was a good thing. When I left Geneva, and I had gotten my Master’s in Exceptional Education, and I wanted to teach learning disabled children. And the principal at Geneva, for his own reasons, said he wasn’t going to have a special ed[ucation] class. Well, it wasn’t true, but that’s what he told me. So I had this Pell Grant that I had used to get my Master’s, that if I taught at a [Elementary and Secondary Education Act of 1965] Title I school, which I don’t know if you know that means now, but it was a school that had more free lunches than any other school or something like that. So the principal at Goldsboro called me and he said, “If you come and teach the learning disabled children at Goldsboro,” he said, “I can sign off on your student loan.” So I spent two years there and signed off all that my Master’s cost me. I mean, I had not paid for—he would sign off the loans—the superintendent would sign it off… Dombrowski So they would pay for it. Skates So they paid for it. So that was very good. I don’t know if that’s what you call a Pell Grant. I’ve forgotten. But I taught there two years and then the principal from Idyllwilde called and said they had a new wing opening up. They call it the E Wing—Exceptional Ed. Wing. And would I come out and do their SLD [Specific Learning Disabilities] classes. I said, “Oh, yes.” So that’s where I was when I retired. Dombrowski Okay. Skates That was good. I—those were good years. They were all good years. Dombrowski Well, good.Those are all the questions and topics that I have. Is there anything else you’d like to speak to that we haven’t? Skates I don’t know. I think I’m probably boring you. Dombrowski [laughs] Well, no. This is a good time. Skates Now, how are they going to work this? Are they going to have a library? Dombrowski Yeah, I think I’ll just… Skates Right. <div> <div> <a title="">[1]</a> Correction: July 9, 2010 </div> <div> <a title="">[2]</a> Naval Air Station (NAS) Sanford. </div> <div> <a title="">[3]</a> Correction: Richmond, Virginia. </div> <div> <a title="">[4]</a> St. John’s Church. </div> <div> <a title="">[5]</a> Correction: Richmond, Virginia. </div> </div> ACL Alexander Ramsey Alicia Clarke altars ambassadors assassinations Atlantic Coast Line Railroad atomic bombs beauty shops Belair Grove Belgium bells Bette Skates Bye Lo Hotel Cape Canaveral carpetbaggers Cathedral Church of St. Luke charities charity church church bells churches citrus citrus groves Civil War Clarke, Alicia Cochran, Georgia cockroach cockroaches community service Craftsman Airplane Bungalow Crooms High School Cuban Missile Crisis desegregation Diana Dombrowski Downtown Sanford education educators elementary school Episcopal Church Episcopalianism Episcopalians exceptional education FCAT Ferrante Brothers fires Florida's Comprehensive Assessment Test Gateway to South Florida Geneva Geneva Elementary School Gertrude Dupuy Gertrude Dupuy Sanford Guiding Light for Grace and Grits Historical Society of Central Florida Holeman Holy Cross Episcopal Church homeless hurricanes Idyllwilde Idyllwilde Elementary School Jack Kennedy John F. Kennedy John Fitzgerald Kennedy Lake Mary lemons Lyman Phelps Mellonville memorials Middle Georgia College Montezuma Hotel Museum of Seminole County History NAS Sanford Naval Air Station Sanford New Math Ninth Street OJC Orange Blossom Special orange grove orange groves oranges organs Orlando Junior College Patrick Henry Philadelphia, Pennsylvania priests railroads roach roaches Sanford Sanford Museum school desegregation school integration schools Seminole County Space Shuttle Challenger Spanish Mediterranean Architecture special education St. Gertrude's Grove standardized testing Stetson University sulfur water teachers The Champion Title I school trains U.S. Navy Union World War II WWII https://richesmi.cah.ucf.edu/omeka/files/original/dac3e983596d523356a270dec6716ae8.pdf 6d5497eb7b17fb887d2f6c59eee9cd5c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Bette Skates, 2010 Alternative Title Oral History, Skates Subject Sanford (Fla.) Churches--Florida Description An oral history of Bette Skates, conducted by Austin Smith on July 14, 2010. As the historian of the Holy Cross Episcopal Church in Sanford, Florida, Skates discusses the history of the church and other churches in Sanford, missionaries at Mellonville and Camp Monroe, the founding of the City of Sanford by Henry Shelton Sanford (1823-1891), and how the church and the city has changed over time. The interview also includes commentary from Alicia Clarke, curator of the Sanford Museum, and Grace Marie Stinecipher (b. 1936), historian of the First Baptist Church of Sanford. Table Of Contents 0:00:00 Introduction 0:01:22 Fire and rebuilding the Holy Cross Episcopal Church 0:09:20 First United Methodist Church and the First Baptist Church 0:13:31 Missionaries at Mellonville and Camp Monroe 0:16:54 Henry Shelton Sanford and the founding of the City of Sanford 0:18:34 Other churches in Sanford 0:25:00 How the congregation and the community has changed over time 0:31:28 Interesting church figures 0:34:49 Skates' personal background 0:36:49 How Sanford has changed over time 0:41:51 Crime in Sanford 0:42:27 RECORDINGS CUTS OFF 0:42:28 Crime, migrant labor, and desegregation 0:48:24 Events in Sanford 0:50:07 Closing remarks Abstract Oral history interview of Bette Skates. Interview conducted by Austin Smith at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Type Sound Source Skates, Bette. Interviewed by Austin Smith. July 14, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Coverage Holy Cross Episcopal Church, Sanford, Florida First United Methodist Church, Sanford, Florida First Baptist Church, Sanford, Florida All Souls Catholic Church Historic Chapel, Sanford, Florida All Souls Catholic Church, Sanford, Florida's Belair Grove, Lake Mary, Florida St. Gertrude's Grove, Sanford Florida Creator Skates, Bette Smith, Austin Contributor Clarke, Alicia Stinecipher, Grace Marie Date Created 2010-07-14 Date Modified 2014-09-30 Date Copyrighted 2010-07-14 Format audio/wav application/pdf Extent 510 MB 180 KB Medium 50-minute and 33-second audio recording 22-page typed transcript Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Bette Skates and Austin Smith. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference "<a href="http://www.sanfordholycrossepiscopal.com/about-us.html" target="_blank">Holy Cross Episcopal Church est. 1873</a>." Holy Cross Episcopal Church. http://www.sanfordholycrossepiscopal.com/about-us.html. Stinecipher, Grace Marie. <a href="http://www.worldcat.org/oclc/10878290" target="_blank">A History of the First Baptist Church, Sanford, Florida, 1884-1984</a>. Baltimore: Gateway Press, 1984. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Click to View (Movie, Podcast, or Website) <a href="http://youtu.be/76HKSRgbVcY" target="_blank">Oral History of Bette Skates</a> Transcript Skates I’ll tell you what, if you would like to do this—I just live up the street, we could go to my house. I’ve got my printer there. Do you want pictures? Smith Yeah. we can get those. That’s something that we don’t even have to get today, that’s something we can get whenever you’d like. Skates What I can do is I can copy pictures of the first and second [Holy Cross Episcopal] church and, of course, the picture of the now church for the now thing, which is interesting. The way those buildings evolved tells a lot about the financial business of Sanford too, because during the very lean years nothing was done. But each time the church was destroyed it was replaced within a couple of years. And when you consider that for 19—the first church was built in 1873, and it was destroyed in 1880 and rebuilt. I think 1882 it was consecrated again. So that would be just a couple of years. And there was no money, they couldn’t even afford to hire a priest. If I go too fast, stop me. Smith No. No problem. That’s the good thing about this. Skates So that was—I’m trying to think. So the rebuilt church from the storm, rebuilt in 1880, in 1923 it burned to the ground—everything that was in it. We saved a few—they saved a few things, and we have records of those things still now in the building. Smith Do they know what ‘Caused the fire? Skates The fact—they think it was started—I’m trying to be succinct here. In the 1920—late 1800s till the 1920s—they used those buildings for a community center for the whole city of Sanford, because it was the only institution that could do that. There was no YMCA [Young Men’s Christian Association] or that sort of thing. And it was for the young men of Sanford. They came there in those years—let’s see 1918—it would have been the 1900s to 1920. I didn’t say that right, but anyway—they had a—what did they call it? They had a moving picture machine, and they had a bowling alley. They had a library they were going to build on just before the fire. They were getting ready to build a basketball gym. I’m trying to use the words they used but I can’t remember them all, but that never happened. So when the churched burned in 1923, it was a disaster for the whole city because of the way everybody used that facility. They had a moving picture theater, but they also had a[sic] galas and theatrical plays and things like that. They must have been really a hubbub for the city it was neat. So where do I want to go from here? Smith Really just—at that time in 1923, that church that had burned down, that wasn’t located at the present location? Skates Uh huh. That’s the property that General [Henry Shelton] Sanford gave—probably that whole block—but then he donated the Methodist church property to them. That’s on that same block. And then there were several private homes there, but—what was I going to tell you—how the church burned. The church was facing Park Avenue like it is now. And right behind it—where our parish hall is now—was a rectory, a two-story building for the priest and his mother. And right behind that was a parish hall, and right beyond that, on Magnolia [Avenue], was a private home. So when the priest—and the description is in the newspaper—a great description. I have copies of that too if you really want to go into detail. The priest said he awoke in the morning and he saw a bright light, and he thought the sun was coming up. And when he looked again, he realized it wasn’t the sun. It was a fire. The church was on fire, or the outbuildings probably first. He got his mother out, tried to save some of his books, but he had a very extensive library in his home and lost most of it. He ran to the church and tried to save his vestments. I don’t know how successful he was at that. The fire department came, but when they put the hoses on the hydrant there was no water pressure. Smith Oh, wow. Skates So there was nothing they could do. All the buildings burned, including the house that was back there on Magnolia too. The man who lived in the house—Alicia [Clarke], I put your papers underneath—no. Alicia, underneath—right there. I tried to put them someplace where they wouldn’t… Clarke Thank you so much. [inaudible] Skates [laughs] Yeah. Sorry. Where was I? Oh, um. So when they, um, couldn’t get any—also the man that owned the house got his water hose out—his garden —and he tried to wet his hose down, he had no water pressure. So after the smoke cleared and all the finger pointing started, it was determined that it was the City [of Sanford]’s fault, because of the water pressure. The mayor of the city at that time was Forrest Lake, which you’ve heard that name before. After many meetings—and I guess different kinds of haggling with the insurance company and the City—they also had several attorneys in the congregation. That helps. But they had the insurance money, and I think they got something like $30,000 from the City to replace the building. So after all of that, by 1924, they had started work on the new building. And by 1925 they had—I don’t think it was consecrated, because I don’t think it was paid for. I’d have to look that up, but that’s the story of the fire. And of course, that just took out that whole Fourth Street side of Magnolia and Park Avenue—those blocks. Let’s see, what else… Smith And you said it got rebuilt in [19]24? Skates ‘24. I think actually it was in ‘24—‘25. Smith I think it’s raining. Skates Yeah. It’s going to rain. It’s one thing you can be sure of. Smith And then did the church take on all those old roles as a community center and all those things again? Skates No. They didn’t, because they didn’t have room at the time. They built the building that’s there now, but they lost all that community that they had with the young men. We didn’t have a parish house until 1926. What’s there now was built in 1926. Of course, it was a matter of money, and keeping a priest too. Because with no money, that was difficult. Those were boom times though back when we got into the later ‘20s, as I recall. So they could finally call a priest and have one that was there. I list—I have a Holy Cross folder and I have a Historical Society folder, so I don’t have that one with me. That was an interesting time, so what’s there now, that takes care of that hunk of Sanford. I mean if you’re going to do one hunk, there you go you’ve got that. Let me see, what else could we—where could we go with that? Smith When did the—there is Methodist church directly next door… Skates Next door to us. It’s First United Methodist Church [of Sanford]. Smith And when was that building built? Skates It was in the ‘20s. I don’t remember the year exactly. The First Baptist Church [of Sanford]—Grace Marie [Stinecipher] could tell you exactly when—when the brick building—that was another very old building, but not the—the brick building is the old church, Grace Marie? Stinecipher Yeah? Skates When was the Baptist—when was the brick building built? Stinecipher One time in 1914. The other time in 1920. Skates 1914? Stinecipher Yes. It was built in two parts. Skates Oh, it was. I didn’t know that. This is Grace Marie Stinecipher. She’s the historian at First Baptist—I was going to say Holy Baptist [laughs]. This is Austin [Smith]. She’s another former teacher. Go head tell him about the Baptists, because we’ve been talking about that block. Because that’s going to give him a block and he can deal with that whole block. Well, no. The two blocks. I’m sorry you’re not Methodist. You’re Baptist. We’ll have to find a Methodist. Stinecipher It was built under Reverend Harman who was here, and he went off—they built the front part, which was the Sunday school part. Skates Oh. Those two side parts? Stinecipher The front part of the building is a Sunday school and it has four Sunday school rooms in the back and it has three floors. Skates Oh. So that’s when the chapel—I mean the auditorium… Stinecipher And then in 1920 they added on the auditorium. He [Harman] went off to war—this is 1914. It may have been finished in ’15. We’re not really sure. And he went off to war as a chaplain, and then came back. And then they built the other part. Skates What did they do without a minister? Did they have somebody fill in? Stinecipher Yeah. Skates The next—was Reverend Brooks the next one that came? Stinecipher No. Skates He wasn’t for a while yet. Stinecipher He came in ‘29. Skates ‘Cause they had one minister there that was there for 50 years. Stinecipher No, no, no. 33. Skates Excuse me. You see, I better stick to what I know. [laughs] Didn’t he live in that house by me for 50 years? Stinecipher Yes—no. Skates 33? Stinecipher Yeah. I guess so. Skates I guess I’m giving out bum information. When was that house built? Do you know? Stinecipher It’s probably in my book, but Alicia can’t find it here. Skates Grace Marie wrote a book. A real book with covers on it. Stinecipher And I won’t do another one. They keep asking me. Skates Bring it up to date. That was—well, that house next door was built in 1923, because it was built a year before my house I think. Stinecipher The one—our building? Skates Your building. The rectory. Stinecipher I’m sure it’s in the book, but I can’t remember. Skates Well, I wish I’d bought that book before they got away from us. You know anybody we could borrow one from? Stinecipher I’ve got some at home, but it keeps looking like she lost this one here. Smith What’s the title of your book? Stinecipher [A] History of First Baptist Church, Sanford Florida, 1884-1984. Skates Well, so it was—but you didn’t have a building in [18]84? Stinecipher One was built by the end of the—I think, by at least early 1885. A wooden building. Skates Was it? ‘Cause if Holy Cross was built in [18]73, we’re only 10 years older than you. Stinecipher You were organized in 1890? Skates That first church was built in 1873. Actually, the missionaries down here on Mellonville Avenue when Mellonville was the city of Mellonville was here. That’s another area that might be interesting to you. Smith If you can talk about it that would be great. Skates I can’t talk about it. I don’t know enough about Mellonville. [laughs] It was just a strip of buildings where the fort was, what is now called Fort Melon, but in those days it was called… Stinecipher Monroe. Camp Monroe. Skates Monroe. There you go. It was Camp Monroe. And you have to say it that way too, you can’t say “Monroe,” you have to say “Monroe.” [laughs] But we could find information on it that won’t be so bad. Smith But Holy Cross was, in addition to being set up by [General] Sanford—also those missionaries from Mellonville that came over. Skates Yes. The first priest there’s name was Holeman, and he was the “missionary at large” is what they called him. And he also came and started the church along with General Sanford—Henry Sanford. There was another guy too. I can’t think of his name right now. I’ll have to look at my notes at home. I would say the city of Mellonville was probably only about two blocks long—and Alicia could probably tell you more about that than I can. Clarke Yeah. We have a file on Mellonville. We have a lot about it. That’s a little before Bette’s time though. [laughs] Skates Yeah. A little before my time. That was back when the Indians were still… Clarke [laughs] If someone’s asking you about Mellonville, it’s time you’d died. Skates [laughs] It’s time I put the cane away and dyed my hair, huh? Oh, dear. Um, so that was, um—but he was up and down. Those Episcopal—I’m sure the other church too, but I don’t know about those. But the missionaries were sent here from places like Connecticut and New York, and places like that. When they came here they didn’t know whether they were going to get shot by an Indian or eaten by an alligator, or killed by a mosquito bite, because it was a pretty wild place. I read some of the diocesan records of the Episcopal priests and how they tried to get their little boats across Halifax River with sails on them. Of course, you can’t sail very well on a river. And what they went through—the thunderstorms would come and they’d get down and pull the sail over their heads and sleep in the boat all night. Tales that you read and you think, And they stayed? Why didn’t they all just say “goodbye!” But I guess God was stronger than the weather. Skates Alright. Let’s see what else—where do we want to go here? I’m trying to think if there’s anything else. But I do think that Holy Cross, and because of Henry Sanford, was instrumental in building the beginnings for Sanford. Henry Sanford also had his orange groves, and that’s what helped the area become agricultural; because of his orange groves. His first orange grove was down on the lakefront over here. He called that Street Gertrude [Grove]. Clarke Once again, you’re getting off in territory where we can look that up. Skates Yeah. I’m getting out of my—when I get away from Holy Cross, I’m kind of lost. [laughs] But that was one of his first groves and then he had his big grove—and I guess the one that was really productive—was out at Belair [Grove], which was where Chase Groves [Condominium] housing development is now. That might be an interesting thing for you to—that’s not an old development, but the Chase family had finally died out and they sold all their property, or it’s in the process I guess of being sold. But where Henry Sanford actually put down his citrus grove—Henry Sanford didn’t spend a lot of time in Sanford. He spent a lot of time writing letters telling other people how to do things, but—what else? Clarke I’m just trying to figure out where Grace Marie’s book went. Skates Well, I wish you could find it, because I’d like it… Clarke I’d heard her mention it, and we can’t figure out where it went. Smith How would you say—the congregation, in those early days—what was the general make-up? Because obviously Sanford himself was Episcopal, but very early on you had a Catholic church in the area, and a Methodist Church in the area. Skates Yes. And Baptist. Smith It seems so soon off even in 18… Skates In the 1880s-90s. Smith There were already three or four churches in the area. Skates But remember, this is right after the Civil War. So a lot of these people that were coming south were looking to make their fortunes. And I hesitate to call them carpetbaggers, because that’s very unkind. But a lot of men—that’s when [Henry B.] Plant came. That’s when [Henry] Flagler came. So there were a lot of northerners coming down trying to make their fortune. Clarke May I ask a question? ‘Cause I know the early churches were in Fort Reed and Mellonville—so I know the congregation started there, but is Holy Cross the first Episcopal church? Skates The first Episcopal church. Clarke There wasn’t one in Fort Reed or Mellonville, was there? Skates No, but the missionaries were in Mellonville. Reverend Holeman and… Clarke So they just didn’t have a church. But before Henry Sanford arrived, there were people from the Episcopal church looking around? Skates Right. There were missionaries. Clarke And are any of those churches over around Enterprise or down Altamonte [Springs] earlier? Skates Near Enterprise—there’s an Episcopal church in Enterprise, and it’s an original. It would be worth the drive over there to see it. Clarke But were those earlier than over here, because I thought that this was the mother church. Skates You know, I don’t remember. It’s the mother church of Central Florida. Clarke But we don’t necessarily know if it’s the oldest Episcopal congregation. Skates Well, we don’t know. I don’t think there was one in Fort Reed. Clarke That’s why I was asking, because the Methodists and the Presbyterians were in Fort Reed. There’s older—there’s a much older—the congregations that are in the big churches on Park Avenue are older than Sanford. Because they started—like our Masonic Lodge started—in Mellonville, so it’s older than Sanford. But that’s why I’ve never thought to ask you. I’d never heard about Episcopalians meeting in a house or anything else anywhere. Skates I never heard that either, but they did meet in Mellonville. Clarke But as far as you know the Sanfords are the ones who started. But when you were looking through Lyman Phelps letters, was there already Episcopalians drifting around looking for a church before Mrs. [Gertrude Dupuy] Sanford started it? Or was she hoping people would become Episcopalians? Skates Yeah. Well, because so many of their friends from the North, and that’s where the money came from to build the church both times, Mrs. Sanford wrote to her friends in the North… Clarke I had never thought about that. When we were going through things—there would have already been some people that she met with and said, “Let’s build a church.” So we don’t know if there was a minister here, or a priest or—when did they come? Skates We know that Reverend Holeman was here… Clarke Did he come before the church? Skates Oh, yeah. Clarke I never thought to ask you that. Was there a congregation before there was a building? Skates But he was here, and so was the Bishop of Florida—made some trips with him. And I have some diocesan records of that, which I need to look this up, because I don’t know that. Clarke I just never thought about it that way. We know some of the congregations—the people—are older than the building we’re looking at, or the city. So depending on what you’re talking about Episcopalians. Skates Sanford never had anything to do with Holeman and the other guy—I can’t remember his name—coming here. I don’t think. Clarke I don’t know. That’s why I thought maybe you’d run across that in something. So you’ve never seen anything? Skates No. Clarke There was somebody in your congregation—somebody that was already here—and said to Mrs. Sanford, “We need a church.” Mrs. Sanford thought, We need a church. SkatesThe reason Lyman Phelps came, which was a little bit later than this, was because Sanford asked him to come from Connecticut, but he also—the man also was a botanist and he was an Episcopal priest. Clarke So there might still be a little mystery as to how exactly they got started with the Episcopal congregation. Skates Yeah. Well, now you give us something else to think about. Clarke I know the church, but I never thought about that. Skates I never either. Clarke We spent all this time worrying about church number one, two, and three, but not whether or not there were already some Episcopalians or a priest here who needed a church. I always assumed they didn’t have a church, they didn’t have a congregation. Skates They met in Mellonville. I do have—I have seen that line some place. But then why Sanford—I think the Sanfords wanted the—and you tell me if I’m wrong—Henry and his wife were very aristocratic. Clarke A social thing. Yeah. Skates I mean, they were really very important people. After being—what was he given? I want to say a legation, but he’s not a legation. He was a… Clarke A diplomat. Skates Well, I don’t see that word as often. Clarke He was a Minister Resident. Which most people go, “What?” Skates But he was in Belgium for many years. And when he married, he was in his 40s. So when they came here, they were used to living in luxury in this little castle-looking house. Clarke And for some reason the church is an important thing that was supposed to be here. Skates And that also elevated your prestige too. I’m making this up. Clarke That’s what I’ve assumed from what you’ve found is that this was more than just “Oh, we’re church people.” It’s a social station. “We have to found a church.” Skates Yeah. Clarke Because Episcopalians would have been the… Skates The upper crust. Right. So that’s what I think—I think that’s what he was aiming at. Thinking that this was a big time, but it was not [laughs]. I mean, when you get here and you see the hardships and the way the people lived, he lived very differently. And I’m sure Mrs. Sanford probably didn’t spend 15 minutes in Sanford if she could get a steamboat out. Do you have the Mellonville history there? Clarke I was just curious… Skates No. Alright. Okay. Well, I’m rambling. How are you ever going to tie this together? Smith No, no. Clarke If there’s anything that you all talk about if you just need the founding of a church or something, something comes up, just make a note of it and we can pull the files. Skates Alright, because I’ll research some of this church business if you want to go further than this. Smith Sure. How would you say that the congregation has changed over the years—or even that the community as a whole—has changed over the years. Skates Well, I think that what we have at Holy Cross today is a middle-aged, and I think this is true of most large churches today—city churches especially. Because you’re not going to have as many young people. Though we do have young people, as many as they probably do out at Street Luke’s Lutheran Church out there by I[nterstate Highway]-4, near Heathrow, or some of those other churches. But it’s a stable church. We’re stable. It’s a beautiful building if you—if aesthetics helps you worship, then it certainly is lovely and also the Episcopal service is very different from any other church in town. We have the Holy Eucharist every Sunday, a processional, and a beautiful choir and a fantastic organ. It’s very—people say, “Is it a high church?” No. It’s not. Not in Florida. It’s not a high church. It’s a very formal church, but comfortable. It’s—that’s just one person’s opinion. Smith How has—I guess the church itself changed over the years, or different things that it has had to go through over the years? Clarke You mean the building? Smith Whether the—well aside from having… Skates Fires and storms. Smith Endured fires and storms, just any particular stories about things within the church or—that would be interesting you think? Skates Well, right now, I’m working on a memorial for the soldiers from World War II. We have, we found a large plaque with parchment inside of it—it’s not a plaque. It’s a picture with a parchment inside. It’s beautifully illustrated. Where they got this I can’t imagine. Honoring—we had 70 members from Holy Cross that were in World War II. And we—by oral tradition, all the alter furniture that we have right now was donated as a memorial to the World War II veterans. But here’s the catch: we don’t have it in writing. We don’t know that. Nobody knows that for sure, and I’m working on that—running that one down. But I did have the plaque reframed and put acid-free paper in it and everything, so it will be better preserved, and so we’re going to hang that by the pulpit. But we have a lovely—our furniture is wooden. It’s really beautiful. it’s really beautiful furniture. During the wartime, everything in Sanford was booming. We had the Navy base [Naval Air Station (NAS) Sanford] out here. Did I tell you this before? I just told someone the other day. We had a—oh, I guess Dianna [Dombrowski]. There was a big boom and so we had a large congregation, a lot of the Navy families came to Holy Cross and brought their children. Then when the base closed at the end of World War II, then when [the] Korea[n War] started up, they reactivated the base and so that’s when we had another huge influx. I have pictures of our Sunday school children all lined up all the way down the sidewalk of the church—is how active everyone was. I guess in wartime people do go to church more maybe. I’m not sure [laughs]. So that was—so of course, we had a large congregation, then after Korea, and after they closed the base permanently. Then of course, the congregation fell off, and I think the City of Sanford went through some doldrums there for a while. The houses in the historic district, which is between First Street and Thirteenth Street from Sanford Avenue to French Avenue—is the historic district, where a lot of those houses were really run-down, but then we got another shot in the arm coming about in the ‘70s-‘80s, where[sic] people started—where[sic] people started buying those old houses and realizing the value in an old house, and it was—it became trendy to buy an old house and renovate it. People coming from Orlando—and they couldn’t afford Winter Park—and Downtown Orlando. They were coming to Sanford where they were much more reasonable. So we had a lot of that at that time. But Holy Cross has held its—I don’t know what our membership is. I really don’t. I don’t even think I can guess. We have a hundred—maybe a 150—on church each Sunday, but we have many more than that, I’m sure. That was an interesting period the ‘70s and the ‘80s. The people were coming and buying these old houses, and then we had the [Sanford] Historic Trust—now that’s another interesting group that might give you some insights. I don’t belong to the Trust, but they have a very active membership and they—I think they’ve done a lot toward getting people to repair their old homes, and of course, they set up a few little rules and regulations that nobody likes, but you know that’s the way it is with that sort of thing. Um, I don’t know. You’ll have to ask me a question. I’m kind of… Smith No problem. Are there any—would you say, big personalities, that you can think of, that have been connected with the church that maybe there are some interesting stories about? Skates Some interesting person from the church [laughs]. The only interesting person I think about in Bishop Whipple. [laughs] But he wasn’t from Florida. Clarke What about somebody from within your memory? Skates Well, I don’t know… Clarke You spend too much time before your memory. Skates I’m just lost in history. Clarke Yeah, but about things that you remember. Skates In my life—I’m trying to—we’ve had a lot of very interesting people… Clarke I guess the question was: who was[sic] the interesting people? Smith Just some interesting personalities. Clarke I—the church—I mean you’ve got the Chase family. Skates Well, the Chase family obviously. I guess we should. Clarke He doesn’t know that. Skates Well, he doesn’t know that [laughs]. The Chase family—actually Alicia’s the history… Clarke No. No, it’s—the thing is: from an outside observer—from when you’ve talked about in—I mean, it’s probably oversimplifying to say that they were sort of the aristocratic. But it does tend to be the Sanfords built the church, and then were they [the Chase family] —the major benefactors afterward? Skates Well, what happened over the years was… Clarke What was their role in the church in your lifetime? Who were the major benefactors? Or the major players in the church? Skates I think any time anything was needed for the church, they went to the Chase family. Clarke That’s something I always found interesting. Before your time it would have been the Sanfords, but… Skates See, when Henry Sanford died, his wife was trying to get some money to live on, because she didn’t have much, because he was pretty free with his money. But finally his son ended up selling Chase his—Henry Sanford’s—grove, Belair, to the Chase family for $5,000—500? Oh, that’s an interesting story. Clarke That’s another story. Skates The Chase brothers [Sydney Octavius Chase, Sr. and Joshua Coffin Chase] came from—where did they come from? Clarke That’s another story. Skates I’m back. I’m out of my element again. Clarke Well, what do you know about them? Skates The first group of Chases, then second group. I know the second group, because Julia Chase was the last one that died that was living out there at Belair. But she was just the Grand Dam. She was just lovely. Just one of those women that, when you look at her you, just know that she’s not just anybody. Clarke Mrs. Randall [Chase, Sr.]. Skates Yes. Mrs. Randall Chase, and she was a lovely lady, but—and her family—none of her children live here, so we don’t have a Chase in our church. But when Julia died a few years ago, she had her son who was a priest, he did the… Stinecipher Randall [Chase, Jr.]. Skates Randall. Yeah. See these people I’m not that familiar with them, because I haven’t—wasn’t there when they were there. Then she has a daughter who’s also involved in the Episcopal church up—someplace up north. Was it just the two children? Clarke No. There’s three. There’s Josh [Chase], Ran [Chase], and Laura [Chase]. You didn’t know any of them. Skates I didn’t know any of them, no. I’ve met the daughter several times when she’s been at church, but… Clarke Who were the leaders of the altar guild and things like? What groups were you in? I don’t mean to ask questions for Austin, but I think you’re thinking so much in your historian hat. You’re not thinking that you’ve been in the church… Skates 39 years. Well, since 1969. Whatever that is. Clarke So you didn’t grow up in that church. Skates But I didn’t grow up in that church. No. I’m not a cradle Episcopalian, and you know that is not a good thing. Clarke That is news to me. I did not know that. Skates No. I am not. Clarke What church did you defect from? Skates I grew up in a Lutheran church. Clarke Oh. Skates I was confirmed in a Lutheran church. Clarke Here? Skates No. In Philadelphia, before we moved to Florida. Clarke Oh, so that’s why you know… Skates Yeah. Clarke So you only know about the past 39 years. Skates Yeah. Yeah. So that’s what I can—that’s what I can tell you about. And the history… Clarke So you know about 120 years ago and 39 years ago, but nothing in between. Skates But the in-between—I’m sort of—well, actually, I was very busy I was trying to get my education and trying to raise four children, so those are lost years. Smith No. I understand that. Clarke But you’ve been living on Park Avenue… Skates I’ve lived in the same house for 53 years on Park Avenue. Clarke That’s part of what I thought was interesting about Bette. She’s been living downtown. You’re talking about how downtown’s changed. You live in basically walking distance from the church. Skates I always thought that I would walk to church. I never have. Clarke And you’ve lived down there as downtown went downhill, and came back up again. That’s why I was thinking—she’s lived in the same house all this time, right in the middle of downtown. You’re not in the historic district though, are you? Skates Yeah. Clarke You are? Skates It’s to 13th Street. Clarke So she’s been in the historic district before it was there. Skates And also Park Avenue used to be [U.S. Route] 17-92. I think I told you that before, and that was the main street of the town. I don’t know what year it was switched over to French Avenue. And then after French Avenue, they moved—well, 17-92 still is French Avenue, you still have to go around. I’m sorry I have these gaps. Smith No problem. In your time as someone just living in the—so close to downtown—so close to the church—I don’t know if you went into this a lot in the last interview, but how has the area around you, that you’ve seen, changed? Skates It has, because the houses, at least—if you drive up and down those streets of the historic district, basically every house has been occupied and renovated and sold, and occupied and renovated. I mean, there’s a lot of that that’s gone on. It’s interesting to—and I don’t do it on purpose, but sometimes I find myself over on Myrtle [Street] or Elm [Avenue], which are the streets between Park and French Avenue, and I’m always kind of amazed, I think, Oh my gosh! Somebody’s fixed that house up. They’ve done a lot of in filling in Sanford, which is interesting. Lots that were vacant—they built houses on those lots, and the houses look a lot like my house, or other, you know, houses that are already there. So they’ve done a good job. There’s only one house in that district that I could show you that is not of era of the [19]20s-‘30s, even ‘40s. It’s—somebody was doing something in the ‘60s that it’s just one of those real modernistic looking buildings. But—it’s changed, and Sanford probably right now is in a very good place I think, because they have so many of the younger crowd. I don’t really think—I don’t know this to be true—I don’t think we have a lot of churched people in this area. We have the old [All Souls] Catholic Church is right there on Ninth [Street] and Oak [Avenue], but the Catholic school is there. Now they moved the Catholic—they have services now on First Street. It’s the big church. You’ve probably seen out on First Street—a big Spanish church. But the old church there was built early on. Not as early as Holy Cross, but early. Actually, it’s a replacement too, because their first church burned. Because I know when our church burned, they gave us stuff, and when their church burned we gave them stuff, because we have some letters saying thank you for different things we gave them. But then they built the Catholic school over there, which has been a real boon to that church I think. It’s at capacity, I’m sure. It only goes to seventh or eighth grade, then they have to go to Bishop Moore [Catholic High School] in Orlando. But eventually, on their property on [Florida State Road] 46, they’re going to build a whole new church—I mean a whole new school and high school and everything. With the economy with the way it is, who knows when that will happen. We have a convenience store in my neighborhood and my friends—and they’re used to be two or three houses on that property—my friends will say to me, “Bette, how did you let that happen?” I’ll say, “Y’all, I was busy.” When you’re raising a family and doing all those things—I wasn’t out there standing with my picket sign saying, “Down with 7-Eleven.” It was a 7-Eleven. It’s not anymore. Now it’s something—I don’t know what. But, so now they’ve got two filling stations on the corner of Thirteenth Street, which used to be filling stations, and then the convenience store, which is across the street down one block from me, which is not desirable. But since I didn’t get out there and picket them, I don’t know what I can do now. But that’s a danger in a neighborhood of letting those types of buildings in, because that does ruin the family atmosphere of the area. Now, that’s not being snobbish, I’m not saying that, because, you know—it’s[sic] just doesn’t belong there. If that had been a little small grocery store or something maybe—maybe, I’m not even sure about that. But once you bring that element in, then you’ve got a lot of trash and things. But it’s not like that—I mean, it was like that at a time. Every morning, I used to go out and, on my way to school, I would go and pick up the cups, and the paper, and stuff out on my front yard, but I don’t have that anymore, because they seem to be—I don’t know why not, but it’s just not. But that’s not good for a neighborhood. Smith One thing that I’ve heard about Sanford—and some people say that it continues on even today—is that there is a high crime rate in the area, or at least in the past 5-10 years, there had been a much higher crime rate. And that’s the picture—at least certainly as someone that lives over in Orlando and only hears about Sanford—that’s the picture that’s painted. Skates Yeah. And that’s, you know—let me give you my theory on that. And now I have to go back a little bit. [phone rings] I have a new granddaughter and I have to answer my—excuse me. Smith No problem. I can put this on pause. The crime rate in the area and your theory on that. Skates Well, for one thing it annoys me that that’s Sanford’s reputation, because that’s not fair. Because Orlando has its areas that are just as bad. It just doesn’t seem to get as much publicity as Sanford does. Here’s my theory, Sanford—when Henry Sanford—I wonder what my doodles mean. I’ll stop it. When Henry Sanford came here, this was going to be the thriving metropolis—the “Gateway to South Florida. I’m sure he envisioned all kinds of buildings and everybody coming to these stores and buying things and then moving on down south, which for a while it was like that. Of course, a lot of this has to do with fluctuations in the country’s economics too. Seems like things, you know, are up or down—are up or down. The agriculture—citrus was great, but when the citrus was frozen out in 1895 and ‘96—the two back-to-back freezes—and just ruined the citrus crops. And when you’ve got those trees that will have to be taken out and replaced—that was after General Sanford’s time anyway. I think he died in ‘91. So there really wasn’t anything to do, so they started plowing up the fields and we have people in this organization [Sanford Historical Society] that are great on the celery. They started planting celery. Well, so when you get “dirt crops”—I’ll call them, ‘cause I don’t know what else you would call them—when you get crops like celery and cabbage, which is what they grew a lot of those type of crops, you have to have workers. Where do you get the workers? From someplace else, because they didn’t have—well of course, General Sanford had imported his Swedish people, but they weren’t going to do that type of work. So they got a lot of blacks coming down after the Civil War, they got people that would want to do that kind of work. When that happened, it became a migrant thing. The workers work in Sanford all through the harvest season. They would go to Upstate New York to Sodus and Syracuse, and they’d have their—well kind of like—you see the pictures of the people going west. Their cars loaded down and their children—going up north to work the fields up there. So when you have all those migrant workers, they’re not getting paid much of a wage. They don’t have a decent place to live. So areas grew up around Sanford that kind of—I mean the people were poverty-stricken. They—so when you think of poverty, you think of crime as going hand-in-hand. That’s my theory of the reason that we have that and of course, with integration—or I should say with desegregation—it takes time. You can’t say, “Okay. Fine. You can come to my school today and we’ll make you well.” It doesn’t happen that fast. I mean, they’ve got to work the same years that everybody else does. So I think a lot of that was—this is just my theory. I haven’t read this in a book. I feel bad about it, because you feel guilty, because the people who are so distressed. But then you also feel sad that the whole city is tainted with the brush of holding people down, and so they’re angry and so what are they going to do? It’s—I don’t know. Does that work [laughs]? I just—it’s a sad story actually, I think, and it makes me feel bad. And I think when the first child was integrated in the school where my children went to school—her father was a local dentist—a black dentist. Mother—lovely people. And this one little black girl in this whole school of white children—God bless her. She turned out to be a teacher, and she’s done very well for herself, and her mother and father were wonderful people. What she suffered, I don’t know. I’ve never talked to her, but it’d be interesting to know her story. I’d like to think that she didn’t suffer, but then—I don’t know. So I think that when you look at the part—and also when you take and you build like these developments, these housing projects—you’re lumping all these people that are unhappy together. And you’re supposed to be taking care of the houses. Well, sometimes the city, or whoever was in charge—like right now they’re having a big brouhaha about the upkeep of some of the project homes, so you can see what you—but Orlando has the same thing. I imagine every city has the same thing. Maybe Sanford is just more noticeable, because it’s a small town. We have a large population of blacks, but for the most part—at least the people I know—they’re educated. They’re trying to improve their families just like we are. So that’s kind of a sad tale, but that’s just what I think. I’m not sure what the question was [laughs]. Smith Well, I guess then are there any other types of events, either connected to the church or just things that you’ve—and they’ve probably asked you this as well in the last interview, but any types of events—whether connected to the church or not that you experienced—that you remember as big events that stood out in the community or even for yourself? Skates Sanford has a lovely Christmas tour of homes and Holy Cross has been on the tour many years. The people open their homes to the—this is, I think, the first week in December, which is interesting and it’s nice to go through those—the old homes, the renovated homes—but it’s usually Downtown Sanford in the historic district . So that’s always a big thing Sanford has every—well, one Thursday a month, they have Thursday Night Alive. I have only been to two of them, because I just can’t do the walking, but they have wonderful food and drinks and dancing and all kinds of things in the street downtown. It’s a very nice thing. It’d be a nice place to bring a date or something on—I think it’s the third Thursday. Every month they close off the streets, and I think you pay one fee—like five or seven dollars—and then you go around and taste everything. Smith Did they do that last week? Skates Yeah. They did that last week. Smith Because I was down here and they had some streets closed off and I was wondering what was going on. Skates Yeah. That’s what it is. Was that the third Thursday? Smith I don’t know. Skates I don’t know what day it is. But anyway, can you think of anything else, I can’t think of anything that’s too earthshaking. Nothing. We don’t have any Disney-type characters running around on the loose or anything. [laughs] Smith Alright. Skates It’s very nice. No—it’s something to come over and take a look at. A History of the First Baptist Church, Sanford, Florida, 1884-1984 agriculture Alicia Clarke Austin Smith Baptist Church Belair Grove Bette Skates Brooks Camp Monroe celery Chase and Company Chase Groves Condominium Christmas church churches citrus citrus groves City of Sanford congregations crime rates crimes desegregation Downtown Sanford enterprises Episcopal Church fires First Baptist Church First Baptist Church of Sanford First United Methodist Church First United Methodist Church of Sanford Florida State Road 46 Forrest Lake Fort Mellon Fort Reed Fourth Street French Avenue Gateway to South Florida Gertrude Dupuy Gertrude Dupuy Sanford Grace Marie Stinecipher Halifax River Harman Henry B. Plant Henry Bradley Plant Henry Flagler Henry Morrison Flagler Henry Shelton Sanford Holeman Holy Cross Episcopal Church hurricanes integration Josh Chase Joshua Coffin Chase Julia Chase Korean War Lake Mary Laura Chase Lyman Phelps Mellonville memorials Methodist church migrant labor migrant workers missionaries missionary Museum of Seminole County History NAS Sanford Naval Air Station Sanford orange groves race relations Ran Chase Randall Chase, Jr. Randall Chase, Sr. Sanford St. Gertrude Grove Sydney Octavius Chase, Sr. Thursday Night Alive veterans Whipple World War II WWII https://richesmi.cah.ucf.edu/omeka/files/original/2c9347518117b73f1030eccdd6890a07.pdf cc5c38d36f8978c3c3bdcad7b29a94bd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Dombrowski, Diana Interviewee Stinecipher, Grace Marie Location <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida Original Format 1 audio recording Duration 53 minuts and 7 seconds Bit Rate/Frequency 1411kbps Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Click to View (Movie, Podcast, or Website) <a href="https://youtu.be/CRd0e77hW00" target="_blank">Oral History of Grace Marie Stinecipher</a> Title Oral History of Grace Marie Stinecipher Alternative Title Oral History, Stinecipher Subject Sanford (Fla.) Churches--Florida Teachers--Florida Education--Florida Winter Park (Fla.) Orlando (Fla.) Baptist Church--Florida Journalism--Florida New Smyrna Beach (Fla.) Beaches--Florida Description An oral history of Grace Marie Stinecipher (b. 1936), conducted by Diana Dombrowski on July 13, 2010. Stinecipher was born in Sanford, Florida on September 19, 1936. In this interview, she discusses her family history, growing up in Sanford, her career in education, living in Orlando and Winter Park, school integration, the effects of the Naval Air Station (NAS) Sanford and Walt Disney World Resort on Sanford, the First Baptist Church of Sanford, her role as a church historian, organizing new churches and missions, her career in journalism, and her childhood experiences at New Smyrna Beach. Abstract Oral history interview of Grace Marie Stinecipher. Interview conducted by Diana Dombrowski at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Table Of Contents 0:00:00 Introduction 0:01:21 Family history 0:04:28 Growing up in Sanford 0:07:15 Girl Scouts and college education 0:09:11 Career in education and life in the Orlando-Winter Park area 0:12:50 School integration 0:16:22 Naval Air Station (NAS) Sanford and Walt Disney World Resort 0:19:05 First Baptist Church of Sanford 0:26:46 Role as church historian 0:31:45 Organizing new churches and missions 0:35:31 Important figures in the church 0:38:21 Career in journalism 0:42:02 Polly Pigtails club 0:46:12 New Smyrna Beach 0:50:23 Parents 0:52:59 Closing remarks Creator Stinecipher, Grace Marie Dombrowski, Diana Source Stinecipher, Grace Marie. Interviewed by Diana Dombrowski. July 13, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Date Created 2010-07-13 Date Copyrighted 2010-07-13 Date Modified 2014-10-08 Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida.<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank"> </a> <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a><a href="https://get.adobe.com/reader/" target="_blank"> </a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Format audio/wav application/pdf Extent 536 MB 178 KB Medium 53-minute and 7-second audio recording 19-page typed transcript Language eng Type Sound Coverage First Baptist Church, Sanford, Florida Chance Education Building, Sanford, Florida; Orlando, Florida Winter Park, Florida Seminole High School, Sanford, Florida Naval Air Station Sanford, Sanford, Florida Central Baptist Church, Sanford, Florida Pinecrest Baptist Church, Sanford, Florida Westview Baptist Church, Sanford, Florida New Smyrna Beach, Florida Piedmont College, Demorest, Georgia Accrual Method Donation Mediator History Teacher Geography Teacher Provenance Originally created by Grace Marie Stinecipher and Diana Dombrowski. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Contributing Project <a href="http://web.archive.org/web/20090302051954/http://www.thehistorycenter.org/visit/?art=history" target="_blank">Historical Society of Central Florida</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference Stinecipher, Grace Marie. <a href="http://www.worldcat.org/oclc/10878290" target="_blank">A History of the First Baptist Church, Sanford, Florida, 1884-1984</a>. Baltimore: Gateway Press, 1984. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Transcript Dombrowski This is an interview with Gracie Marie Stinecipher, the historian of the First Baptist Church in Sanford. And, uh, this interview is being conducted on July 13th, 2010 at the Museum of Seminole County History. The interviewer is Diana Dombrowski, representing the museum for the Historical Society of Central Florida. I’d just like to start with a couple basic questions, like, where and when were you born? Stinecipher I was born in Sanford—Fernald-Laughton Memorial Hospital. Dombrowski Cool. When were you born, if you don’t mind? Stinecipher September 19th, 1936. Dombrowski Okay. So you grew up in Sanford? Stinecipher Yes. Dombrowski Where in Sanford did you live? Could you describe it? Stinecipher I lived at 2404 Park Avenue. And at the time, that was, Park Avenue was [U.S. Route] 17-92. It was the highway. Dombrowski Okay. Did you live close to the railroad station or anything? Stinecipher No. Dombrowski I’m sorry. My last interviewer[sic] —she lived off of Park Avenue, as well. And she mentioned her family arriving on the train. So I wasn’t sure how close it was. I’m sorry. Stinecipher No. That’s way downtown. Dombrowski Okay. ’m sorry. Um, how—when did your family come to Florida? Stinecipher My mother came here in 1913—I believe, as an eight-year-old—with her family. And my dad came in 1926. Dombrowski What did their families do here? Stinecipher My mother’s father was a butcher. He had a store down on First Street. Grocery store, butcher shop, whatever. My dad’s family—his dad was a farmer in Tennessee. He was born in Spring City, Tennessee. My mother was born in Butte, Montana. Dombrowski Wow. That’s a-ways. Stinecipher Oh, yes. There’s a story there. Dombrowski What brought them to Florida? Stinecipher I really don’t know. My mother—my grandmother and grandfather—my grandfather was from England. He came over, to the Gold Rush in Canada, Alaska. What was the word? Anyway, and they met in Montana. I have no idea why my grandmother was there. And they married in Montana. My mother was born there. My aunt, Gladys [Stemper], was born in Phoenix, Arizona. My uncle, Jack [Stemper], was born in Homeland, Georgia, and my uncle, Bill [Stemper], was born in Sanford. Dombrowski Wow. That’s a lot of traveling. Stinecipher Yes. Dombrowski Did you grow up around all these relatives? Stinecipher Not those, no. My grandfather Stemper—my grandmother was Marie Stemper—left the family. I think about 1925. And they didn’t find him until 1960—I believe it was—in Baton Rouge[, Louisiana]. Yeah. That was quite a thing. Dombrowski Growing up in Sanford, were you always a member of the [First] Baptist Church [of Sanford]? Stinecipher I was always attending. I joined the church in 1947. Dombrowski Okay. Alright. What did your parents do? You know, was your mother a homemaker? Stinecipher My mother was a schoolteacher. Dombrowski Okay. Where did she teach? Stinecipher She taught at Sanford Grammar [School], Sanford Junior High [School], and Seminole High School. Dombrowski Okay. Where did you go to school? Did you go to those as well? Stinecipher Yes. Also, Southside Primary [School]. Dombrowski I’d like to find out a little more about what it was like to grow up in Sanford. How was it different from then? What changes did you see and witness growing up? Do you have any favorite memories growing up in the town? Stinecipher It was a fairly small town back then. About 10-12-15,000. It was a fairly close-knit community. You knew almost everybody. Everybody you went to school with. Or at least, knew of them. Dombrowski Yeah. Stinecipher It was a time when most people attended church. I think it could be, because there wasn’t much else to do. But I think, I mean—you know, the downtown churches were very, very active. The youth groups were really overflowing. And it was really a great time to grow up. So, that—we—some of the memories I think some of us have are somebody always mentions the drugstores, you know. Preston’s Drugstore, where we congregated downtown. And Robert Anderson. And McColonel’s Drugstore was at Twenty-Fifth [Street] and Sanford Avenue, and he had curb service, delicious milkshakes. And a lot of the fellas worked at some of these drugstores. And there was the Pig ‘n Whistle. It had a big drive-in space there. It was at Twenty-Fifth and Park [Avenue]. And then Angel’s Eat Shack was a restaurant. It’s still there—the building—on 25—something—Sanford Avenue. I mean, the people of that era when I grew—there wasn’t much else. But we had a lot of good memories at all those places. And the zoo. Dombrowski Oh. Stinecipher Yes. The zoo downtown. Yeah. I was part of the Girl Scouts. We met down at the old depot. Down where—what’s the bank? SunTrust Bank is—right down in there. Every Friday afternoon, from the time I was 10 years old ‘til I graduated from high school. It was really, really good. We had a lot of good memories there. Dombrowski What did you do in the Girl Scouts? Stinecipher Well, of course, we went through the Girl Scout handbook, learning all the things for the badges and things. And we’d have slumber parties down there. And Miss Henton, who was our leader—I can remember her sitting up in the middle of the depot. This big depot, you know, keeping an eye on us throughout the night. We went camping. I still don’t know where it was that we camped. It was somewhere west of town by the lake, and it was just sort of—the kitchen was very primitive. And the long table, you know, where we ate, and the outhouse—we called “the Commishy.” Because some commissioner had had it built. That was the story. But that was fun. We pitched tents. We only were only there about three nights or something like that. Got to know a lot of the older girls, because they were our leaders, and then we became leaders. Dombrowski Were you a leader in the troupe? Stinecipher Well, we all were when we got into, you know—later on in high school. We led the little ones, the younger ones. Dombrowski That’s nice. Did you go to college? Stinecipher Yes. I went to Maryville College in Tennessee for two years, and then I transferred to Stetson [University], and I graduated in 1958. Dombrowski Did you graduate with plans to become a teacher? Stinecipher Yes. I majored in elementary education. Dombrowski Did you get married? Stinecipher No. Dombrowski Okay. Where did you begin teaching? Stinecipher I began teaching at Lake Silver Elementary in Orlando. And I had an apartment over there in Winter Park for three years. Dombrowski Winter Park is nice. What do you remember from living there? Stinecipher From living in Orlando? In Winter Park? Well, it was a much smaller place then. I was able to drive around, you know, and not get lost, or too much lost. I became a member of North Park Baptist Church and thoroughly enjoyed it. Made a lot of good friends, some that I’m still in contact with. Dr. Edgar Cooper was my pastor, and he later became editor of The Florida Baptist Witness, which is the state newspaper. I taught fifth grade. Dombrowski What was the education system like? What was it like to teach then as it is maybe compared to teaching later? Stinecipher The kids were much more well-behaved. Dombrowski Really? Stinecipher Yes. There was more parent participation. Yes. I only taught over there three years. And then I could not afford to continue. I was making $360 a month and not being paid in the summer. So I’d come home and borrow money from my dad to get through the summer, and then I’d get him paid back by Christmas. So, I figured that couldn’t last too long. So I moved back home to Sanford in ’61. Dombrowski Okay. Stinecipher I could not find a teaching job in elementary schools in the upper grades in Sanford, so I went down to the personnel director, Stuart Gadshaw, see if he could help me. And he had taught me math in high school. He said, “You’d make a good math teacher!” And he sent me up to Mr. [Andrew Joseph] Bracken, principal of Seminole High, and he hired me. So I had to go back to school and get certified in math. Dombrowski Did they pay your way through school? Stinecipher Oh, heavens no. Dombrowski Okay. How long—when did you begin teaching there? Stinecipher The fall of ’61. Dombrowski How long did you teach there? Stinecipher I officially retired in ’92. But I had been on medical leave for a few years before that. Dombrowski Wow. So, all that time at Seminole High School. You must have seen a lot of things. High school—wow. I’ve heard that’s a really hard time to teach. Stinecipher I think junior high’s the worst. Dombrowski Really? Stinecipher Yeah. I remember even when I was in junior high. No—I thoroughly enjoyed it. Especially the first, the ‘60s were really good. Dombrowski Yeah? Stinecipher Yes. I had really, really good students then, and I still keep in contact with a lot of them. Go to the reunions, and so on. Dombrowski That’s nice. Stinecipher You’ve probably heard the story about, you know, when integration came. Dombrowski I was going to ask. Yeah. Stinecipher Yeah. First, I think it was about 1967 or 1968, they had something called “Freedom of Choice.” I think that was what it was called. And the black students could attend the white schools. I think they had to apply or something. So we did have a few black students there in the late ‘60s. Then in 1970, they closed Crooms [High School]. And the Crooms students came over to Seminole High School. Seminole High did not want them. Crooms did not want to be there. Dombrowski Oh, yeah. That sounds tense. Stinecipher That year, 1970-71, was terrible. We were on double sessions. I was on the teaching in the afternoon session, and in the mornings they would have had fights and all kind of problems, and I’d get to school around 10 or 10:30, and they’d already had to close school several times. So that was a bad year. And the early ‘70s was still pretty hard. Dombrowski How were the students who elected to go to school received? Stinecipher You mean in the late ‘60s? They were received very well. They were the good students. In fact, one of the boys served as president of his senior class. Dombrowski Wow. That’s amazing. How long did it take for, uh, black students to be more accepted in the high school? Do you think they are now? Did they end up building another high school that served that neighborhood? Stinecipher Oh, no. No, no. They’re all at Seminole still. It’s the only high school in Sanford. Dombrowski Oh, okay. I didn’t know that. Stinecipher Well, they’ve done something to Crooms [Academy of Institute Technology]—I haven’t kept up. But it’s a school of technology or something like that. Yeah. But that’s just been in recent years. And then they later made the school into a ninth grade center. I guess, right after we merged. Somewhere in there. So the ninth graders went there until—a few years later, all the ninth graders came back to Seminole High. I can’t remember the years. Dombrowski How were the rest of the ‘70s like, in terms of tension at the school? Did it end up getting resolved somehow? Stinecipher Gradually. Gradually. It was hard. It really was. And then there was still one thing that always irked me was, the first couple years was okay. In the homecoming. They’d have a black queen and a white queen. Dombrowski Oh. Stinecipher And that just kept on for years. And I thought, can’t we get together? Dombrowski Wow. That’s like two separate worlds in one school. Stinecipher I know. I know. It was bad. And, well, I think there’s always going to be a little tension. But, uh, it gradually got better. Dombrowski Okay. How did things like Cape Canaveral affect—you know, the opening of the [John F. Kennedy] Space Center affect—did you see any effects from that in Sanford? Like people coming here for the space industry? Or did you teach anyone related to that? Stinecipher No. No. The Navy base was here. So I taught a lot of Navy students in the ‘60s. Of course, the Navy moved from here in ’68. But, yes. A lot of Navy kids. And the school, Seminole High, was right in the pattern of the jets. Because when they’d have their touch-and-go, you know, to practice landing on the carriers, it would come right over Seminole High. They would come, and then there’d be a lull, and you know, just keep on coming. And you’d just have to learn to teach in between the comings and goings. Dombrowski How did the town change after the base left, do you think? Did the population drop very dramatically? Stinecipher Oh, I can’t go in—probably a little bit. Something like that always affects things, but something else always comes along. But Sanford was a very good Navy town. The personnel always seemed to think Sanford was a good place to be and a lot of Navy people retired here. Dombrowski I have a couple more questions about general events like that, like the opening of [Walt] Disney [World Resort]? What do you remember from when Disney opened down here? Stinecipher Hm. Dombrowski Was it very significant at all? Stinecipher Well, I guess it was. It was exciting to go down there the first time or two. But, as you realize, gradually the impact has come up to Sanford, because of the growth. That’s what really brought the growth to Seminole County. Dombrowski Yeah. What do you think about that? Do you think that’s a positive thing? Stinecipher Oh, in some ways. But I’d rather it go back to, you know, the old days with the smaller population. Dombrowski Yeah. Yeah. Stinecipher But you can’t go back. Dombrowski Through this time, you know, that you were a member of the [First] Baptist Church [of Sanford], was the church very involved in community activities? Did they have local events, or did they throw parties in the town or something? How were they involved in the community? Stinecipher How were they involved in the community? Dombrowski Well, uh, you know, did they take measures to feed or serve the homeless or anything? Stinecipher We do now. We do now. Yes. We have a program on Sundays. I think about 1:30, they feed the homeless. I think about 40 or 50 that come. And they have a devotional and so on. I don’t know exactly what the program is, but yes. Dombrowski Uh, how has the church during your time as a member? Or as a historian? Has it changed at all? Stinecipher Yes. It’s changed. It used to be a very large church with a lot of young people. When I was growing up we had—probably my high school class—we had about half the class at First Baptist. Dombrowski Wow. Stinecipher Of course, we were just a little over a hundred in the class, but—maybe not quite that many. And the other churches too—they were very active and large Sunday schools had their training unions and MYAF and whatever. Most people went to church back then. Now—and then of course, we had the downtown churches. There were a few scattered out, but mainly the First Baptist, First Methodist [Church of Sanford], First Presbyterian [Church of Sanford], and the Catholics<a title="">[1]</a> were all right downtown and very, very active, all of them. Back up to the ‘60s or early ‘70s. Dombrowski Okay. Stinecipher But the downtown churches are all losing members. Of course, there are other churches too. But still, it’s sad. It really is. Dombrowski Why do you think that is? Stinecipher I don’t know. People seem to have more to do. And, I just—I don’t know. Not interested in church anymore. Dombrowski Okay. Where was the original church—the Baptist church? Stinecipher The original church is the same church—the same property. It was a wooden church. Are you familiar with the First Baptist Church downtown? Dombrowski No. Stinecipher No. Okay. It’s on—well our address is 519 Park, but the original church was a small wooden building. The church was organized in 1884, and the wooden building was finished, I think, by the end of that year. It was on the corner of Sixth [Street] and Park. And that’s where our brick church was built later. That wooden church was moved and the brick church was built there—built in two parts. The first section, which included a Sunday school, the front part, was built in 1914. And the second part, the auditorium part, was built in 1920. Then, in 1949-50, the education building next door was built. Let’s see. The new—well, the next educational building, which is now the Chance Education Building, which was named for our former pastor who died while he was a pastor in ’71. It was built in ’66. That’s on the corner of Fifth [Street] and Magnolia [Avenue]. And in all that process, we bought all that property on that block. House by house. And they all had to be moved to build that education building or demolish. Some were moved, some were demolished. And finally, in 1994, we broke ground during our 110th anniversary—broke ground for our new sanctuary, which we entered in August of 1995. We finally got it paid for a couple of years ago. Dombrowski The education building sounds enormous. Taking over the whole… Stinecipher Well, not the whole property. But we’ve got four buildings there on the block. And we also have a youth building, which is across the street on Magnolia. Dombrowski Okay. You talked about how active the church community was. Was the church community—yes? How was it active? What kind of events or activities did the church hold? You know, what was Sunday service like? I don’t know much about it. I don’t know much about the First Baptist Church. Stinecipher Oh, we had Sunday school. We still do, and worship service on Sunday mornings, and then at night had Baptist Training Union, BTU—Training Union, whatever—for the entire church, you know. We had different unions—learning. In Sunday school, you learn more from the Bible, you know, like that, but in Training Union it was more about other—I remember once, we had to learn about other different religions. We learned Baptist beliefs. Things like that. And the members took part were—were assigned parts. That was a good learning experience for people, especially young people, you know, getting up in front of people and doing. That was good. There was also a lot of socials. I remember having hayrides and things like that. Parties and stuff. You know, it was a good youth group. And the older people had their own things. Somewhere along the line, Training Union went out the window. I don’t understand. Things change. Dombrowski Oh. Stinecipher But we still have Sunday night church. Dombrowski Okay. Stinecipher And, uh, other things, you know. Dombrowski Okay. What is your role as church historian like? What do you do for the church? Stinecipher Well, in the 100th anniversary in 1984, we had a big celebration. I was not chairman of the committee. I was on it, but I volunteered to write a history of the church. We had this little bitty book. I said, “We have to get a little better than that.” I wasn’t expecting to do too much. Got in there and found all the records, ending up writing a book. I think about 270 pages. Dombrowski Wow. Stinecipher It was a wonderful experience, because we have a lot of documents, and minutes, and things of all church business meetings, and oh, just a slew of stuff. And church bulletins, you know, have information in them. So it was really interesting experience. Also, none of the memorabilia of the church had ever been collected. It was scattered all over the church and some people knew where things were, so I went scouring around trying to find all that, and I got all that collected, got a crew together to work on, to organizing it, and we had a huge display of all our memorabilia. I mean, there was a bunch of stuff, all in the fellowship hall for the 100th anniversary. And then I had the book published, you know. Since then, I’ve continued to collect things from different people. It’s amazing what things pop up still about the history. Collecting it—and have a special room in the memorial education building. That’s the first one that’s on Park Avenue, to collect all that stuff. Then when we built the new building in ’95. They put a special heritage room in there. It was supposed to be larger than what it is, but when the costs came in for building the church, things got squeezed. And that did too. But I have a room there, and cases around the room, which were given to us by one of the local jewelry stores who[sic] was moving or going out of business or something. So I’ve got that. So people can go in there and see the displays. It gets changed occasionally. And I have an excellent storage room. It didn’t get squeezed! It’s still there, so I’ve got a good storage room for all kind of stuff in there. So I continue to collect things, and I’ve chaired the anniversary committees every year since. Now, we had 125th [anniversary] a year ago, in February. I told them then, that was my last one. I’ll be almost 80 years old. I think it’s time for somebody else. But it’s been fun, I’ve thoroughly enjoyed it. Dombrowski What kinds of memorabilia? Stinecipher Oh, goodness. One thing we have—the old pulpit—the original pulpits from the first church, and a couple of chairs. They’ve gotten moved into my heritage storeroom there. But it’s okay, they’ll get room for them. We bring them out. Oh, all kind of paper things. And lots of and lots of pictures. I still take pictures of important events. And, oh, I can’t think of what all there is. We’ve got a lot of important documents, the incorporation papers. Goodness, I’m trying to think of what we do have. Just a lot of interesting things. We’re always finding new things. It’s good. Dombrowski It sounds like the Baptist church was the big church force in the community. Stinecipher It was the largest, yes. It was. Dombrowski Okay. Okay. Stinecipher But as I said, all the downtown churches were very active, just not as large. But there—oh, we sponsored five missions which are now churches. Dombrowski Wow. Stinecipher Yes. Central Baptist [Church], Pinecrest Baptist [Church], Westview [Baptist Church]—it’s changed its name two or three times. Lake Mary—it’s something else now. I don’t think it’s even a Baptist church. Well, that’s another story. Oh, and Victory Baptist [Church]. We formed it as Elder Springs Baptist [Church], but it later withdrew from the Southern Baptists and became independent. But we did organize it. There are three that are still Southern Baptist. Dombrowski How did you organize the missions and get these churches started? Stinecipher We’d have a commissions committee go into the neighborhoods and start Sunday schools and, you know—at night. I wasn’t, you know, involved in any of it. Gradually, as attendance grew, they’d want to become a church, and so we’d organize it. It took several years. Pinecrest didn’t take very long, because a whole Sunday school class of ours went out there and started it—a men’s class. So that didn’t take very long, just a few months. Bu the others, some of them took several years. Dombrowski Is there a story behind the Lake Mary? That sounded a little complicated. Stinecipher Well, we took them back as a mission. They had been a church and they wanted to go back into mission status. We had not started them originally, but they wanted to come back in mission status and asked us to be their sponsor. So several of our members went out there and helped them for several years, and then they became a church. I knew it was in ’83, because that was the last thing I put in my history book. They became a church. Elder Springs and Pinecrest were both organized in ’57. And Central Baptist, which was originally Southside Baptist [Church], was organized in 1938. And Westview [Baptist Church], I think, was somewhere about the early ‘60s. It was originally Oak Lawn [Baptist Church], because it started—I think the first meetings they had was in the funeral home out there, you know the one out there by Rinehart [Road]? Dombrowski Mmmhm. Yeah. Stinecipher Yeah. Because one of our church members was—that was his funeral home. Dombrowski Uh, it sounds from your book like you exhaustively researched everything. Stinecipher Yes. People keep asking, “Are you going to add to the book?” “No way.” It’s a lot of work. Dombrowski Yeah, I bet. Um, did you, uh, let’s see. Were there any big personalities in the church? Or people that you wrote about in your book? Stories that you could tell me about people or families in the church? Stinecipher We had a pastor there, Dr. Debbie[?] P. Brooks, who was there for 33 years. He was very influential. Wonderful person. He came, I think, in ’29 and retired in ’62. The—oh, Reverend [George] Hyman, of course. That was way before my time, but he’s the one that was pastor when they built the brick church. And from what I heard, he had a vision as to how it should be built. And the first—the front part was to be the Sunday school, and that was to be to educate the people, and so forth, and bring them close to God. Then that would lead them into the sanctuary, which was the second part. Something like that. And it was built. He was there for the first part, and then he had to go off to war—World War I—as a chaplain. He came back and they built the second part. And then he thought that the church would be more in the community with programs and so on for the community, and he called it the “Baptist Temple.” They didn’t ever change the name. Incorporation papers for the First Baptist Church, on the front of the church it says, ‘Old Baptist Temple,’ and some of our pictures have that on there. And he was having various speakers and things come in, in addition to the regular church. Soon as they left, they had a meeting, and everything came down. There was more to it than that, you can see it in the book, because it was mainly his deal. Dombrowski Okay. Yeah. Those were about all the general questions that I have. Is there anything that you’d like to talk about that we haven’t yet? Any, you know, special memories that you have that you’d like to share or keep in audio? Stinecipher I could tell you about a club we had. Dombrowski Okay. Cool. Stinecipher You know, I wrote for The Sanford Herald. Dombrowski Oh, I didn’t know that. Stinecipher Yes. Well, in high school I wrote The Celery Crate. That was our youth group, the teen group. We met second floor of old City Hall. We had pool tables, ping pong, all kind of board games, and card games, and things like that. The space had originally been an auditorium, so there was a stage up there. Occasionally, we’d have various programs. The Celery Crate committee would plan the parties. We’d have about three or four parties a year—square dances and things like that—but we were open every Saturday night during school, just to go up and have fun. The PTA [Parent-Teacher Association] sponsored it. My mother was one of the sponsors. My mother and dad were always chaperones. So that was a lot of fun. But then I wrote that column. That was a freebie. Then there was The Herald also had a Seminole High column. A student would write that. And so I said, “Well, since I’m writing this…” I applied for that, and did that for my senior year. Got paid ten cents an inch. When I was in college, for one year, I wrote—what was it called? Oh goodness, can’t believe what it was called right now. But anyway, I wrote it one year at Stetson about Seminole High students off at college. I talked to a lot of parents, because I came home quite a bit. In 1994, I started writing “The Way We Were” column. I wrote that until July of [20]07, when the owner of the paper fired me—fired my column. And also, he also took away the Sanford column—you know, social news. And then when we got the new publisher, and I was writing extra things, like the class reunions, high school class reunions, Historical Society [of Central Florida] news, anniversaries. I wrote a couple of weddings. But the new publisher said he’s not printing any of that and he didn’t need me anymore. And that was just about a year and a half ago. Let’s go back to the club. Dombrowski Okay. Stinecipher We were in fifth grade. And this girl, Joanie Saunders—moved here from I think Bradenton—and was in Miss McNab’s room where us girls were who had grown up in Sanford. There was a magazine at the time, called Polly Pigtails, and they encouraged people to form Polly Pigtail clubs. So Joanie came in, and I guess probably because she was new, and wanted new friends—I don’t know—she got us together and we formed a Polly Pigtail club. All the girls that were in there were in Ms. McNab’s room. All of us. Several of us had grown up together and been good friends. Then, through the years—sixth grade we added some people, went to junior high, we added some more, some people dropped out for various reasons, and we’d add some more. And we’d meet every other Tuesday afternoons at member’s homes. We had parties. We had dues of ten cents a week. We made candy sales. We’d make about eight or ten dollars at a time. When we got in the eighth grade, we decided we wanted to go to the beach for a week. So we had to have more candy sales! And we did. We started—we rented this house over in New Smyrna [Beach], Sandy Shack, and went over for a week in August. Our parents were chaperones. We went to the beach every summer for a week through our senior year. Our senior year, after we graduated, we went to Daytona [Beach] and had this house right smack dab on the beach. It had been a restaurant, and it had three bathrooms, which was great, because the other one only had one. And we’d had this all the way through school, ‘til we graduated high school. So we were all very close. We started out with friends that were friends anyway, and we added some of the others. Two of the girls got married, and of course, we couldn’t let them—our mothers wouldn’t let them stay in the club. So it was a lot of really, really, really good. A lot of us still keep in contact. We’ve lost a couple to deaths and most of us are still around. Still good friends. Dombrowski That’s wonderful. Stinecipher It really was. Dombrowski It sounds like the community was really close. Stinecipher I just wrote it again, or re-wrote it, for the Seminole High magazine that comes out every year. Well, they were having some articles in there about the beach, because New Smyrna—we always went to New Smyrna all the time, stayed over there on weekends and daytrips. A lot of people were writing memories about New Smyrna, about the beach, so I asked if I could write about our beach parties over there, so I did. Because we had some experiences. It was fun. Dombrowski Do you want to tell us what kind of experiences happened over there? What did you guys do? You went to the beach? Was there much around New Smyrna to go and do too? Stinecipher No. Just the beach. Well, the Sandy Shack was—oh, right in the—it was in the zone where the lifeguards weren’t. But our chaperones would make us go up further on the beach where we could go. Well, of course, we’d go camp right by the lifeguard tower. Think we were hot stuff. The first year we were there, we were just out of the eighth grade, we went to the lifeguard dance. Thirteen-fourteen-year-old girls sat over in a corner. And of course, the lifeguards were much older than we were. They were high school and college kids, mostly college, I think. And I remember sitting there—canasta was a big deal back then. I remember Tricia saying, “We should have brought our canasta cards.” Because everyone’s out there dancing, and here we were. Then the head of the lifeguards, Joe Canard, came up and asked Jeanette to dance. She didn’t know how to dance! She was out there doing the best she could, so she was our heroine of the night. We did have a couple of Sanford boys that were there that came and rescued us, and once we had, a couple years later we met some of the New Smyrna boys. They were more our age. And we had a bonfire on the beach with hotdogs—I guess, I don’t remember—and invited the boys that we knew. And some of the fellows that usually stayed at the beach with their families. They were over there. We asked them to come. There are all these people showed up at our bonfire. All these cars, all these people. Our chaperones got kind of upset. Finally, after a while, they came and shooed the others away, because we got a little scared too. Yeah. We met the local fellas from over there, and we dated some of them. When there were football games, or any kind of sport, we always played New Smyrna and whatever. So we’d always go to the games, and they’d come over, and we’d see the New Smyrna boys. That was a big deal. And so forth. That was fun. One time, a couple boys from Sanford came over, and said, “Let’s go to the drugstore.” And so the whole bunch of us—I think there were six or eight of us—the whole bunch of us jumped in the backseat and went down to the drugstore. And after that, one of the fellas said, “Where do you want to go?” “Let’s go to Daytona.” We took off to Daytona and went to the boardwalk. Of course, didn’t tell our chaperones, we just went. Didn’t get home until, oh, late. So they were furious. We had to wash the dishes, I think, for the rest of the week or something like that. Dombrowski But it was worth it? Stinecipher Oh, yeah. It was fun. We had fun. Dombrowski Well, those are all of my questions. Is there anything else you’d like to mention? Stinecipher Hm. Dombrowski You, Sanford history, teaching? Anything. Stinecipher I don’t know, but we could talk about my parents. Dombrowski Okay. Okay. Stinecipher They met at Piedmont College, in [Demorest,] Georgia. My mother went up—she was a Congregationalist, and that was a Congregational school. And my dad was from Tennessee and his sisters—one of his sisters was teaching there. He was the youngest—next-to-youngest—of a family of ten. So he and his brother decided to go down to Piedmont College. And they met there. And Mother just stayed for two years. You could teach after two years then. Then Dad graduated in [19]25. He sang in a quartet—a male quartet—that traveled with, uh, advertising the college all up into the eastern states. That was something for him—all of them—especially for my dad and his brother, because they had never been anywhere. I’ve got his diaries at home telling about their experiences, staying at home, staying in hotels, and YMCAs [Young Men’s Christian Association], and all this. And singing, mostly in churches. And all like that. And they traveled for one year after he graduated. He graduated ’25. They traveled for one year. And they had been traveling in the summers or before that. And so, in the fall of ’26, he came to Sanford and got a job at Chase & Company. Stayed there for 40 years, became head of the Building Material Department. And he and Mother got married on July 6, 1927. Dombrowski Did you have any brothers and sisters? Stinecipher No. I was an only child. They waited nine years before I was born. Dombrowski Oh, wow. Okay. Those are my questions. Thank you! Stinecipher Okay. Dombrowski Thank you for your time. Stinecipher Oh, you’re welcome. <div> <div> <a title="">[1]</a> All Souls Catholic Church. </div> </div> Andrew Joseph Bracken Angels' Eat Shack Baptist Church Baptist Training Union Baptists beach beaches Bill Stemper BTU Central Baptist Church Chance Chance Education Building church churches Crooms Academy of Information Technology Crooms High School Debbie P. Brooks Demorest, Georgia desegregation Diana Dombrowski Downton Sanford Edgar Cooper education educators Elder Springs Baptist Church Fernald-Laughton Memorial Hospital First Baptist Church of Sanford Freedom of Choice George Hyman Girl Scouts Gladys Stemper Grace Marie Stinecipher Henton historians Historical Society of Central Florida integration Jack Stemper Joe Canard journalists Lake Silver Elementary School Marie Stemper McColonel's Drugstore missions Museum of Seminole County History NAS Sanford Naval Air Station Sanford New Smyrna Beach North Park Baptist Church Oak Lawn Baptist Church Old Baptist Temple orlando Piedmont College Pig 'n Whistle Pinecrest Baptist Church Polly Pigtails Preston's Drugstore Robert Anderson Sandy Shack Sanford Seminole High School Southern Baptists Southside Baptist Church Stuart Gadshaw Sunday schools teachers The Celery Crate The Florida Baptist Witness The Sanford Herald The Way We Were U.S. Navy Victory Baptist Church Walt Disney World Resort Westview Baptist Church Winter Park https://richesmi.cah.ucf.edu/omeka/files/original/122bd69c4f99aa8ced815097f468da93.pdf e73adb342c71e1c173c32c8b88afe3a3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Holcomb, Susan Interviewee Scott, David Location <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida Original Format 1 audio recording Duration 55 minutes and 53 seconds Bit Rate/Frequency 196kbps Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of David Scott Alternative Title Oral History, Scott Subject Sanford (Fla.) Nursing homes--Florida Description An oral history of David Scott, conducted by Susan Holcomb on April 9, 2010. Scott was the son of Grady Scott, who served as Superintendent of the Old Folks Home, formerly located at 300 Bush Boulevard in Sanford, Florida. The property has since been converted into the Museum of Seminole County History. In this interview, Scott discusses the layout and residents at the home, his responsibilities as an employee, growing up in Sanford, and how Sanford has changed over time. Table Of Contents 0:00:00 Introduction 0:00:20 Old Folks Home 0:02:38 Residents 0:05:10 Responsibilities as an employee 0:11:31 Dining room and kitchen 0:12:43 Willie and Lily 0:13:31 Stories about residents, father, and siblings 0:18:59 Livestock and agriculture 0:21:34 Stories about residents and pet dog named Pooch 0:24:04 Laundry room and furnace 0:25:43 Life as a teenager 0:26:52 How Sanford has changed over time 0:27:55 Siblings and education 0:30:15 Pasture, orange groves, and freezer locker 0:32:53 Agricultural Building 0:34:44 Cattle ranchers and the railroad 0:38:03 Father's employment history 0:39:50 Oak tree memorial 0:41:23 Disciplining children and residents with dementia 0:44:13 Living room 0:44:55 Gender and racial segregation 0:45:45 Layout 0:54:29 Closing remarks Abstract Oral history interview of David Scott. Interview conducted by Susan Holcomb at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Type Moving Image Source Scott, David. Interviewed by Susan Holcomb. April 9, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank"> Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank"> Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Coverage Old Folks Home, Sanford, Florida Museum of Seminole County History, Sanford, Florida Creator Holcomb, Susan Scott, David Date Created 2010-04-09 Date Modified 2014-10-02 Date Copyrighted 2010-04-09 Format audio/wav application/pdf Extent 564 KB 188 KB Medium 55-minute and 53-second audio recording 21-page typed transcript Language eng Mediator History Teacher Provenance Originally created by Susan Holcomb and David Scott. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference "<a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/about-the-museum-of-seminole-county-hi/" target="_blank">About the Museum of Seminole County History</a>." Department of Parks and Preservation, Seminole County Government. http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/about-the-museum-of-seminole-county-hi/. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Click to View (Movie, Podcast, or Website) <a href="http://youtu.be/7hueqmkChCQ" target="_blank">Oral History of David Scott</a> Transcript Holcomb Today is April 9th, 2010. My name is Susan Holcomb. I’m here interviewing David Scott about his time when his dad<a title="">[1]</a> was Superintendent here at the Old Folks Home. David, thank you again for your time today. Scott Okay. You’re welcome. Holcomb You were telling me about the office here. Scott Yes. This where I’m standing now in front of the fireplace. This was the superintendent’s living quarters. This is where we lived—my mom<a title="">[2]</a> and dad, and my sister, my brother, and myself. We lived here. This was the entrance—the main entrance—the office. That’s where we kept all the records. There was a driveway that came up in the front here and made kind of a turn and people would come up and stop in front of the office. And whatever their business was, we would take care of it here, because we lived right next to the office. So it was real convenient. But this was where we lived. We lived in here. It was good. This has been opened up. The partitions—this has all been opened up into the dining area. That was all closed when we lived here. It looks small now, but it was large then. But it was a lot of fun here. This was back in the late [19]50s-early ‘60s. But my sister and my brother stayed on this side—in the superintendent’s side—and I stayed over in the office where Kim [Nelson] is right now, that was my room. There was[sic] two rooms where the office is—two small rooms. They opened that up and now she’s in—where her office is that was my room where I stayed. Holcomb How about that. So there were two rooms there and you had one of them? Scott Right. Holcomb And how old were you again when you lived here? Scott I was around 15—15 years old. Holcomb And how many years were you here? Scott We were here approximately four years living here. But I got used to the elderly folks, and it was a good part of growing up. It was a lot of experience, a lot of knowledge, and things that I listened to back then—stories and all. They were fantastic. It was just like reading a book, when you talk to some of the people that were here. And it was great. Holcomb That’s interesting. About how many residents were here then? Do you know? Scott I would say probably 10-15 in this section. We had the infirmary in the back. Of course it’s not there now. Rachel Lee ran the infirmary with a nurse, and she had her patients, and sick people were there. And there was the colored section where they lived and there was probably eight people living in there. But there would be people coming and going, but most of the time we kept the same ones. They just lived here ‘til something happened to them. But it was good that this road came around from the front of the office. It came around the building and all the way around that building, and made a loop, and came out over there where you parked your car in the parking lot, and came back out to the road. And the ambulance—if they had to pick up someone from the infirmary or the doctor or whatever, they could make a loop and all the deliveries and everything. Now when you pull up—we’ll walk to the kitchen here. This was our entrance right here in the kitchen on the superintendent’s side. We parked our cars out there. There was an oak tree. This was all field out there. To your right, on the south side, there was a garage and a chicken coop. It was probably 50 by 50 and we probably had 150 chickens to 200 chickens. Behind that was the wash shed—the infirmary. And the coloreds stayed in their building. We would take—certain days we would go out and gather up the chickens and we would have to slaughter up the chickens. We had fresh chickens and put them in the freezer. We also had pigs and cows and stuff like that. We had plenty of meat, plenty of milk, and it worked out good for everyone here. Holcomb That[?] sounds like it. What were some of the responsibilities you had here, if any? Scott Oh, yeah. Yeah. Back in the day you did your part. I would get up in the mornings, and I’d get dressed and sometimes put on an old pair of pants. Not my school clothes, but I would come over and back up between the little trellises out here. This is the dining room and kitchen here, and I would back up there with the truck. We had a five-gallon pail with leftover milk, scraps. And we would get commodities like cornmeal with bugs in it or something once in a while and I would take all that, throw it in the five-gallon bucket with milk, put it in the back of the truck, drive down the road, and I’d slop the hogs every day. That was my morning chore. So the reason why I said about pants was that sometimes it would spill on ya, so you had to be real careful. But I had to do that and a bunch of little things in the morning. Make sure everything was in its rightful place, kinda do a little walk round—my dad did and I did. It was a family thing. Then we’d walk down to the road and catch the school bus, or drive to school, or someone would pick us up. Holcomb You said you went to Seminole High [School]? Scott I went to Seminole High on French Avenue on top of the hill back then in ’59. The road out here—the four lane—was just getting finished. It was two lane. They were just finishing it. That made it nice. But it was good. In the afternoons, I would come in after school and I’d kinda go through the same process of changing clothes and getting everything. We had a Snappin’ Turtle lawn mower—one of those old mowers with a turtle head on the front—and we would mow grass. That was part of it. We’d mow grass and Will—he was one of the black guys. He was on crutches. He would be at the barn at a certain time, and all the cows would come in, and he’d milk all the cows. I’d go through the orange grove—that was all orange grove on that side then—I’d go down through the orange grove to the barn, and I would bring the milk back, because he couldn’t do it. And I’d carry the milk, bring it back to the kitchen so they would have fresh milk. Usually we’d have two full buckets. That was part of my job in the afternoon. There was[sic] always things to do. Sometimes in the afternoons or on the weekends, I would even go to the infirmary or in the back where the blacks lived—the colored folks lived—and pick them up and take them across—here’s a lake in Lake Mary you could go through the woods and around, and the man that had the lakefront property would let them fish. So we would go fishin’. There’d be four or five that’d want to go over. Sometimes we’d leave ‘em for two-three hours with water and everything and then go back and get ‘em. They’d bring the fish back, clean them, and the kitchen people would cook ‘em. So that’s the way it went. Holcomb So every once in a while you had fresh fish too? Scott Oh, yeah. It was great really, really good. It was a good life living out here. I enjoyed it. Kept us all busy and you got to see a lot of people and that’s what it was all about really. Sometimes I’d be sitting in here—and another part of my duties were, someone pull up—there was a funeral home in Sanford and they’d bury folks in the [Seminole] County cemetery here by the college. They would pull up in the hearse, and I would go to the office, and give them a number, and they would have all the paperwork. Or they would give me a number. I forget how that went back then. I would go over to the cemetery with them and they would have a hole. They had someone—they would drop him off and dig the grave. Sometimes the graves weren’t real deep, because of the water table. But they had a pine box, and I would help them lower the remains—the body—down in to the gravesite and basically, you know, cover it up. And I’d bring back the number or whatever and it would go into the book. But that was just another thing that I did. But yeah. I helped bury a number of people over there. Sometimes the cows would get out of the fence and they’d trample through over there and you could see where they stepped in. it was just a common thing though. It was something to be expected when you had animals like that in a cemetery. We had a guy that was in the infirmary—Sam McFadden was his name. I was 15 years old and I told him—I said, “Sam, when I turn 18, I’ll take you back to Oviedo.” That’s where he was from. He was a black guy. Really a nice person. He had no legs at all. He was over there probably six-eight years. I forget how many years. So the week I turned 16, and got my regular license, I pulled around, got him down the ramp, picked him up, put him in the passenger seat, and we went to Oviedo. All day long. He hadn’t been over there in years. So I drove him all around Oviedo so he could see people he knew. He would show me where to go and tell me which way he wanted to turn. He had a wonderful day. People gave him money and everything. That probably made his day, you know. He remembered that the rest of his life. He was a real good person. I liked doing things like that. It was part of the experience I got from living over here. He was a great person. Just a little thing I could do to help out. Holcomb That’s fantastic. I bet he did enjoy that. Scott Oh, yeah. But he didn’t weigh much. I could pick him right up, with no legs. But, uh, this area—this area was the dining room and they would eat their breakfast, dinner, and supper in here. The kitchen was right through there and they would cook everything. Where the books and all are, that was the pantry. That’s where we kept all the food and stuff. And the little walkway out here— where the colored dining room was. They came up, they ate out here, and the other folks in here ate in here. Holcomb So they essentially put the kitchen in the middle. Scott The kitchen—right. It’s where it is now. I guess it’s still a kitchen in there. But that’s what that was. I don’t know if they’ve done anything with the little extension out here or not, I think it’s basically for storage now. Holcomb Yeah. Scott Yeah. Holcomb What was—what was that? The storage [inaudible]? Scott [inaudible]. Holcomb Oh, okay. Scott No. The dining room. Holcomb Got it, got it, got it. Scott Yeah. Holcomb Yeah. Scott Yeah. They would sit on the porch down there. And there was two—there was Willie and Lily. She was ‘bout as big around as she was tall—real short. But they would go down here on [U.S. Route] 17-92—there was big oak trees down there then. They would take their chairs—they had a couple chairs they left down there. I took them down for them, and they would sit there and watch the traffic and wave. People got used to seeing them every day just about. Some people would actually stop and give them money. They’re the same ones that we would take fishing. They loved to fish. It was really great. They enjoyed it. It was something for them to do. ‘Cause you know a place like this you get a certain age, it gets a little boring and a little excitement—you see new people, new cars. Holcomb And somebody stop to chat. Scott Oh, yeah. People would probably knew[sic] them—that knew they were here. You know, there’s a lot of sad things. People that you get acclimated to living in this area with older people. And you’re a teenager, and you hear all the stories, and you like these people. Then they get sick and pass away. It’s kinda hard on you. But it’s an experience that you never forget. It’s good really. It was really good for me. And I remember a lot of the stories. They were great. Like back years ago when Florida had dirt roads and people rode horses and things like that were some of the stories. Holcomb So you heard some of those? Scott Oh, yeah. Holcomb Well, that’s fascinating. Scott ‘Cause some of the people—back in 1960, they were 80 years old, so you know they didn’t have the cars. That’s the way it was. All the women stayed in one section and the men stayed in the other. Sometimes they would get to arguing—well, older people like that is—was—kinda comical. But they would. They would get serious and would start arguing. We had one out here named Beautiful Lee. That was his name. He had a business here in Sanford. We had another here, Mr. Barfield. And they didn’t get along too well. Sometimes you had to straighten them out. My dad—he had his hands full. When we first got here, the beds were really bad. The mattresses were old and soiled. The first thing he did was go to the [Seminole] County commissioners to get funding to where Echols Bedding Company years ago. Came out to haul the mattresses out and put all fresh mattresses in. And like—the people we buried out there. They were just buried—buried without any nice clothes. And dad got to where—they might’ve got them from Goodwill [Industries International, Inc.] or wherever back then—but they had suits when they were buried instead of being buried in a pine box. It was the little things that mattered. He was good about that. Holcomb So you’re saying your dad went in front of the commission to get the beds? Scott Oh, yeah. When he needed something. Homer Little was on the board of county commissioners back then, and he talked to him about a lot of things. He would go to the meetings and whatever he would bring it up—whatever he really needed. There wasn’t a lot of money, but still yet you know things needed to be done. Because, to be honest with you, it still happens every day. And I hate to see it, but people bring their parents out after they get sick and everything and they can’t help themselves. They bring them out here and sell their house. The kids get their house—get everything. And for the first week or two they’re out here continuously visiting. Then it starts dropping off. Then it’s two weeks. Well, then it’s six months. Then maybe it’s birthday or Christmas. And that’s the way it happens. It happens all the time. It’s sad, but it’s true. I would say 85 percent. Of course, it might be a little different now. I’m sure it is. But it was still sad back then. That’s just the way life is. But it was nice. We had one man back there next to me—next to my room. And back then, you could smoke. He had emphysema so bad. So they gave him cigarettes for his emphysema that he could smoke that, I guess, helped him or something. Those things smelled so bad. I remember his smoking at night or in the daytime, the whole hallway would smell of his cigarettes. I would have to go to my room and I didn’t like that. But, uh, it was nice. My brother and sister—they did a lot of work too. There was a little pool right out here in the front—a fishing pond—concrete fishing pond. It’s not there now. My sister, when she was in her teens, would walk up and down take pictures of her walking, because she thought she was something. She had her little small waist and all that then. That’s just the way it was. I had an old car. I put it in the garage back there that I worked on a little bit when I wasn’t real busy. It was good. The road department was real small down here, and if we needed something from the road department, we could get it and bring it back. It was pretty decent out here. Everyone seemed to work together. Scott There’s so many things I really can’t remember. I know with the hogs—we would take them and—Mr. Humphrey was his name—from Lake Mary. He was really big man. He would come over a certain time of the year when it was cool and we would butcher the hogs. They would get so big and so fat from the milk and everything. We would butcher the hogs and then we’d take the hogs up to the freezer and, as needed, we would go there—get the meat—bring it back, and they would cook it. So we always had fresh meat. It was really good. We had beef too. We raised a few bulls and stuff like that once in a while. It was always something. It never stopped. Holcomb Doesn’t sound like it. A very self-sufficient organization too, with as many chickens as were out there. Scott Right. Yeah. We had chickens. We had the pork. Beef. We had eggs. We didn’t buy any eggs. We had like the commodities the corn meal was brought in. The government had left over stuff. And someone hit a deer or something like that, or poached one, they had venison. That’s the way life was back then. We had plenty of vegetables. People would bring stuff like different vegetables out here, and oranges. There was an orange grove all around the place. There was oranges galore. Course, they’re all gone now. Anytime you wanted a real nice orange, just go out and get it. And they did. The people that were able. The rest of them that weren’t able. They looked out for them. We had a pickup truck that we used. I would use it to go get things when I got my license. I would drive it back and forth in the mornings to feed the hogs—slop the hogs—and stuff. We also had a station wagon that we used. My dad would take the people that live here to the doctor, or to take them to town or something instead of taking them over to the infirmary, if they needed x-rays or something. There was one black lady. She was really young. I say young—she was probably in her 20s. She was in an accident or got shot or something. I forget what it was, but she couldn’t walk. She was in the infirmary. She didn’t have any money. The county had to take care of her. They took her back and forth to the doctor, kept taking her, not giving up on her. And you know she got to where she could walk. She got out on her own. From what I understand she got married and had kids. But that’s another one of the stories. Holcomb That’s amazing. Scott Yeah. There’s a lot of stories. If I could remember a bunch of them… Holcomb Any time you remember one, give us a call. Scott Yeah, yeah. We did a lot of things out here. I don’t know. I get to thinking about—there’s a few movies that I have. They’re the old 8mm. if I could ever get them off and transferred them over onto something—one of these days, it shows cars parked out here and where we were living we’d be coming in and out of this door, and the garage, the chickens, the whole area. It’s just a small video, but maybe I could put it together. Holcomb Oh. That would be fantastic. Scott Yeah. We had out little dogs and stuff. A little dog out here. I had one. We had a wreck down here on the side of the road, and my uncle had worked for Ratliff’s Towing. So I was over there, and walked down to see the car that had been left down there on the side of the road that had been there a couple days. I heard a little noise and there was a puppy under the seat. But it was part Chihuahua. It was a little, small dog. So I brought it back and named it Pooch. That was my dog. And she had the run of the place. Everyone loved her around here. She had the run of the place. Everyone played with her. She was really smart. The newspaperman would come up and make the circle and throw the paper out and we had—there was no air conditioning in here—we had fans. There was the screen door. She could hit it and open it up and then she’d run out. When I saw him coming up, if she didn’t hear him I’d say, “Paper, Pooch,” and she’d run out and get the paper and bring it back in. She was a smart little dog [coughs]. Scott Yeah. It was basically self-sufficient. We took care of everything here. Laundry and the whole nine yards. Holcomb Where was the laundry? Scott The laundry was back here behind the garage. There was a building back there. That’s where the maids did the laundry. We had, I think, one or two maids that helped. My mom made out all the menus. She did the menus and helped with the cooking and the cleaning in here too. And the maids did the laundry and all in the back—back here. And my dad—if you go out the back and you go down, there was a boiler down there, and probably still is. That’s how the heat was in here. We had the big radiant things. They had a furnace down there. Actually, it was coal to start with. And we used to have to go down there at night and fill that thing up to keep it warm in here. Then they changed it over to diesel fuel or kerosene or something. Yeah. It had a coal chute. A truck would back up and dump it down in there. That was another job. There was[sic] always things to do. Always. But they’d get together—a lot of people would get together, like the folks in the back. They would get together sometimes on Sundays and sing and have a good time down there. We all did. Holcomb It sounds like it. Did they keep you cracking on your homework—your schoolwork? Scott Oh, yeah. Well, I kinda would go against the grain. You know how that goes. I still had to do it. Yeah. You gotta do that afterwards and everything. But on the weekends, being a teenager, you could go somewhere—to the drive-in or the skating rink that used to be up here on 17-92. Course, you didn’t need but a couple dollars. You could get a hamburger, hot dog or whatever, you know, for 25 or 30 cents. It wasn’t very expensive back then. Couple dollars’ worth of gas—you could go everywhere. We’d go—a couple of us would get together—two or three guys—ride around a little bit, go skating, or go to the movies, or hang out. The Movieland Drive-In was here then, years ago. Or the old Ritz [Theatre] downtown. There was a lot to do on the weekends. You could go to the beach. Scott There’s not a lot of traffic like there is now. On [Florida State Road] 415, you didn’t run but about 55-60 miles an hour. The old cars would run real fast, but you didn’t run real fast, because you didn’t want to burn it up. You had to save it. But yeah, a lot of things have changed since way back then. Some for the good, some the not so good. Back when I lived in here it’s not like today. Life was simple. It wasn’t expensive. Taxes were cheap, and everyone knew everyone. Now it’s not that way. A lot of people you can’t even speak to them, because you don’t know what language they’re speaking. It’s completely different than what it was back then. But it was really down-to-earth and basic, even though you know it was hard, but it was good. It was really good. Holcomb Sounds likes it. Um, you were talking about a brother and sister here at the time too. Were you the oldest or the youngest? Scott My older sister, Helen [Scott], her last name is Atkinson now. I was in the middle. My younger brother is Edward Scott. He’s younger than me. Our parents are gone, but we stay in touch. They did a lot of work out here too. We all pitched in. Holcomb And you said you moved to the area when you were six? Scott Yes. I started at Lake Monroe School in 1950, I think. It was just a small school out there. It’s still there. They sold it and a doctor lives in it now. They converted it into a house. Back then, you see guys in first grade that was probably 10 years old, because they were late starting school or they didn’t come to school very often. They progressed on up they were older in the sixth grade. But it was a good school. I had a lot of fun there. Then I went to Sanford Junior High School on Ninth [Street] and Sanford Avenue. And then from there to Seminole High, out on the hill out there. And then the new Seminole High was built and I started my sophomore year there. Freshman year on the hill and then the new high school. They built the one that’s out there now. And it was all just palmettos and pine trees when they were building that. You just had to go out through there. Yeah. I went to high school there. Back where the college is here—that was just a nothing. It was just a power line road that went through. It went over to Lake Mary. That’s what we would use to go to the lake the back way. And some of us—myself and my brother—we would take our old clunker car. We didn’t have a license, but we would drive the back road through the woods and everything. It was a lot of fun [coughs]. Holcomb The power line road was the one you were talking about taking people fishing? Scott Yeah. You would go down to the road department, and turn left. Then go down, and then you could make a right, and it would take you back out to the cemetery and to Lake Mary Boulevard. It wasn’t much of a boulevard then, because it would dead-end up there before they opened it up and did all that. Or you could go to the road department and make a left, then it would take you down and around. It was just a mud hole on each side. It was a road built up for the power line use and it was a shortcut to Lake Mary. We’d go over there and go swimming or whatever sometimes. But there was nothing back there then. There was a lot of orange trees all around. This out in the front was a pasture. The pasture actually went out and all the way around and ended up almost past the cemetery almost to Lake Mary Boulevard back where the houses are. Holcomb So the orange grove went that far? Or the pasture? Scott The pasture did. The orange grove started from the road department—the end of their little road and then all back around this whole place around here was orange grove. This whole place around here was orange grove. Even back on this side, there was an orange grove going back. So there was a lot of oranges. Holcomb Sounds like it. Scott I think we had five cows. I think Will milked about five cows. Plus, when they would have a calf, we would raise it up for beef or sell it or something or butcher it up. I’m not sure what happened to most of them. I know we always had plenty of meat in the freezer in town. I forget the name of the locker. It was there on Thirteenth Street where we kept everything. But they would cut it, dress it, pack it, freeze it, hang it or whatever we needed. Holcomb You said up on Thirteenth Street was the freezer locker? Scott That’s where it was. Back when Sheriff Poppy[sp] was the sheriff here years ago. I don’t know what else you need to know or if there’s anything you can think of. Holcomb Um, I had a question about what they call the “Agricultural Building” now. The building back behind that’s part of the museum. That wasn’t here though. Scott No. Back where the new building is now? Holcomb Yeah. Scott The loop went around the back of this building, because nothing was here. Made the loop and that was the infirmary. That’s where the infirmary was. Rachel Lee was the nurse there. Holcomb Okay. But that area is where the infirmary was, but it’s not the building that was the infirmary? Scott Right. The infirmary was when you walk out this one door here, you go straight across the driveway and that was the infirmary. And then on the other side was where the coloreds lived—in their section there, in the corner down there. And the loop went all the way around the place. Holcomb Okay. You were saying earlier about the big tree up front providing shade. Scott Oh, yeah. The camphor tree. I was telling you earlier that I would go out on the porch with all the old men here, and I would sit out on the porch in the afternoon. It was a real good shade, and we would sit out there with the breeze blowing. That’s where I heard most of my stories from all the old folks. The men—they would sit out there, and they would tell me about the history of when they moved to Florida—whenever they’d come. And they rode horses, and they drove Model Ts, and there was a dirt road going to Orlando and all kind of stuff .and I guess that’s where the Crackers come in were popping the whips and stuff. It was interesting. We would sit under that tree, and it was a big tree then, on the porch. Holcomb That’s interesting. Were they—did any of them work in cattle ranching? Any of the stories that you heard? Scott Oh, yeah. They would move cattle in Florida for miles, especially around the Kissimmee area way back then. It was mostly swamp—a lot of it was swamp. They would talk about some of the things that occurred moving one herd of cows to the next place or wherever. Some of them, like I said, even in 1960—they were up in their 80s, so they knew a lot about this before any of us was even thought of. They lived a good life, a lot of them. And this was their last place. The last stop was here. They didn’t have anything else to do and here I am—15 years old—and I’m sitting out there just listening, and they loved to tell me their stories. Sometimes I’d hear the same story over two or three times, but it was still interesting. Holcomb I bet so. Any railroaders? I was looking at some video when the railroad marker dedication was, but I didn’t know if anybody here when you were here who was involved in that. Scott No. Actually there weren’t. I can’t remember anyone that worked for the railroad that was here years ago, but I do remember a lot of the trains. Growing up, I remember the diesels—when they first started running the diesels and stuff like that. I’ve seen steam engines and stuff. Not a lot of railroad people that I remember lived out here. Basically railroad people—I think the reason for that was when they worked for the railroad, they got a retirement. And see, their retirement took care of them when they got sick and that was basically the reason why they didn’t put them in the Old Folks Home. People that were out here were—they worked all their life and didn’t have anything left—basically, no retirement or anything else so they qualified for the [Seminole] County to take care of them, and that’s where they ended up. Their folks put them in here. Holcomb So they were more the ones who worked for themselves in a way? Scott Right. Some of them had businesses they were really doing good[sic] through the years. But like I said earlier, when they get to a certain point in their life or they get sick and their family can’t take care of them or don’t want to take care of them, and so they basically take away everything so they ended up here. It’s a cruel way to look at it, but they were actually better off here. They got waited on, they had plenty to eat, they had a nice place to sleep, and whatever, you know. If they really wanted to go visit someplace, their family would come up once in a while and take them out and bring them back so it wasn’t bad. It made it easier on everyone probably. Holcomb Um, I had thought of another question. What type of work did your dad do before he got this job? Scott Uh, my dad [coughs]—he was a used car salesman actually. He was in the Military. He could do about anything, really. Carpenter work or whatever. Whatever it took growing up to make a living, that’s basically what he did. But he was a car salesman. He was in a dealership. Well, I think the guy that he worked for and him were the only two, but they had a real nice car lot and he was selling cars. Buying and selling cars [coughs]. Holcomb Interesting. Was it there in Sanford then? Scott Yes. It was in Sanford. Of course, there’s[sic] buildings there now. Where his car lot was—actually years ago, when he first started selling cars was there on Second [Street] and Sanford Avenue. If you know where the post office is downtown, but there’s a lot right there with a big oak tree on it where Larry’s [New & Used] Mart used to be. Well, it wasn’t years ago, but that was a car lot. The tree wasn’t so big back then. They had cars all around on that corner there. Then they moved up like on Ninth [Street] and Sanford Avenue and sold cars up there. But yeah it was interesting. I always loved cars, I still do. I’ve got old cars and trucks. It gets in your blood. But, yeah. That’s what he did. Holcomb Uh, you mentioned earlier too—one of the trees out back here on the property on the Old Folks Home was an oak tree? Scott Yeah. There was some oak trees. They were having a fundraiser—or I don’t know what it was—but they wanted to sell oak trees for $100, or whatever it was when they were doing it. And you could dedicate it or whatever to whomever you wanted to for the members that was here, and I got one in memory of my mom and dad, Grady and Flora Scott. But they didn’t put any markers or anything on it, so when you go out there, you think it’s just like another tree planted. I would like to see them one of these days go back in the records to find out who did that and put some little something in recognition of who it’s for. But they haven’t done that, and I’m sure it’s an oversight that never got taken care of. Holcomb I’m sure it is too. I would like to see—if you don’t mind, when we’re wrapping up, if you’d show me which ones they were out there we can get that documented. Anything else for your childhood that sticks out for you—growing up here or even before you got here—that makes you chuckle now? Scott Oh, there’s a lot of things [laughs]. I was a middle kid. I’ve got a younger brother and an older sister. I was the one that was in between. Growing up, if you got in trouble in school, you got tanned a little bit by the principal. Then you got home your mother did it. Then when your dad got home he took care of it. So it was one, two, three. And you didn’t do that anymore. I basically raised my kids the same way—in a way that I would set them down when they got in trouble and we would talk about it and we’d determine the punishment. It would be kinda up to them. They turned out really, really great. Hopefully my grandkids will be the same way. But it’s not like it was. It’s a little harder. There’s not a lot of “Yes, sir,” “No, sir” stuff anymore. Holcomb Not a whole lot. No. Scott My two boys still say, “Yes, sir” to me. They’re in their 40s. There’s a lot of things that I try to instill in people, especially the younger generation—my kids, my grandkids, or whatever. Because I’ve seen so many people that’s passed on—I’ve been with them when they’ve passed on. Even at a young age, like I was out here, and you miss them. But when you see a person that’s 80 years old or 60 years old or whatever, and they’re sick and you’ve been knowin’ this person for a long time—it doesn’t matter if you know them or not. But when you see them there and they don’t recognize you hardly but they try—don’t think of that person as what you see. Think of that person that you knew. That same person’s still inside there. Talk to them just as if they were 20 years old or 30 years old, or when you knew them and times were good. Talk to them the same way as when you knew them, because they’re still the same person. I don’t care if they weigh 60 pounds with cancer and they’re 80 years old and they’re dying. They’re still the same person as they were when they were 15 years old or 25, and out here dancing and having a good time. And that’s what I like to see people think of instead of, you know. I don’t want to be around them. That’s the wrong attitude to take. The person’s still in there. That’s the way I look at it. Holcomb That’s great advice. Scott It works for me. Holcomb There’s a lot true in that. Um, yeah. We could walk around there to the trees and then we’ll see what we can make note of here. Scott Sure. Holcomb Back out this way, right? Scott Yes. This was the living room. Holcomb This was the living room? Scott This was where they sat around and watched TV. Like I said, my room was down there on the end where Kim’s office is. And where your office is, that was two rooms too I think. Holcomb Yeah. It probably was. So the—and then, were the—you said the women and men were separated? Scott Yes. The women I believe lived in this area and the men lived in the other wing. Holcomb And then the colored section was out there? Scott Yes. Holcomb Okay.Thanks. I’m trying to orient. Scott I thought they had some pictures out here. I don’t see anything. Holcomb Well, they do change the pictures around. Scott Yeah. Holcomb Every now and then too. Sorry. Excuse us. That’s okay. I just don’t want to step on it. Thank you. Scott This right here was the colored dining area. Holcomb Right. We use that for storage now. Scott The driveway came here around the building. About where those gates are was a building—a big wood building—and that was where the colored folks lived. And that was orange grove. Straight on down—probably about where that stop sign is, where that car just went through—through the orange grove that was the barn. The cows would come across the road in the evening. They would walk right across, and Will would milk them, and I would go down and bring the milk back up to the kitchen here. This is the kitchen. Straight across here was the infirmary where the new building is. The driveway went around to the infirmary. To the left back in this area was a washhouse. Right here was a garage, and the other side of that was a big chicken coop. That’s where we had the chickens. On down in the front down here, across from the barn on the right, was the hog pen, and that’s where I had to take the hog slop. This was all orange grove, even all the way around in the back. Where that building is over there that was orange grove. This was a field out here all the way over to where the fire station is. We had to keep a lot of that mowed. Holcomb You said the pasture came up this way? Scott The pasture part actually started in front of the building right here to the left of the driveway. That was pasture all the way around. On the other side of the road, all the way around way back past the cemetery. There’s a lot of acreage back there. It was all pasture. I’m sure you know where the cemetery is. Holcomb I haven’t been, so I don’t have an idea. Scott It’s just on down past the tower. But that was basically the layout of the place here. We had deliveries. In between here you go down to the bottom. That’s where the boiler room… Holcomb So in between these two porches here? Scott Yeah. Let’s take a look. Holcomb Yeah. Scott You go through there and go down to the right. And you’ll see it looks like a cellar, but that’s the boiler room. They’ve changed it now. The oak trees have got to be this oak tree, that one. I think they’re planted all around. Holcomb Now were you here when any of them were planted? Scott No. It was probably four or five years ago. Now this was all driveway here. And by where we’re standing now is where the garage was. And the chicken coop was on up. There was some big oak trees planted there, that’s where we parked the cars on the superintendent’s side. Holcomb Because this was the front? Scott Right. This was our entrance. We used this entrance. The office is in the front right there. Deliveries would come around back up between the two buildings here and go into the kitchen. They’d back the trucks in there to drop things off and pick things up. Holcomb It makes sense, but it’s different to see it, because what is the front entrance now was the side. Scott Right. The office was the main thing back then. Back in the late ‘50s, this was a two-lane road. Then they started to changing[sic] it and made it into a four-lane. And they finally opened it up. There was some oak trees down there. I think they’re gone now—the big oak trees—but there’s where Lily and Willie used to sit and watch the traffic under the oak trees. Holcomb On the other side of this road here? Scott Oh, yeah. Right there on the edge of 17-92. That’s where they would sit and people would blow their horns at them. Holcomb You said it was two-lane then? Scott Well, actually it was four-lane, but the road wasn’t finished until about 1960. Then it was four-lane. There used to be a little tavern right there. I guess the building’s still there. They had some bad wrecks people pulling out after it was four-lane, because they weren’t used to it. Holcomb I bet. Scott I do have some movie clips of coming up here and parking cars and walking to the garage and stuff here. Some of my friends—when I was a teenager, we’d come back from the beach and walk up and down through here, play with the dog and stuff. If I could ever get them all together. But the oak trees, I guess, are these. I’m not sure. You can see them planted all around. I have no idea how many they ended up planting. Holcomb I don’t either. We’ll see what we can find out about that. Scott Well, it would be nice. Even if there was just one little sign that said, “Oak trees planted in memory of…” Or something like that. That’s a nice building. Holcomb Yes. It is. It’s a great space in there too, for displays and presentations. I’m sure you’ve seen it. Scott The infirmary was there and that’s when I pulled up there. There was a ramp to the infirmary. And when I was 16—I turned 16—I pulled the car around and I saw Sam McFadden, with no legs—black guy. I would visit him. He’d come out and get a little sun once in a while. I told him, “Sam, I’m going to take you to Oviedo when I get my license.” And he just couldn’t wait. When I pulled up there that day, and they wheeled him down in the chair to the car. I had the door open. I set him in that car. His face was all lit up. He’d been in there for so many years. He loved it. I think it did me more good than it did him. Holcomb Sure. Doing something like that for somebody else. Scott When they closed this place down, I tried to get in touch with him and the rest of them. They moved him to [inaudible] and whatever home. I don’t know what happened to him. I tried to do a follow up, but I never could. Holcomb Is that home in Sanford? Scott Yeah. It was on West Ninth Street I believe it was. Holcomb West Ninth? Scott They changed a few things around. Holcomb Yeah. Scott Like I said, I don’t know where the pictures are out here. They used to have I don’t know how many pictures. Holcomb I’m sure we still have them somewhere. Scott Yeah. Probably. Holcomb Thank you very much for your time, Dave. I appreciate it. Scott It’s not a problem. I enjoy doing it. I ramble on too much sometimes when I get to talking because most of the memories are really good. I try to delete all the bad stuff. Holcomb [laughs]Well, for our purposes the rambling is good [laughs]. Scott Yeah. There’s some bad stuff. Sam lived right here in this one room right here and he was an old man. A good friend of mine. He was real quiet. He loved it when I moved back here, because he had someone to talk to. Holcomb Was he the one with emphysema? Scott No. That was another man. They had moved him in there afterwards—after Sam passed away. Then I missed him. Then the other guy with emphysema cigarettes—oh, that about killed me. Then he passed away too. People—some of them stayed here a few years. They hung around. But a lot of them were really bad when they brought them in. Holcomb Yeah. I imagine so. Scott But that’s about it. Holcomb Okay. Thank you again. Scott If you can remember anything or want me for anything, just give me a call. Holcomb Yeah. Thank you. <div> <div> <a title="">[1]</a> Grady Scott. </div> <div> <a title="">[2]</a> Flora Scott. </div> </div> assisted living Barfield Beautiful Lee burials camphor trees cattle ranchers cattle ranching cemeteries cemetery chickens Chihuahua crackers David Scott dogs Downtown Sanford Echols Bedding Company Edward Scott elderly Flora Scott Grady Scott graves Helen Scott Helen Scott Atkinson Holcomb, Susan Homer Little Humphrey Kim Nelson Kissimmee Lake Mary Lake Monroe School Larry's New & Used Mart Movieland Drive-In Museum of Seminole County History nursing homes Old Folks Home orange groves oranges Oviedo pastures pigs Poppy race relations Rachel Lee Ratliff Towing retirement homes Ritz Theatre Sam McFradden Sanford Sanford Junior High School segregation Seminole High School Susan Holcomb https://richesmi.cah.ucf.edu/omeka/files/original/73c23eb44f4068857b6315d2328f13e3.jpg 642bdfaf16216b6b4f809636ddbcec27 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Atlanta Rhythm Section Ticket Stub Alternative Title Atlanta Rhythm Section Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Atlanta Rhythm Section at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. The concert took place on February 23, 1979. The show was presented by Zeta 7 and produced by Bishop Productions. The doors opened at 7 p.m. and the showtime was at 8 p.m. The ticket price was $5.00, including tax. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1979-02-23 Date Issued ca. 1979-02-23 Format image/jpg Extent 81.4 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. Accessed February 16, 2015. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. ARS Atlanta Rhythm Section Bishop Productions concerts Econ River Estates Eddie Graham Sports Complex folk rock orlando Orlando Sports Stadium rock music soft rock Southern rock Zeta 7 https://richesmi.cah.ucf.edu/omeka/files/original/65c38a8aa631116cbb5f4659861f8193.jpg 7656592a7477e5e4691628f4d664d9f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rick Derringer Ticket Stub Alternative Title Rick Derringer Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Blues (Music)--United States Pop music Description A ticket stub for a concert featuring Rick Derringer (b. 1947) at the Great Southern Music Hall, located at 46 North Orange Avenue in Orlando, Florida, on August 19, 1978. The show began at 11 p.m. The Great Southern Music Hall, which changed its name to the Beacham Theater after renovations in 1976, was a music venue located at 46 North Orange Avenue in Downtown Orlando. The theater opened on December 9, 1921, as a vaudeville and movie theater. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Great Southern Music Hall, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1978-08-19 Date Issued ca. 1978-08-19 Format image/jpg Extent 85.9 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Muise, Dan. <a href="http://www.worldcat.org/oclc/49842572" target="_blank">Gallagher, Marriott, Derringer & Trower: Their Lives and Music</a>. Milwaukee, WI: Hal Leonard Corp, 2002. Beacham Beacham Theater blues blues rock Christian rock concerts Great Southern Music Hall guitar players hard rock jazz fusion orlando Orlando concerts pop music Rick Derringer Ricky Dean Zehringer rock music https://richesmi.cah.ucf.edu/omeka/files/original/7937fafc57e90a3aa6c7ce2c0f88064c.jpg 72a893a4fca4f632b54059102c212fff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Head East Ticket Stub Alternative Title Head East Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Head East at the Great Southern Music Hall, located at 46 North Orange Avenue in Orlando, Florida. The concert took place on February 10, 1979, at midnight. The ticket price was $6.50 for general admission, including tax. The Great Southern Music Hall, which changed its name to the Beacham Theater after renovations in 1976, was a music venue located at 46 North Orange Avenue in Downtown Orlando. The theater opened on December 9, 1921, as a vaudeville and movie theater. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Great Southern Music Hall, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1979-02-10 Date Issued ca. 1979-02-10 Format image/jpg Extent 94.6 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.head-east.com/bandhistory.html" target="_blank">Head East Band History</a>." Head-East.com. www.head-east.com/bandhistory.html (accessed March 4, 2015). Beacham Beacham Theater concerts Downtown Orlando Great Southern Music Hall hard rock Head East orlando rock music https://richesmi.cah.ucf.edu/omeka/files/original/2b3c1433ed1a45afeea27419ff4420d5.jpg 2f4b9e414ea1dbe30592240ec26a11c8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Mahogany Rush Ticket Stub Alternative Title Mahogany Rush Ticket Subject Lakeland (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Mahogany Rush at the Lakeland Civic Center in Lakeland, Florida. The concert took place on April 20, 1980, at 7 p.m. and was presented by Cellar Door Concerts. The ticket price was $6.50, including tax. The Lakeland Civic Center is a multi-purpose arena that opened in 1974, and is located at 701 West Lime Street in Lakeland. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Lakeland Civic Center, Lakeland, Florida Contributor Wahl, Julie Date Created ca. 1980-04-20 Date Issued ca. 1980-04-20 Format image/jpg Extent 70.2 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Parsons, Willie. "<a href="http://www.mahoganyrush.com/history.htm" target="_blank">Band History</a>." Mahoganyrush.com. http://www.mahoganyrush.com/history.htm (accessed March 3, 2015). Canadian music Canadian-American music Cellar Door Concerts concerts funk rock hard rock heavy metal Lakeland Lakeland Civic Center Mahogany Rush psychedelic rock rock music https://richesmi.cah.ucf.edu/omeka/files/original/d62117da05b0d23f614b22a815fcc9ca.jpg c6f0b9c4f0c1bb1755d29669ac83d746 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Next Sunday Alternative Title Next Sunday Subject Orlando (Fla.) Music--United States Rock music--United States Description A newspaper clipping about Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947) at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by Beach Club. The ticket prices ranged between $8.50 and $12.50, including tax. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. The stadium opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl was located at 1 Citrus Bowl Place in Orlando. Type Text Source Original article: "NEXT SUNDAY." 1977: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original article: "NEXT SUNDAY." 1977. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1977 Date Issued ca. 1977 Format image/jpg Extent 65.8 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015). Beach Club blues blues rock Christian rock Citrus Bowl concerts Florida Citrus Bowl hard rock Infinite Mushroom J. Geils Band jazz fusion Kansas Labor Day Lakeland Civic Center music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Peter Frampton Peter Kenneth Frampton pop music progressive rock Rick Derringer Ricky Dean Zehringer rock band rock concert rock festival rock music Rock Super Bowl Rock Super Bowl III soft rock Streep's Tangerine Bowl https://richesmi.cah.ucf.edu/omeka/files/original/73e598a2908f9e7cd45ef5278ff492ba.jpg 351bc7626c0872d215793cc4fabef35f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Kansas to Play Sunday Alternative Title Kansas to Play Sunday Subject Orlando (Fla.) Music--United States Rock music--United States Description A newspaper article about Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947) at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by the Beach Club. The ticket prices ranged between $8.50 and $12.50, including tax. This clipping includes a photograph of the band members of Kansas: Steve Walsh (b. 1951), Phil Ehart (b. 1951), Rich Williams (b. 1950), Dave Hope (b. 1949), Kerry Livgren (b. 1949), Robby Steinhardt (b. 1950). From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. The stadium opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando. Type Text Source Original article: "Kansas to play Sunday."1977: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original article: "Kansas to play Sunday." 1977. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created 1977 Date Issued 1977 Format image/jpg Extent 98.9 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015). Beach Club Carry On Wayward Son Citrus Bowl concert concerts Dave Hope Florida Citrus Bowl Infinite Mushroom J. Geils Band Kansas Kerry Allen Livgren Kerry Livgren Lakeland Lakeland Civic Center music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Peter Frampton Peter Kenneth Frampton Phil Ehart Philip W. Ehart progressive rock Rich Williams Richard Allen Williams Rick Derringer Robby Steinhardy Robert Eugene Steinhardt rock music Rock Super Bowl Rock Super Bowl III Steve Walsh Streep's Tangerine Bowl https://richesmi.cah.ucf.edu/omeka/files/original/d273dab13e1f7da21f885a8265c5b24d.jpg edb6450e66265152aacc45ea91275cb5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Frampton Alternative Title Frampton Subject Orlando (Fla.) Music--United States Rock music--United States Description A newspaper article about Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947) at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by the Beach Club. The ticket prices ranged between $8.50 and $12.50, including tax. This page is the continuation of an article on the front page. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. The stadium opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando. Type Text Source Original article: "Frampton - From 1-A." 1977: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original article: "Frampton - From 1-A." 1977. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created 1977 Date Issued 1977 Format image/jpg Extent 123 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015). Beach Club blues rock Citrus Bowl concerts Florida Citrus Bowl hard rock J. Geils Band Kansas music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Peter Frampton Peter Kenneth Frampton Plant City Rick Derringer rock music Rock Super Bowl Rock Super Bowl III soft rock T-bowl Tampa Tangerine Bowl https://richesmi.cah.ucf.edu/omeka/files/original/f43523a5dd3f80fe303ff2141b03a1c9.jpg 40a709adb64456444db7c51dada91149 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock. Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Nazareth Tops Bill Alternative Title Nazareth Tops Bill Subject Music--United States Rock music--United States Description A newspaper clipping about a concert featuring Nazareth with Mahogany Rush and Sammy Hagar (b. 1947) at the Orlando-Seminole Jai Alai Fronton in Fern Park, Florida. The concert took place on February 24, 1978, and was presented by Albert Promotions and FM 107. The ticket price was $6.50. This clipping contains a photograph of the members of Nazareth, from left to right, bottom to top: Darrell Sweet (1947-1999), Manny Charlton (b. 1941), Dan McCafferty (b. 1946), and Pete Agnew (b. 1946). Orlando-Seminole Jai Alai Fronton was built in 1962 and hosted concerts, graduations and events in addition to jai-alai matches, which remained popular through the mid-1980s, when its popularity began to decline. The building was rebranded Orlando Live Events (OLE) in 2014. It is located at 6405 South U.S. Route 17-92 (U.S. 17-92) in Fern Park. Type Text Source Original newspaper article: "Nazareth tops bill." February 24, 1978: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original newspaper article: "Nazareth tops bill." February 24, 1978. Coverage Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Contributor Wahl, Julie Date Created ca. 1978-02-24 Date Issued ca. 1978-02-24 Format image/jpg Extent 113 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Comas, Martin E. "<a href="orlando-jai-alai-fronton-events-20131020_1_orlando-jai-alai-francisco-elorriaga-national-jai-alai-association" target="_blank">As sport declines, Orlando Jai-Alai adds movies, other events</a>." The Orlando Sentinel. (October 20, 2013). Accessed February 24, 2015. http://articles.orlandosentinel.com/2013-10-20/news/os-orlando-jai-alai-fronton-events-20131020_1_orlando-jai-alai-francisco-elorriaga-national-jai-alai-association. Agnew, Pete Albert Promotions Altamonte Mall Altamonte Springs concert concerts Dan Cafferty Darrell Anthony Sweet Darrell Sweet Fern Park FM 107 funk rock hard rock heavy metal Infinite Mushroom Mahogany Rush Manny Charlton Manual Charlton metal Nazareth OLE orlando Orlando Fashion Square Orlando Live Events Orlando-Seminole Jai-Alai Fronton Pete Agnew pop music pop rock psychedelic rock rock music Sammy Hagar Samuel Roy Hagar Southern Music Hall William Daniel McCafferty