1
100
14
-
https://richesmi.cah.ucf.edu/omeka/files/original/9a1d6334e0b1abedba299babb989ea2e.jpg
d26f82a60c459c2cfda546c935641229
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
Twas the Night
Alternative Title
Orlando Gay Chorus Presents "'Twas the Night"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus concert, “'Twas the Night”. The event was held at the Annie Russell Theater at Rollins College, located at 1000 Holt Avenue in Winter Park, Florida, on December 15 and 16, 2001. Featuring Carmella Marcella Garcia as Madame Anastasia, the event was a fundraiser for Toys for Tots. Tickets were $20 in advance and $23 at the door with special pricing for young children and students. The poster features a faded white background with blue and white text and an image of Madame Anastasia at the bottom left corner. Featured artwork includes the logos of the OGC and various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
Annie Russell Theatre, Rollins College, Winter Park, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2001-12-15
Date Copyrighted
ca. 2001-12-15
Format
image/jpg
Extent
11.2 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
'Twas the Night
Annie Russell Theatre
Bank of America
Carmella Marcella Garcia
concert
Darden Restaurants
GLBT
GLBTQ+
homosexuality
Joy MCC
LGBT
LGBTQ+
Madame Anastasia
music
orlando
Orlando Gay Chorus
performance
Rainbow City
Rollins College
Toys for Tots
United Arts of Central Florida
Walt Disney World Company
Washington Mutual
Watermark
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/2d37605bbc39739e5706b957ed4e3467.jpg
b7522aa98dc8011314d9ba7359874b0d
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
Director's Choice
Alternative Title
Orlando Gay Chorus Presents "Director's Choice"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus concert, “Director's Choice”. The event was held at the Orlando Science Center's Darden Theater, located at 777 East Princeton Street in Orlando, Florida, on March 24 and 25, 2001. Tickets were $15 in advance through The Center, Joy MCC, and orlandogaychorus.org and $18 at the door. The poster features a white background with a green director's chair and simple blue text. Featured artwork includes the logos of the OGC and various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
Darden Theater, Orlando Science Center, Orlando, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2001-03-24
Date Copyrighted
ca. 2001-03-24
Format
image/jpg
Extent
3.31 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
A Director's Choice
Bank of America
concert
Darden Restaurants
Darden Theatre
GLBT
GLBTQ+
homosexuality
International Alliance of Theatrical Stage Employees
Joy MCC
LGBT
LGBTQ+
music
orlando
Orlando Gay Chorus
Orlando Science Center
performance
The Center
The Walt Disney Company
United Arts of Central Florida
Washington Mutual
Watermark
-
https://richesmi.cah.ucf.edu/omeka/files/original/b6c521ec73df34a5bbca4777c7791e3d.jpg
40c1a627851e009d06f364c972de929c
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
2001: A Choral Odyssey
Alternative Title
Orlando Gay Chorus Presents "2001: A Choral Odyssey"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus concert, “2001: A Choral Odyssey”. The event was held at the Annie Russell Theater at Rollins College, located at 1000 Holt Avenue in Winter Park, Florida, on June 23 and 24, 2001. Tickets were $15 in advance through The Center, Joy MCC, and orlandogaychorus.org and $18 at the door. The poster features a pink and orange sunset background with purple mountains behind text at the bottom of the page. Featured artwork includes the logos of various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
Annie Russell Theatre, Rollins College, Winter Park, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2001-06-23
Date Copyrighted
ca. 2001-06-23
Format
image/jpg
Extent
11.2 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
2001: A Choral Odyssey
Annie Russell Theatre
Bank of America
concert
Darden Restaurants
First Unitarian Church
GLBT
GLBTQ+
homosexuality
International Alliance of Theatrical Stage Employees
Joy MCC
LGBT
LGBTQ+
Lucent Technologies
music
orlando
Orlando Gay Chorus
performance
Rollins College
The Center
The Walt Disney Company
United Arts of Central Florida
Washington Mutual
Watermark
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/a8a476c2f62e1d584c3463b33b4f234b.jpg
468a20d4438b9cdeb70e65b5323cd309
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
Sissies & Stars
Alternative Title
Orlando Gay Chorus Presents "Sissies & Stars"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus concert, “Sissies & Stars”. The event was held at the John & Rita Lowndes Shakespeare Center in Loch Haven Park, located at 812 East Rollins Street in Orlando, Florida, on March 22 and 23, 2003. Featuring guest star Peg O'Keef, “Sissies & Stars” was a show based on Tomie dePaola's classic children's book, "Oliver Button is a Sissy". Tickets were $15 in advance through Rainbow City, Urban Think, and orlandogaychorus.org and $18 at the door. The poster features a white background with a blue and white star behind the title and a border of red stars. Featured artwork includes a photo of O'Keef and the logos of the OGC and various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
John & Rita Lowndes Shakespeare Center, Loch Haven Park, Orlando, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2003-03-22
Date Copyrighted
ca. 2003-03-22
Format
image/jpg
Extent
4.29 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
Air Tran Airways
Bank of America
concert
Darden Restaurants
Florida Arts
GLBT
GLBTQ+
homosexuality
John and Rita Lowndes Shakespeare Center
LGBT
LGBTQ+
Loch Haven Park
music
NCCJ
Oliver Button is a Sissy
orlando
Orlando Gay Chorus
Peg O'Keef
performance
Rainbow City
Sissies & Stars
Tomie dePaola
tupperware
United Arts of Central Florida
Urban Think
Walt Disney World Company
Washington Mutual
Watermark
We 2 Have Parental Rights
-
https://richesmi.cah.ucf.edu/omeka/files/original/4259fd689e9541b3afa0feb8cfbce0c3.jpg
c75efa7c34772401525b968ceb62cb81
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
Odd Numbers
Alternative Title
Orlando Gay Chorus Presents "Odd Numbers"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
<p>A poster for the Orlando Gay Chorus concert, “Odd Numbers”. The event was held at the John & Rita Lowndes Shakespeare Center in Loch Haven Park, located at 812 East Rollins Street in Orlando, Florida, on June 14 and 15, 2003. The event's tagline reads, "songs we've always wanted to sing but..." Tickets were $18 in advance through Rainbow City, Urban Think, and orlandogaychorus.org and $21 at the door. The poster features a white background with abstract green accents and simple blue and green text. Featured artwork includes the logos of the OGC and various sponsors across the bottom of the poster.</p>
<p>The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.</p>
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
John & Rita Lowndes Shakespeare Center, Loch Haven Park, Orlando, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2003-06-14
Date Copyrighted
ca. 2003-06-14
Format
image/jpg
Extent
4.55 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
Air Tran Airways
Bank of America
concert
Darden Restaurants
Florida Arts
GLBT
GLBTQ+
homosexuality
John and Rita Lowndes Shakespeare Center
LGBT
LGBTQ+
Loch Haven Park
music
Odd Numbers
orlando
Orlando Gay Chorus
performance
Rainbow City
tupperware
United Arts of Central Florida
Urban Think
Walt Disney World Company
Washington Mutual
Watermark
We 2 Have Parental Rights
-
https://richesmi.cah.ucf.edu/omeka/files/original/aa625fdbd62481f18252501e5661babf.jpg
8e3b7dcac30dddfeeeeec77d69c503ae
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
Our Holidays Together
Alternative Title
Orlando Gay Chorus Presents "Our Holidays Together"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus concert, “Our Holidays Together”. The event was held at the John & Rita Lowndes Shakespeare Center in Loch Haven Park, located at 812 East Rollins Street in Orlando, Florida, on December 14 and 15, 2002. Featuring both traditional music and songs underscoring the commercialization of the holidays, “Our Holidays Together” was a fundraiser for Toys for Tots, who were partners with the OGC for ten years. Tickets were $22 in advance through Rainbow City, Joy MCC, and orlandogaychorus.org and $25 at the door. The poster features a white background with simple navy and gray text. A candle is silhouetted in the bottom right-hand corner. Featured artwork includes the logos of the OGC and various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
John & Rita Lowndes Shakespeare Center, Loch Haven Park, Orlando, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2002-12-14
Date Copyrighted
ca. 2002-12-14
Format
image/jpg
Extent
4.47 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
Air Tran Airways
Bank of America
concert
Darden Restaurants
Florida Arts
GLBT
GLBTQ+
homosexuality
John and Rita Lowndes Shakespeare Center
Joy MCC
LGBT
LGBTQ+
Loch Haven Park
music
orlando
Orlando Gay Chorus
Our Holidays Together
performance
Rainbow City
Toys for Tots
tupperware
United Arts of Central Florida
Walt Disney World Company
Washington Mutual
Watermark
We 2 Have Parental Rights
-
https://richesmi.cah.ucf.edu/omeka/files/original/a5481dd001864842f58daac95df6ab59.jpg
f0733f2df97bb5ca63c9280c1aa0a8ad
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
Seasoned Greetings
Alternative Title
Orlando Gay Chorus Presents "Seasoned Greetings"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus (OGC) concert, “Seasoned Greetings.” The event was held at the Annie Russell Theater at Rollins College, located at 1000 Holt Avenue in Winter Park, Florida, on December 16 and 17, 2000. Featuring traditional music and "great food", “Seasoned Greetings” was a fundraiser for Toys for Tots. Tickets were $18 in advance through orlandogaychorus.org and $21 at the door. The poster has a green background with star ornaments offset by blue text. Featured artwork includes the logos of the OGC and various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
Annie Russell Theatre, Rollins College, Winter Park, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2000-12-16
Date Valid
2000-12-16, 2000-12-17
Date Copyrighted
ca. 2000-12-16
Format
image/jpg
Extent
8.1 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
Annie Russell Theatre
Bank of America
concert
Darden Restaurants
GLBT
GLBTQ+
homosexuality
LGBT
LGBTQ+
Lucent Technologies
music
orlando
Orlando Gay Chorus
performance
Rollins College
Seasoned Greetings
The Walt Disney Company
Toys for Tots Foundation
United Arts of Central Florida
Watermark
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/3706f84dcce526a2228552736d9dc212.jpg
caa32193207aa69118694bc9114031c9
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
Carry a Torch
Alternative Title
Orlando Gay Chorus Presents "Carry a Torch"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus (OGC) concert, “Carry a Torch.” The event was held at the Annie Russell Theater at Rollins College, located at 1000 Holt Avenue in Winter Park, Florida, on June 22 and 23, 2002. Tickets were $15 in advance through Rainbow City, Joy MCC, and orlandogaychorus.org and $18 at the door. The poster has a soft background that fades from yellow to blue top to bottom and left to right with three vector torches on the right-hand side. Featured artwork includes the logos of the OGC and various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
Annie Russell Theatre, Rollins College, Winter Park, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2002-06-22
Date Valid
2002-06-22, 2002-06-23
Date Copyrighted
ca. 2002-06-22
Format
image/jpg
Extent
9.49 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
Air Tran Airways
Annie Russell Theater
Bank of America
Carry a Torch
concert
Darden Restaurants
GLBT
GLBTQ+
homosexuality
LGBT
LGBTQ+
music
orlando
Orlando Gay Chorus
performance
Rollins College
United Arts of Central Florida
Walt Disney World Company
Washington Mutual
Watermark
We 2 Have Parental Rights
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/d4c3e64f84c7933d942a01150fd02099.jpg
799ca9a8d0f0996ad8344cead1e11f38
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 Gay Chorus Collection
Alternative Title
Gay Chorus Collection
Is Part Of
Orlando Gay Chorus Collection, RICHES Program
Type
Collection
Digital Collection
<div class="element-text"><a href="https://richesmi.cah.ucf.edu/">RICHES MI</a></div>
<div class="element-text"> </div>
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Gay culture--United States
Description
The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
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
A Marvelous Party
Alternative Title
Orlando Gay Chorus Presents "A Marvelous Party"
Subject
Orlando (Fla.)
Music--Florida
Dance--United States
Description
A poster for the Orlando Gay Chorus (OGC) concert, “A Marvelous Party.” The event was held at the Orlando Science Center's Darden Theater, located at 777 E Princeton Street in Orlando, Florida, on March 23 and 24, 2002. Tickets were $15 in advance through Rainbow City, Joy Metropolitan Community Church, and orlandogaychorus.org, and $18 at the door. The poster has an orange and white background with yellow balloons and dark blue text. Featured artwork includes the logos of the OGC and various sponsors across the bottom of the poster. <br /><br />The Orlando Gay Chorus is a 501(c)(3) nonprofit arts and humanitarian organization part of GALA Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a whole host of community events like Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World Aids Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community.
Type
Still Image
Source
Original color poster: University of Central Florida Special Collections, Orlando, Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, Orlando Collection, Orange County Collection, RICHES.
Coverage
Darden Theater, Orlando Science Center, Orlando, Florida
Creator
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Publisher
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Date Created
ca. 2002-03-23
Date Copyrighted
ca. 2002-03-23
Format
image/jpg
Extent
6.6 MB
Medium
1 poster
Language
eng
Mediator
History Teacher
Dance Teacher
Music Teacher
Art Teacher
Provenance
Originally created and published by the <a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>.
Rights Holder
<a href="https://www.orlandogaychorus.org/" target="_blank">Orlando Gay Chorus</a>
Accrual Method
Donation
Curator
O'Neill, Carys
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
University of Central Florida Special Collections
External Reference
Unknown. "About OGC: History." Orlando Gay Chorus. 2018. Accessed April 10, 2018. https://orlandogaychorus.org/history/.
Ahlquist, Karen. <a href="http://www.worldcat.org/oclc/62281651" target="_blank"><em>Chorus and Community</em></a>. Urbana: University of Illinois Press, 2006.
Boedeker, Hal. "<a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank">Orlando Gay Chorus marks 25 years</a>." <em>Orlando Sentinel</em>, October 18, 2016. Accessed October 18, 2018. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
A Marvelous Party
Air Tran Airways
Bank of America
chorus
concert
Darden Restaurants
Darden Theatre
GLBT
GLBTQ+
homosexuality
Joy MCC
LGBT
LGBTQ+
music
orlando
Orlando Gay Chorus
Orlando Science Center
performance
Rainbow City
United Arts of Central Florida
Walt Disney World Co
Washington Mutual
Watermark
We 2 Have Parental Rights
-
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
Florida Historical Quarterly Podcasts Collection
Alternative Title
FHQ Podcast Collection
Description
The <em>Florida Historical Quarterly </em>is the academic journal published four times per year by the Florida Historical Society in cooperation with the Department of History at the University of Central Florida. Each issue features peer-reviewed articles focusing on a wide variety of topics related to Florida history.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Florida
Contributing Project
<a href="https://myfloridahistory.org/quarterly" target="_blank"><em>The Florida Historical Quarterly</em></a>
Curator
Burke, Mike
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="https://myfloridahistory.org/default" target="_blank">Florida Historical Society</a>
External Reference
"<a href="https://myfloridahistory.org/quarterly" target="_blank">Florida Historical Quarterly</a>." Florida Historical Society. https://myfloridahistory.org/quarterly.
"<a href="http://fhq.cah.ucf.edu" target="_blank">The Florida Historical Quarterly</a>." College of Arts and Humanities, University of Central Florida. http://fhq.cah.ucf.edu.
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
Florida Historical Quarterly, Episode 29: Vol. 94, No. 4, Spring 2016
Alternative Title
Florida Historical Quarterly, Ep. 29
Subject
Phosphate industry--Florida
Mining--United States
Description
This podcast features an interview with Brad Massey, a Ph.D. candidate at the University of Florida, about his article on the Florida phosphate industry and the political controversy surrounding its arrangement with the Soviet Union in 1974.
Type
Sound
Source
Original 24-minute and 18-second audio podcast by Daniel S. Murphree, 2016: <a href="https://myfloridahistory.org/quarterly" target="_blank"><em>The Florida Historical Quarterly</em></a>, Florida Historical Society, Cocoa, 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>
Is Part Of
<a href="https://myfloridahistory.org/quarterly" target="_blank"><em>The Florida Historical Quarterly</em></a>, Florida Historical Society, Cocoa, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/184" target="_blank">Florida Historical Quarterly Podcast Collection</a>, RICHES of Central Florida.
Coverage
Florida
Creator
Murphree, Daniel S.
Publisher
<a href="https://myfloridahistory.org/quarterly" target="_blank"><em>The Florida Historical Quarterly</em></a>
Contributor
Massey, Brad
<a href="https://myfloridahistory.org/default" target="_blank">Florida Historical Society</a>
<a href="http://history.cah.ucf.edu/" target="_blank">University of Central Florida, Department of History</a>
Date Created
2016
Date Issued
2016
Date Copyrighted
2016
Format
audio/mp3
Extent
257 MB
Medium
24-minute and 18-second audio podcast
Language
eng
Mediator
History Teacher
Economics Teacher
Provenance
Originally created by Daniel S. Murphree and published by the <a href="https://myfloridahistory.org/quarterly" target="_blank"><em>The Florida Historical Quarterly</em></a>.
Rights Holder
Copyright to this resource is held by the <a href="https://myfloridahistory.org/default" target="_blank">Florida Historical Society</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="https://myfloridahistory.org/quarterly" target="_blank"><em>The Florida Historical Quarterly</em></a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="https://myfloridahistory.org/default" target="_blank">Florida Historical Society</a>
External Reference
Massey, Nrad. "The Hammer, the Sickle, and the Phosphate Rock: The 1974 Political Controversy over Florida Phosphate Shipments to the Soviet Union." <a href="http://www.worldcat.org/oclc/69023195" target="_blank"><em>The Florida Historical Quarterly</em></a>. 94, no. 3 (2016).
Click to View (Movie, Podcast, or Website)
<a href="https://youtu.be/nbUIgTc3NQU" target="_blank">Episode 29: Vol. 94, No. 4, Spring 2016</a>
Afghanistan
American Communist Labor Party
ammonia
Armand Hammer
Bank of America
Brad Massey
cold war
communism
communists
company towns
convict leasing
Daniel S. Murphree
détente
draglines
Eastern Bloc
embargos
environmentalism
environmentalists
Ex-Im Bank
Export-Import Bank
FHQ
Florida Historical Quarterly
Ford Motor Company
globalization
Heinz Alfred Kissinger
Henry Alfred Kissinger
Henry Kissinger
Hooker Chemical Company
International Ore and Fertilizer Company
Jefferson Lake Sulphur Company
labor
laborers
mines
mining
Morocco
Muammar Gaddafi
Muammar Mohammed Abu Minyar Gaddafi
Nikita Khrushchev
Nikita Sergeyevich Khrushchev
Occidental Petroleum Corporation
OPEC
Organization of the Petroleum Exporting Countries
Osceola National Forest
Oxy
Peace River
phosphate
pollution
price setting
recycling
Richard Bernard Stone
Richard Milhous Nixon
Richard Nixon
Richard Stone
Ronald Reagan
Ronald Wilson Reagan
socialism
socialists
Soviet Union
Soviet-Afghan War
Soviets
Stalinization
strip mining
Sunshine Skyway Bridge Disaster
trade deals
Union of Soviet Socialist Republics
USSR
World War II
WWII
-
https://richesmi.cah.ucf.edu/omeka/files/original/76f4012612b74ffc2d3959ee492ca03c.mp3
5e5e7d20145b23115d9e1e1033d09a9b
https://richesmi.cah.ucf.edu/omeka/files/original/1d01d866c4d73633d8dacba2107b5135.pdf
20e30c3a4e2cf06f05cc432aa1d4ba5d
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 Remembered Collection
Alternative Title
Orlando Remembered 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.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/20">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Downtown Orlando Information Center, Downtown Orlando, Florida
Orlando Public Library, Downtown Orlando, Florida
Orlando Regions Bank, Downtown Orlando, Florida
Contributing Project
<a href="http://orlandoremembered.org/" target="_blank">Orlando Remembered</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://thehistorycenter.org/Orlando+Remembered+Committee/" target="_blank">Orlando Remembered Committee of the Historical Society of Central Florida, Inc.</a>" Orange County Regional History Center. http://orlandoremembered.org/.
<span>"</span><a href="http://www.historiciconsoforlando.com/" target="_blank">The Historic Icons of Orlando</a><span>." Orlando Remembered. http://www.historiciconsoforlando.com/.</span>
<span>Bacon, Eve. </span><a href="http://www.worldcat.org/oclc/2020029" target="_blank"><em>Orlando: A Centennial History</em></a><span>. Chuluota, Fla: Mickler House, 1975.</span>
<span>Rajtar, Steve. </span><a href="http://www.worldcat.org/oclc/70911136" target="_blank"><em>A Guide to Historic Orlando</em></a><span>. Charleston, SC: History Press, 2006.</span>
Description
Collection of digital images, documents, and other records contributed by the Orlando Remembered Committee of the Historical Society of Central Florida, Inc. Orlando Remembered was created to in response to the proposed demolition of the San Juan Hotel at the northwest corner of Orange Avenue and Central Boulevard in Downtown Orlando, Florida. Orlando Remembered began creating exhibits to "showcase artistic renderings of the time depicted, with artifacts and historical memorabilia from the location in an effort to preserve the memory of Orlando's history while acknowledging the potential of the City's future." In the Summer Semester of 2014, UCF history intern Rachel Williams digitized two of the exhibits created by Orlando Remembered. In the Fall Semester of 2014, Dr. Anne Lindsay's undergraduate class will be digitizing several more of the many exhibits in Downtown Orlando.
Contributor
<a href="http://orlandoremembered.org/" target="_blank">Orlando Remembered</a>
Herrera, Angelena
Jeffries, Andrew W.
Lindsay, Anne
Randall, Robert
Williams, Rachel
Williamson, Ryan
Has Part
<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.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
Baldwin, Caitlin
Interviewee
Pottinger, Dann
Location
Orlando, Florida
Original Format
1 audio recording
Duration
34 minutes and 38 seconds
Bit Rate/Frequency
128kbps
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 Dann Pottinger
Alternative Title
Oral History, Pottinger
Subject
Orlando (Fla)
Historic preservation--Florida
Description
An oral history interview of Dann Pottinger, conducted by Caitlin Baldwin on November 9, 2015. Pottinger was born August 14, 1947, on the British Bay Island in Honduras. He moved to Orlando, Florida as a small child and attended primary school in the area. Pottinger spent most of his working career as a banker in the Orlando area, however he describes himself as an historian. Pottinger has been involved in a number of historical groups and was an early member of Orlando Remembered, which is a community group, dedicated to preserving memory of Orlando's downtown landmarks. To date, the group has constructed approximately 18 displays, which are located in building throughout the Downtown Orlando area. Pottinger was president of the group in the early 2000s.
Table Of Contents
0:00:00 Introduction<br />0:02:10 Growing up in Orlando<br />0:03:58 Orlando Remembered<br />0:06:28 Goal of Orlando Remembered, snow birds, and horse trotting<br />0:11:48 Air Force Bases<br />0:14:45 Designing exhibits<br />0:21:16 Favorite exhibits and lost materials<br />0:24:21 Personal goals for Orlando Remembered and community involvement<br />0:27:43 Historical Society of Central Florida and the Orange County Regional History Center<br />0:30:28 How to become involved in Orlando Remembered and expanding outside of Orlando<br />0:34:06 Future of Orlando Remembered
Abstract
Oral history interview of Dann Pottinger. Interview conducted by Caitlin Baldwin in Orlando, Florida, on November 9, 2015.
Type
Sound
Source
Original 34-minute and 38-second oral history: Pottinger, Dann. Interviewed by Caitlin Baldwin, November 9, 2015. Audio record available. <a href="http://orlandoremembered.org/" target="_blank">Orlando Remembered</a>, Oviedo, Florida.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
<a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a>
Is Part Of
<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.
Has Format
16-page digital transcript of original 34-minute and 38-second oral history: Pottinger, Dann Interviewed by Caitlin Baldwin, November 9, 2015. Audio record available. Oviedo History Harvest, <a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>, Oviedo, Florida.
Coverage
Downtown Orlando, Florida
Creator
Baldwin, Caitlin
Pottinger, Dann
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Beiler, Rosalind J.
Date Created
2015-11-09
Date Modified
2016-01-07
Date Copyrighted
2015-11-09
Format
audio/mp3
application/pdf
Extent
31.7 MB
203 KB
Medium
34-minute and 38-second audio recording
16-page digital transcript
Language
eng
Mediator
History Teacher
Provenance
Originally created by Caitlin Baldwin and Dann Pottinger, and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
Copyright to this resource is held by <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</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
Item Creation
Contributing Project
<a href="http://orlandoremembered.org/" target="_blank">Orlando Remembered</a>
Curator
Barnes, Mark
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://orlandoremembered.org/" target="_blank">Orlando Remembered</a>
External Reference
Rajtar, Steve. <em><a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a></em>. Charleston, SC: History Press, 2006.
Transcript
<p class="Body"><strong>Baldwin<br /></strong>Okay, where and, uh—where and when were you born? The address and year, please.</p>
<p class="Body"><strong>Pottinger<br /></strong>I was born in 1947 in August, but I will tell you this: that I am not a native-born Orlandoan, though my family has been here for many, many, many years. I was born on the British Bay Islands off of Honduras, which, uh, were, uh, for many years a British possession, and, uh—and where my mother’s family, the Kirk-Connells, are from. So in any event though, my family, uh, originally—my, uh, parents, uh—my—my dad’s family came to Orlando and brought him to recover from the great influenza [pandemic] of 1917<a title="">[1]</a> that killed hundreds of thousands of Americans and a million people around the world. He was a, uh, cadet training at the University of Kentucky, and many of ‘em got it. They were able to, uh, come from their home in Kentucky down here and spent the winter, and nursed him back to health. He went back, graduated from UK in ’23, and by ’26 he was back here as a full time resident. So that’s how we got here. Uh, my mother’s family a little the same. they maintained a home in Tampa. Uh, My grandfather—her father—was, uh, a sailing ship captain, and, uh, came back and forth to Tampa Harbor, and, uh, she was born in the Bay I—British Bay Islands, Honduras, and, uh—which are a neat little thing, if you look at a map. They’re only three major islands of it and a bunch of little keys, but Honduras is the only country in Central America that faces north, and that’s where, eh, we’re all related with the same families in the Cayman Islands. So a—anyway, the indigenous to the Caribbean [Sea], uh—that’s how I got here.</p>
<p class="Body"><strong>Baldwin<br /></strong>Hm, very interesting. So how old were you exactly when you moved to Orlando?</p>
<p class="Body"><strong>Pottinger<br /></strong>I was just a—a baby. yeah.</p>
<p class="Body"><strong>Baldwin<br /></strong>Okay.</p>
<p class="Body"><strong>Pottinger<br /></strong>Mmhmm.</p>
<p class="Body"><strong>Baldwin<br /></strong>So what would you say was your favorite part about growing up in Orlando?</p>
<p class="Body"><strong>Pottinger<br /></strong>I think the neighborhoods of Orlando and then the friendships that we had in a small town. Uh, a wonderful place to grow up. Uh, you—particularly among the families that had been here a long time, uh, you knew each other across town. I mean, when I was, uh, young dating and what, uh, I went to Edgewater High School, but I dated girls from Boone High School, and in the afternoon, the little motor scooters—or later, the cars—would cross the boys from Boone going to Edgewater, ‘cause, of course, they were prettier girls, and the boys from Edgewater going to Boone, because they were beautiful girls. So that’s kind of the way, uh, we all grew up. we knew each other. Uh, it was a relatively small town, and, uh, that changed—the first change of that was Martin Marietta [Corporation] moving here from Baltimore[, Maryland], and, uh, bringing eight thousand families. Uh, I think I’m right on that figure, but, uh, eh, the—the—the life and breath of Orlando, uh, breathed around their ups and downs at Martin Marietta, uh, when, you know, armaments and so forth—missiles and such—were big. Things were booming and when they laid off three thousand people, Orlando was in dire straits.</p>
<p class="Body"><strong>Baldwin<br /></strong>So like, what time of year—what year…</p>
<p class="Body"><strong>Pottinger<br /></strong>That would have been the late ‘50s.</p>
<p class="Body"><strong>Baldwin<br /></strong>Okay[?].</p>
<p class="Body"><strong>Pottinger<br /></strong>Yeah, that was all dairy land. All dairy.</p>
<p class="Body"><strong>Baldwin<br /></strong>Very interesting. Um, how and why did you become involved with Orlando Remembered?</p>
<p class="Body"><strong>Pottinger<br /></strong>I’ve always been a historian. Uh, I—I know it. With contemporaries of mine, it—it probably bored them to death, uh, but I was, uh, uh, a language person, and—and I was a history person. I wound up being a banker, but mathematics was never my long suit. I just, uh—people were—and—and that provided well for me in life. So, uh, that’s, you know—that’s kind of the reason I be—got involved. People asked me to come to get involved with Orlando Remembered, and it was my pleasure and has been all these years.</p>
<p class="Body"><strong>Baldwin<br /></strong>Very interesting. So you were not one of the founding members of…</p>
<p class="Body"><strong>Pottinger<br /></strong>No, I was not, uh, because, at that particular time, I was spending a little time out of here, and, uh, uh, the—the origin of it started at, uh, the Beacham Theatre. That’s where the first meeting—and I could not be there that particular time. Uh, We had a, uh, place in North Carolina, and, uh, like so many Floridians that grew up in the days before air conditioning, if you had 50 cents to clink together in your pocket, you either rented or you owned a place, as we did in Islands[?], North Carolina, or somewhere up that around Asheville—western North Carolina. Anyway, I was not here for that. So—but I soon right[?].</p>
<p class="Body"><strong>Baldwin<br /></strong>So you’d been there almost the entire time.</p>
<p class="Body"><strong>Pottinger<br /></strong>Almost the entire time.</p>
<p class="Body"><strong>Baldwin<br /></strong>You just missed the first meeting?</p>
<p class="Body"><strong>Pottinger<br /></strong>Just wasn’t at the very first meeting, which I consider were the founders. I knew every one of them, um, there—there were some wonderful—The Serroses, the Pajo[sp], Vandenburg[sp]—Pajo[sp] Pounds, we all knew her as. So forth and so on. A lot of them that were very active in that time. Grace Chewning[sp], um…</p>
<p class="Body"><strong>Baldwin<br /></strong>Are a lot of the founding members still…</p>
<p class="Body"><strong>Pottinger<br /></strong>There are still a number of them, surprisingly enough, still—still around. Uh, Andy Serros is, uh—that I mentioned earlier—and his brother, Bob [Serros], is[—is active, but, uh, Andy passed away a few years ago and he was one of the original founders, and there was, uh—there were a couple of others that have passed away.</p>
<p class="Body"><strong>Baldwin<br /></strong>What is the overall goal of Orlando Remembered?</p>
<p class="Body"><strong>Pottinger <br /></strong>To preserve, uh, the memory of areas and locations, and landmarks in the city, and, uh, we’ve—we’ve done that in several ways, but, uh, I think one of the—the best ways is the, uh—the location of displays in various spots around Downtown Orlando, and a couple outside of downtown, uh, with memorabilia, uh, of that area, and, uh, You know, at some point in time, I’d love to take you on a walking tour and—and show you some of those things. Just to stroll down, uh, Orange Avenue, and you can see the way it looked in the—sometimes as far back there’ll be something there from the 1890s, from one of the hotels—from the hotel that my grandparents stayed in, when they came that year in 1918—at the Wyoming Hotel. Uh, there’s a set of china and—and some se—tableware that I believe are in the display at the Orange County Courthouse. Uh, go in the courthouse—for any of you that might want to make that tour and see—walk in the front, leave your holstered items in the car, because you’re going to go through the, uh—the, uh, security thing there, but go over to the left and you’ll see it, uh, in the lobby there. You’ll see a great one. Uh, it tells all about what’s happened on that street and that block and that area around there. It, uh, uh, had the Wyoming Hotel on it, which was only a winter hotel, as many in Florida were. It closed in the summer, like Park Avenue did.</p>
<p class="Body">Uh, my in-laws had a, uh, store on Park Avenue for over 40 years, and they were one of the very few that stayed open year-round. Uh, Most of ‘em were—would head back in the cooler—warmer months of Florida. They’d go to cooler locations, uh, whether the hotels or the shops, like there—not—that wasn’t so in Orlando, necessarily. it was a year round, but in those winter destinations like that and such, they’d go, uh, up to Algonquin, you know, up to Maine, up to, uh, uh, Vermont—wherever they might be, and, uh, open a shop up there for the summer months and come back. So our whole, uh, life around here was really dependent on those northerners coming down, and, uh, in the early days, before Martin Marietta and such, in the winter time, we had not only the casual tourists who came down, because—to try and get away for a week or two—we had those that came down, as later my grandparents did, after enjoying it so much and—and many others, and spent time down here.</p>
<p class="Body">Some of them spent the winter, some—excuse me—spent six months, but we also had the, uh, we were the winter, uh, trotting horse capital of the United States, and it brought a lot of revenue in. Uh, it was at—held out at Ben White [Raceway], which was a raceway that was at the corner of about what’s Lee Road and—and [U.S. Route] 441. Uh, It’s now a big athletic fields, and there’s some stables, I think, still in the back, but it was a huge, uh, money infusion in the winter. Those people came—the owners of those—that was—it was always considered a, uh, uh, society kick above, uh, horse racing. Uh, the trotters and pacers were brought down, and, uh, they stabled them here, and, uh—the races. It—it—you knew when—you knew when Ben White opened, because traffic picked up. Now that would sound ridiculous with today’s horrible traffic in Orlando…</p>
<p class="Body"><strong>Baldwin<br /></strong>[<em>laughs</em>].</p>
<p class="Body"><strong>Pottinger<br /></strong>But back then there weren’t that many cars on the road and—and, uh, man, you’d see these automobiles come into town and up on the hood was a, uh—a metal, stainless, pretty thing of a, uh, trotting horse and a—and a sulky[?] behind it, You know? You knew they were involved in that. Eh, It just, uh—one of the things that—that, you know, came across that kept our town going before Martin Marietta and before [Walt] Disney [World Resort] and such.</p>
<p class="Body"><strong>Baldwin<br /></strong>Mentioning the horses, do you have an exhibit that features that aspect yet?</p>
<p class="Body"><strong>Pottinger <br /></strong>You know…</p>
<p class="Body"><strong>Baldwin<br /></strong>Aspect yet?</p>
<p class="Body"><strong>Pottinger<br /></strong>We—we have some pictures of it in one or two, but we don’t have anything, because there’s no facility out there left at Ben White to put it in. We would do that, because there—there—there’s enough, probably, memorabilia from those days, but what we try to do is locate what was on those various blocks. Maybe not just a block, maybe an area, in other words.</p>
<p class="Body">We’ve—in some cases, we’ve helped spon—helped sponsor a plaque, uh, like for the air base that was in town. Where Herndon Airport<a title="">[2]</a> is today. It was the Orlando [Army] Air Base before it was the Navy base.<a title="">[3]</a> So, uh, you know, there are—there are—newcomers, or what maybe consider themselves long time Orlandoans—that remember a Navy base out there, but I remember when it was the Orlando Air Base, and—and we had another air base that opened, uh—was Pine Castle Air Base, and, uh, that’s, uh, now the Orlando International Airport. The runways were there for the big bombers and it was a SAC base—a Strategic Air Command, and again, both of those things brought in a great deal of money when they came here.</p>
<p class="Body">Uh, the—the closing of Orlando Air Base was going to be a pretty big blow, and at that time, the owner and publisher of <em>The Orlando Sentinel</em> was a man name Martin Andersen—always with an “EN” at the end. Never—you could always tell somebody new to town when they write it as “Anderson,” but Martin Andersen was a Texas boy who knew LBJ,<a title="">[4]</a> and, uh, Johnson was president and, uh, he persevered on it and got a branch of the Great Lakes Naval Training Center to be established on the base, on part of what had been, uh, the—the air base, and, uh, it—it brought in not just recruits. It brought in families. It brought officers, enlisted men. It brought a whole lot of payroll coming in here. It was wonderful. Ah, uh, again, another mile stone that came along through connections or coincidence—whatever it might be. Uh, the same thing with the—the air base out here. Uh, it was going to close and MacDill [Air Force Base] in Tampa was going to take over as the air base for Florida—the major one, and, uh, the facilities were there for many years. The terminal was a big, uh, round-top hangar that had been used by the, uh—by the, uh, Air Force itself, and there was a lot of housing out there. There’s still some housing, uh, in—in that area out there, but, uh, there—There’s a, uh, Naval exchange, uh, where, you know, those that are qualified can—retirees and so forth—can go shop and so forth. Uh, a lot of other services were—were left in place and the city has had good use out of it.</p>
<p class="Body"><strong>Baldwin<br /></strong>Good, good. How does the group decide which sites to commemorate with exhibits?</p>
<p class="Body"><strong>Pottinger<br /></strong>Well, usually, it’s sponsored. Someone, uh, finds someone, uh, you know, that—that owns a building in that location, uh, and we—sometimes the building owner contributes financially to building—the displays are not cheap to put together, and, uh, you know, they’re—they’re—they’re housed—they’re lighted many of them and so forth, but, uh, it also takes someone who—who might have worked in that building or—or owned a building there and, uh, they have memorabilia, and, boy, we seize on it when we do, and, uh, they’re—they’re scattered throughout mostly in the downtown area. Uh, I mentioned the courthouse. The big Bank of America tower has one that we’re redoing in there now —I dedicated that when I was president of Orlando Remembered. Uh, I did a number of the—of the dedications of those, e—e—either when I was involved as—as one of the officers or not, but, uh, we have one in what was the Rutland building and that was a well-known building. That’s the corner of, uh—of Jefferson [Street] and—no, no—Jack—excuse me, uh—I believe it is on Orange Avenue at the corner of Washington [Street] —Washington and Orange. Uh, A building that once housed the most prestigious, uh, men’s store and lady’s store in downtown, when they were private companies, not big, you know, uh, uh, department stores—nation chain—national chains and such. Uh, We have another one in the SunTrust [Center] tower downtown that we’ve had there in the, uh—what was originally the CNA Building, but where the Citrus Club is, and that name has changed a number of times on that building.</p>
<p class="Body">So—but, uh, they’re—they’re throughout there. They, uh—and again, usually it’s—it’s because someone has a real interest in it or a financial interest in getting one of those, uh, displays in there. Uh, eh, It’s, uh—it’s a job to maintain them. They need periodic cleaning and dusting. The city has—has helped us with one. There’s one at the, uh, Bob Carr [Theater] auditorium, uh, that shows—that used to be the Orlando Municipal Auditorium. It was the auditorium and it wasn’t as big as it is today. If you go inside and you really look, you’ll see the old front is 20 feet back from the front now, uh, and it’s where people gather outside and so forth, but it’s air conditioned and then—so forth. It’s—it’s an anti-room to the—to the auditorium itself. We’re hoping that—that it’ll stay that way. There’s talk of tearing it down, and it’s a treasure that, uh, those of us that—that love Orlando, uh, would hate to see come down, and, uh, it—it—it’s a memory. I mean, we went to, uh, plays, you know, eh, when we were in junior—I mean in the grade school—went there. Uh, the Junior League used to put a play on every year there, and all the school children in Orlando got to take turns going down to see it in busses and so forth. I remember that as a—a child. It—it was great.</p>
<p class="Body"><strong>Baldwin<br /></strong>So you mentioned the exhibits are usually started by somebody who’s interested. Eh, like—I’m sure a lot of people are interested in creating different exhibits. How do you decide which exhibit’s going to be created by that person?</p>
<p class="Body"><strong>Pottinger<br /></strong>Well, we can only do one at a time, because we’re—we’re—we have no continuous funding basis. So a lot of times, it also depends on the owner of a building. who’s going to, first place, give us the space and the electricity and so forth, and might want one of those in there to draw, uh, attention to their own building or, you know, it’s a lot cheaper than buying a, uh, painting to put on the wall, probably, for ‘em, over the long run, uh, and It—it gives—it’s on tours many times. Uh, I’ve done those tours and taken people, you know, and I think the, uh—the museums now has[sic] a tour basis. I’m pretty sure that includes that, and—and their brochures that—that you can get, you—today you go online and you can find out where they all are and it’s even a map, I think, in there to—to follow through.</p>
<p class="Body"><strong>Baldwin<br /></strong>How does Orlando Remembered pay for the exhibits?</p>
<p class="Body"><strong>Pottinge<br /></strong>With contributions from its members, uh, from, uh, the owners of the building. Uh, most of the material that goes in there—in fact, t—to all of it, it is given to us. It’s donated to that particular, uh, point to—to some—someone that may have worked in—the one, you know, where there was a department store. Uh, hey may have the old nametag out of the back of a sweater or something. Uh, you know, to one that had a, uh, restaurant in it, there’s some china from that Wyoming Hotel, I tell you about, and some, uh, other things. So the materials that go into it, we don’t pay for. We just need the—the cabinetry and so forth—is—is all custom done and it’s done attractively. So it’s thousands of dollars to do it, and, uh, uh, uh, I’m talking, you know, uh, uh, five figure in thousands. So, eh, you know, it’s—it’s, uh, not something that you just decide because you have some china that you’ll put it in there. You need—you need a, uh, sugar daddy that’s—that’s there to contribute.</p>
<p class="Body"><strong>Baldwin<br /></strong>Roughly how many members of Orlando Remembered are there?</p>
<p class="Body"><strong>Pottinger<br /></strong>I can’t tell you that. I really don’t know. I’m—I’m a, uh, you know—I—I just—I can’t recall a—a recent number.</p>
<p class="Body"><strong>Baldwin<br /></strong>Okay. In your opinion, what’s your favorite Orlando Remembered exhibit?</p>
<p class="Body"><strong>Pottinger<br /></strong>Well, I love the one in the courthouse, as I said. Uh, There’s, uh—there are several of them downtown that, uh—that the, uh, one at the Municipal Auditorium—that’s another one that I like. The one that was in the Rutland building, and at, uh, one time, I’m not sure we still have the one that was at the, uh, back of Central Avenue-side of, uh, the northeast corner—southeast corner of Central and Orange, which was originally Yowell’s[?] and became Yowell’s[?] -Ivy’s Department Store. Uh, it’s an office building now, and who knows what’s in the downtown—downstairs. It rotates constantly, but, uh, that was a good one. SunTrust has an[sic], uh, good one.</p>
<p class="Body">Some of ‘em, you know, we’ve had to track down, because all of sudden somebody goes by and looks, and it’s gone. Someone has, you know—the manager of the building has decided to put it in a storage room, hopefully. Uh, we’ve—we’ve lost a couple of ‘em that, uh, you know, uh—the materials We’ve had to buy back a janitor or custodian—whatever it would be—keeper of ‘em—at, uh, one of those corners at Central and Orange—took a lot of it home and we had to repurchase things, because it had been given to us, and, uh, you know, you—you just—it can happen in a moment, and—and it can, you know—I mean, we are not a—a business that goes by and checks it every week. So, you know, months can go by and one of our members doesn’t notice it, and no one calls us and says, “You know, there was a display in, eh, the lobby, but it’s not there anymore.” Well, I don’t know that we—we don’t really have a—an office phone number to call.</p>
<p class="Body">So, uh, we—we’ve been through all of that with it, but, you know, determination and a love for the city and to continue its history has kept us going, and we continue to provide these. So we’ll—it costs money to maintain them. Again, as I think I mentioned earlier, they have to be cleaned. They have to be opened. they’re sealed. It has to be a, uh—it’s not a, uh—take a—a rag down there and—and clean the outside. You gotta clean the inside, you gotta clean the displays, gotta clean the linings, and so forth. So it—it takes—it takes upkeep and it takes, uh, continuous maintenance.</p>
<p class="Body"><strong>Baldwin<br /></strong>Who’s responsible for…</p>
<p class="Body"><strong>Pottinger<br /></strong>Well, the…</p>
<p class="Body"><strong>Baldwin<br /></strong>Cleaning and everything?</p>
<p class="Body"><strong>Pottinger<br /></strong>We’ve—get someone to do it—a professional to do it, and again, that’as part of—of maintaining these. Uh, we—we don’t have any huge balance, so we have to do it as we can.</p>
<p class="Body"><strong>Baldwin<br /></strong>What are your personal goals for Orlando Remembered in the future?</p>
<p class="Body"><strong>Pottinger<br /></strong>I’d like to see it continued on and on, and, uh, the, eh, eh, you know—for those of us that are, as I am, near 70, uh—and—and we’ve got members that are, you know, 85 years old, and so, uh, uh, you know—but we’ve got members coming along that have lived here 35 years, 50 years, 60 years. There’ll be things that they remember that have changed dramatically in Orlando that—and there’s space to make, uh—to put a display up, uh, and—and I think that, uh, they’ll be active in that. Uh, we’ve tried to get some other organizations, and then[?]—I won’t mention the name, but, uh, there’s one that’s a lot of young ladies your age—under 40, I think—and you go inactive[?] or something, if I remember right.</p>
<p class="Body">My wife and daughters were—daughter was in that, but, in any—in Junior League—and, eh, you know, we may indeed get them interested. So there are things like that, that, uh—that—that will be of interest to someone later, and the displays that we did will be of no more interest, uh, in many cases. Some we hope, but once you lose the generation that remembers what was in that building, it becomes something for the history museum, not something for an active mind to draw you back to your own personal memories of it, and, therefore, you need to continue on, and, o’ course, downtown now, you’ll have to have a great memory of which nightclubs were where…</p>
<p class="Body"><strong>Baldwin<br /></strong>[<em>laughs</em>].</p>
<p class="Body"><strong>Pottinger<br /></strong>‘Cause that’s about all there is in those buildings downtown anymore. So—but, uh, you know, there—there are spots for it everywhere.</p>
<p class="Body"><strong>Baldwin<br /></strong>Has Orlando Remembered had—had a lot of success at attracting younger generations and everything?</p>
<p class="Body"><strong>Pottinger<br /></strong>Uh, I think we’ve—we’ve done alright. We’ve got a good, uh, variance of age groups. Uh, we’d like to have more younger people. We’d love to have people your age. We’d love to have people from the university, and, as you are doing, take an interest. We welcome you. There are no dues to come, uh, help us. We’d love to have it.</p>
<p class="Body"><strong>Baldwin<br /></strong>How does Orlando Remembered interact with the community?</p>
<p class="Body"><strong>Pottinger<br /></strong>Well, we try to do it with these displays and—and by keeping them alive. A little bit of writing the newspaper has done well with us, and we’ve been able to, uh, get some good publicity when we open these, and, uh, once in a while, we do an interview, like this one is—is being done, and we have others. We’ve—I’ve[?] done a TV interview and a—a show. So, I mean, it’s—it’s, uh, eh—I’ve also gone around to schools and some of—not specifically to talk about Orlando Remembered—but I try to bring out when I talk about history to them, the, you know—go see the displays that are—that are available, and, uh, it—it’ll—it’ll—and take your parents with you, because they’ll remember a lot of those things that are in there.</p>
<p class="Body"><strong>Baldwin<br /></strong>What was the connection between Orlando Remembered and the Historical Society of Central Florida/the Orange County Regional History Center?</p>
<p class="Body"><strong>Pottinger<br /></strong>Not really anything in the—in the years other than cross membership. Uh, it’s two separate accounts and, uh, two separate organizations. I was also president of the Orange County [Historical] Museum<a title="">[5]</a> and the historical society—Orange County Historical Society, before it moved downtown, when—the last year that it was at Loch Haven [Park], in what is—I’m trying to think what’s there in that theater thing now—but anyway, um, it—it was there for many—it was originally in an old, red brick courthouse when I was a little boy. That’s where that park in front of the historical museum is. Uh, in the front was an 18, uh, 88- or 1892- courthouse, and it was the—the 1927 courthouse where the museum—museum is today—was there and active as the courthouse. This red brick building was start—had the—the museum in it, that was all volunteer, run by the Antiquarian Society, which was a group of prominent family ladies who gathered memorabilia and—and volunteered hours up there, and, uh, it was relatively small, but it was the beginning of the history center. Some of those volunteers’ children or grandchildren had been active in the historical society and in Orlando Remembered.</p>
<p class="Body"><strong>Baldwin<br /></strong>Which organization were you president of first?</p>
<p class="Body"><strong>Pottinger<br /></strong>Uh, the museum, I think, uh, eh, eh, if my memory serves, but I think—yes, I’m certain of it. Uh, again, age hits you</p>
<p class="Body"><strong>Baldwin<br /></strong>[<em>laughs</em>].</p>
<p class="Body"><strong>Pottinger<br /></strong>You try to remember which one was which, but I—I was president of the historical society and the museum, uh, and I think that was 1999 or 2000 [inaudible]—something like that—and, uh, after—following that—that I really got active in—in Orlando Remembered. I had been a little bit active, but I’ve given you another line—something else to do. You know, when you get finished being the president of an organization, the greatest thing you can do is to step aside and let the new people have it, and don’t hang around from it.</p>
<p class="Body"><strong>Baldwin<br /></strong>Sometimes that’s the hardest thing though.</p>
<p class="Body"><strong>Pottinger<br /></strong>It is hard. It is hard, but, uh, in any event, uh, it—it—it was a good break and I’ve—I’ve enjoyed it. Both of ‘em.</p>
<p class="Body"><strong>Baldwin<br /></strong>How does—how does one become involved with Orlando Remembered?</p>
<p class="Body"><strong>Pottinger<br /></strong>Oh, our meetings, and—and, uh, I can give you an address—you may have it—for Grace, uh, and she is, uh—she is our recording secretary and a great person, and you do have that, uh—that address—e-mail. Uh, she can put you on a mailing list. We’d love to have—and if there are other students that would like to come sit [inaudible]—to some, it may be very boring, you know, and—and we talk about the same thing—about trying to get a display. I don’t know how long we’ve gone on trying to put together getting a display on the Navy base of some<a title="">[6]</a>—what would I call a Navy base—but out at Baldwin Park. Not just a little sign, but a—a real display of what used to be there— the glass-cased display. It’s gonna happen one of these days, but gosh, you know, even somebody that’s a member gets tired of hearing, “Well, we’ve made no progress on the,” you know, this and that, and the next thing over and over, but we—we—right now, there’s a lot of, uh—a lot of our displays are[sic]—have[sic] hit the age and stage of maintenance, and so, that’s been our—our push this last year, rather than new ones, but we’ll continue on, and perhaps we’ll go beyond just Orlando. You know, Winter Park area has others and, uh, you know, a, uh—a couple of the—the fine families out in West Orange County have done a great job in Winter Garden. Uh, they’ve—they’ve really done a super job. If you’ve not been to Downtown Winter Garden, don’t miss it. It is as pretty, if not more beautiful, than Park Avenue in Winter Park. It’s, uh, uh—it’s two streets with a park—little park down the middle, and some great restaurants. Good place just to go out and sip one in the evening or to eat lunch or something.</p>
<p class="Body"><strong>Baldwin<br /></strong>I was actually just there last week for their [Central Florida] Railroad Museum.</p>
<p class="Body"><strong>Pottinger<br /></strong>Oh, wonderful.</p>
<p class="Body"><strong>Baldwin<br /></strong>So that’s a very…</p>
<p class="Body"><strong>Pottinger<br /></strong>That’s great.</p>
<p class="Body"><strong>Baldwin<br /></strong>It’s the first time I’ve ever been Downtown Winter Garden.</p>
<p class="Body"><strong>Pottinger<br /></strong>Isn’t it…</p>
<p class="Body"><strong>Baldwin<br /></strong>It’s so pretty.</p>
<p class="Body"><strong>Pottinger<br /></strong>A cute little town?</p>
<p class="Body"><strong>Baldwin<br /></strong>Mmhmm.</p>
<p class="Body"><strong>Pottinger<br /></strong>It really is, and—and it was dilapidated—is not the word for it—15 years ago. I mean it—but again, several families, uh, have, uh, the Chicones and a few others have put together some—some wonderful things out there. Uh, Again, I urge you to go out there.</p>
<p class="Body"><strong>Baldwin<br /></strong>So I know you mentioned that like, downtown’s all just nightclubs and stuff and Orlando Remembered does exhibits. Would Orlando Remembered ever try to preserve an entire building, you think? or is that too far out of the question?</p>
<p class="Body"><strong>Pottinger<br /></strong>No, I think it’s too far beyond what—what, uh—again, we have no source of—of continuous income. So it—it wouldn’t, uh—unless someone donated a building to us, and, uh, you know, it’d be wonderful, and, uh, you know, you could do vignettes on, uh, you know—throughout the building, or—or a home, you know, that showed various spots. That might even be safer than the way we do it where we’re putting our display—an expensive display in the lobby of a building. Again, without constant control, we don’t know when it winds up at the janitor’s garage at home. So, you know, you—you just need a continuous thing, and, you know, we have no employees. It’s not—it’s just volunteer. All of it.</p>
<p class="Body"><strong>Baldwin<br /></strong>How do you believe Orlando Remembered will change in the future?</p>
<p class="Body"><strong>Pottinger<br /></strong>Well, I know there’ll be changes to it, but I think some of ‘mem will be good, because I, eh—just like this right now, I see more interest in young people with history, uh, you know, than—than there were—was in my day growing up. It—it—there was very little interest in—in, uh—I was—I was a rarity to be a young lad, and, uh, uh, I don’t know of another soul…</p>
<div><br /><div>
<p><a title="">[1]</a> Correction: 1918.</p>
</div>
<div>
<p><a title="">[2]</a> Now called the Orlando Executive Airport.</p>
</div>
<div>
<p><a title="">[3]</a> Naval Training Center Orlando.</p>
</div>
<div>
<p><a title="">[4]</a> Lyndon Baines Johnson.</p>
</div>
<div>
<p><a title="">[5]</a> Present-day Orange County Regional History Center.</p>
</div>
<div>
<p><a title="">[6]</a> Naval Training Center (NTC) Orlando.</p>
</div>
</div>
Andy Serros
Antiquarian Society
Baldwin Park
Bank of America
Beacham Theater
Beacham Theatre
Ben White
Ben White Raceway
BHS
Bob Carr Theater
Bob Serros, Pajo Pounds
Boone High School
Central Avenue
Chicone
Citrus Club
CNA Building
Connell
Dann Pottinger
Downtown Orlando
Downtown Winter Garden
Edgewater High School
EHS
Grace Chewning
Herndon Airport
historic preservation
Historical Society of Central Florida
horse racing
horse tracks
horse trot
horses
Junior League
Kirk
LBJ
Lee Road
Loch Haven Park
Lyndon B. Johnson
Lyndon Baines Johnson
Martin Andersen
Martin Marietta Corporation
MCO
Naval Training Center Orlando
NTC Orlando
OCRHC
Orange Avenue
Orange County Courthouse
Orange County Historical Museum
Orange County Historical Society
Orange County Regional History Center
orlando
Orlando Air Force Base
Orlando Air Force Base, Orlando AFB
Orlando Army Air Base
Orlando Executive Airport
Orlando International Airport
Orlando Municipal Auditorium
Orlando Remembered
pacers
Pako
Park Avenue
Pine Castle AFB
Pine Castle Air Force Base
Rutland
SunTrust Center
The Orlando Sentinel
trotters
U.S. Route 441
US 441
Vandernburg
Washington Street
Winter Garden
Winter Park
Wyoming Hotel
Yowell
Yowell-Ivy’s
-
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"><em> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</em></a>. New York: Hal Leonard, 2009.
Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank"><em>The History of Jazz</em></a>. New York: Oxford University Press, 1997.
Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank"><em>Jazz: A History of America's Music</em></a>. New York: Alfred A. Knopf, 2000.
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
1 audio/video recording
Duration
5 minutes and 2 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
WUCF Artisodes Short: Jazz Fest
Alternative Title
Jazz Fest Artisode
Subject
DeLand (Fla.)
Music--United States
Jazz--United States
Description
Noble "Thin Man" Watts (1926-2004) was a blues and jazz saxophonist from DeLand, Florida, who worked with some of the biggest names in jazz, blues, and rock, including Buddy Holly (1936-1959), Dinah Washington (1924-1963), Jerry Lee Lewis (b. 1935), Lionel Hampton (1908-2002), Chuck Berry (b. 1926), Johnny Mathis (b. 1935), and the Everly Brothers. Watts moved back to DeLand in the mid-1960s, where he remained until his death in 2004. The "Thin Man" Watts Jazz Festival began earlier that year and has continued to grow in the years since.<br /><br />WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts.
Type
Moving Image
Source
Original 5-minute and 2-second audio/video recording of Jazz Fest, <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a>, Orlando, Florida, April 21, 2014: WUCF-TV, 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>
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-TV, University of Central Florida, Orlando, Florida
African American Museum of the Arts, DeLand, Florida
Café Davinci, DeLand, Florida
Publisher
<a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a>
Contributor
Watts, Noble "Thin Man"
Allen, Mary
Armstrong, Anthony
DaVinci Jazz Experiment
Mark Hodgson & the Cosmic Blues Trio
Pendleton, Jefferson
Sheperd, Jeff
Waits/Jordan Quartet
Wilton, John
Date Created
ca. 2015-01-29
Date Issued
2014-04-21
Date Copyrighted
2014-04-21
Format
application/website
application/pdf
Medium
5-minute and 2-second audio/video recording
Language
eng
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a> and published by <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a>.
Rights Holder
Copyright to this resource is held by <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</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
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a>
External Reference
Dahl, Bill. "<a href="http://www.allmusic.com/artist/noble-thin-man-watts-mn0000408965/biography" target="_blank">Noble 'Thin Man' Watts</a>." AllMusic.com. http://www.allmusic.com/artist/noble-thin-man-watts-mn0000408965/biography (Accessed March 31, 2015).
African American Museum of the Arts. "<a href="http://www.wattsjazzfest.com/" target="_blank">Thin Man Watts Jazz Fest</a>." WattsJazzFest.com http://www.wattsjazzfest.com/ (Accessed March 31, 2015)
"<a href="http://www.wucftv.org/local-programs/artisodes/" target="_blank">WUCF Artisodes</a>." WUCFTV.org. http://www.wucftv.org/local-programs/artisodes/ (Accessed April 6, 2015).
Click to View (Movie, Podcast, or Website)
<a href="https://www.youtube.com/watch?v=2Wqybluz2TI" target="_blank">WUCF Artisodes Short: Jazz Fest</a>
African American Museum of the Arts
Anthony Armstrong
Artisodes
Bank of America
blues
bluesmen
Bright House Networks
Cafe DaVinci
Cannonball Adderley
Charles Edward Anderson Berry
Chuck Berry
City of Deland
DaVinci Jazz Experiment
DeLand
Dr. Noble "Thin Man" Watts Amphitheater
ECHO Program
Federal community Development Block Grant Program
festivals
Irene D. Johnson
jazz
Jazz Fest
Jeff Sheperd
Jefferson Pendleton
John Wilton
Johnson, Irene D.
Johnson, Maxel
Julian Edwin Adderley
Mark Hodgson
Mark Hodgson & the Cosmic Blues Trio
Mary Allen
music
musicians
Nat Adderley
Nathanial Adderley
Noble Watts
orlando
PBS
Public Broadcasting Service
saxophones
saxophonists
State of Florida
tenor saxophones
Thin Man Watts
Thin Man Watts Jazz Fest
UCF
University of Central Florida
Volusia County
Waits/Jordan Quartet
WUCF Artisodes
WUCF-TV
-
https://richesmi.cah.ucf.edu/omeka/files/original/f46cf5a2404c7eb68d0b59a14abed0b5.pdf
9eb48241393ef6f196ce80e01028d51d
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"><em>A Guide to Historic Orlando</em></a>. Charleston, SC: History Press, 2006.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
Barnes, Mark
Interviewee
Clark, Jeffrey Edward
Location
Shriners Temple, Maitland, Florida
Original Format
1 Hi-8 Digital (DAT) audio/video recording
Duration
33 minutes and 16 seconds
Bit Rate/Frequency
9980kbps
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 Jeffrey Edward Clark
Alternative Title
Oral History, Clark
Subject
Orlando (Fla.)
Navy
Sailors--United States
Veterans--Florida
Description
An oral history of Jeffrey Edward Clark, former member of the U.S. Navy. This interview was conducted by Mark Barnes at the Shriners Temple in Maitland, Florida, on May 6, 2014. The interview was conducted as part of the UCF Community Veteran's History Project (CVHP) and background research for a memorial honoring the former Naval Training Center Orlando (NTC Orlando).<br /><br />Clark served in the Navy from 1985 until 1989. He attended recruit training in Orlando and also went to apprenticeship school at the base. He was a Signalman Petty Officer Third Class, Enlisted Rank 4, aboard the USS<em> Richard E. Byrd DDG-23</em>, which operated in the North Atlantic and Mediterranean Sea. Upon leaving the Navy, Clark returned to Orlando and attended the University of Central Florida.
Table Of Contents
0:00:30 Biographical background<br />0:02:53 Decision to join the U.S. Navy<br />0:04:03 Attending boot camp at NTC Orlando<br />0:10:35 Naval training and assignments following boot camp<br />0:13:50 Apprenticeship school versus boot camp<br />0:17:25 Types of additional training offered at NTC Orlando<br />0:21:15 Shipboard Experiences<br />0:23:25 Life after the Navy<br />0:26:15 Lasting memories of naval experience<br />0:31:05 Legacy of NTC Orlando
Abstract
Oral history interview of Jeffrey Edward Clark. Interview conducted by Mark Barnes at Shriners Temple in Maitland, Florida.
Type
Moving Image
Source
<a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/270/rec/1" target="_blank">Clark, Jeffrey Edward</a>. Interviewed by Mark Barnes. UCF Community Veterans History Project. May 6, 2014. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, 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://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, Special Collections and University Archives, University of Central Florida Libraries, 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.
Conforms To
Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Community Veterans History Project (CVHP)</a>, Library of Congress.
Coverage
Flagler Palm Coast High School, Palm Coast, Florida
Military Entrance Processing Center, Jacksonville, Florida
Naval Training Center Orlando, Orlando, Florida
South Orange Blossom Trail, Orlando, Florida
Ponta Delgada, Azores Islands, Portugal
Daytona Beach Community College, Daytona Beach, Florida
University of Central Florida, Orlando, Florida
Atlanta, Georgia
Creator
Barnes, Mark
Clark, Jeffrey Edward
Publisher
<a href="http://library.ucf.edu/UniversityArchives/" target="_blank">Special Collections and University Archives</a>, University of Central Florida Libraries
Contributor
Hazen, Kendra
<a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Wiggins, Leanne
Orleman, Andrew
Date Created
2014-05-06
Date Copyrighted
2014-05-06
Format
video/mov
application/pdf
Extent
2.38 GB
189 KB
Medium
33-minute and 16-second Hi-8 Digital (DAT) audio/video recording
18-page digital transcript
Language
eng
Mediator
History Teacher
Civics/Government Teacher
Geography Teacher
Provenance
Originally created by Mark Barnes and Jeffrey Edward Clark, and published by the University of Central Florida Libraries <a href="http://library.ucf.edu/UniversityArchives/" target="_blank">Special Collections and University Archives</a>.
Rights Holder
All rights are held by the respective holding institution. This material is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce and/or for copyright information contact <a href="http://library.ucf.edu/UniversityArchives/" target="_blank">Special Collections and University Archives</a>, University of Central Florida Libraries, (407) 823-2576. http://library.ucf.edu/about/departments/special-collections-university-archives/.
Accrual Method
Item Creation
Contributing Project
<a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>
Curator
Barnes, Mark
Cepero, Laura
Digital Collection
<a href="http://library.ucf.edu/Systems/DigitalCollections/" target="_blank">UCF Digital Collections</a>
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a>
External Reference
"<a href="http://www.lonesailorfl.com/" target="_blank">The History</a>." Navy Memorial of Central Florida. http://www.lonesailorfl.com/.
Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank"><em>A Guide to Historic Orlando</em></a>. Charleston, SC: History Press, 2006.
"<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/.
Click to View (Movie, Podcast, or Website)
<a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/270/rec/1" target="_blank">Oral History of Jeffrey Edward Clark</a>
Has Format
Digital transcript of original 33-minute and 16-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/270/rec/1" target="_blank">Clark, Jeffrey Edward</a>. Interviewed by Mark Barnes. UCF Community Veterans History Project. May 6, 2014. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida.
Transcript
<p><strong>Barnes<br /></strong>Today is Tuesday, May 6<sup>th</sup>, 2014. I'm interviewing Jeff[rey Edward] Clark, who served in the United States Navy. My name is Mark Barnes, and with me working the camera is Kendra Hazen. We're interviewing Mr. Clark as part of the UCF [University of Central Florida] Community Veterans History Project, and as research for the creation of the educational wall for the Lone Sailor Memorial [Project]. We are conducting this interview in Maitland, Florida.</p>
<p>Mr. Clark, will you please just begin by telling us your name, where you were born—where and when you were born?</p>
<p><strong>Clark<br /></strong>Sure. my name is Jeffrey Clark, and I am originally from East Hartford, Connecticut. I was born in Hartford, Connecticut, on January 31<sup>st</sup>, 1968. And in 1983, my family moved to Florida—to Flagler County in Palm Coast, where I attended Flagler Palm Coast High School.</p>
<p>And then I did drop out of high school at the age of 17, and joined the Navy shortly after my 17<sup>th</sup> birthday, where I went through the Orlando Naval Training Center here.<a title="">[1]</a> Upon completion of my active duty, I returned to—I did obtain my GED (General Educational Development) while I was in the Navy. And then upon completion of my active duty, I did graduate from DBCC—Daytona Beach Community College—and then transferred and graduated at UCF. Major in economics and a minor in political science.</p>
<p><strong>Barnes<br /></strong>Do you have any brother or sisters or parents you want to tell us about?</p>
<p><strong>Clark<br /></strong>Sure. I have two sisters and both of them still reside here in Flagler County in Florida. And then my parents are still alive and live in Flagler County as well. My father—I come from a military family. sort of on the—<em>Forrest Gump</em> movie, I believe, where Lieutenant Dan has an ancestor that had fought in every major American war back to the colonial period. And I have that same line or lineage as well. Goes back to the <em>Mayflower</em> on my father's side.</p>
<p>My father served in the Navy and went through Bainbridge, Maryland, for his boot camp, and then was aboard an aircraft carrier—the USS <em>Chiwawa</em> CV40. And my grandfather—his father—served in World War II. Uh, he was in the Army and was stationed in the Philippines.</p>
<p>And then on my mother's side—my mother is also from—both my father and my mother are from Connecticut, as well. And my mother's side of the family—they were Italian immigrants. my grandfather immigrated in the 19—well, both my grandparents immigrated from Italy to the U.S. in the 1920s. And then when they were younger, obviously—and my mother was born in 1945 and my father was born in 1939.</p>
<p><strong>Barnes<br /></strong>And did you join the Navy for any particular reason?</p>
<p><strong>Clark<br /></strong>Actually, that was a bit of an interesting story. Now, one time, when I was around eight or nine years old, I filled out this application to inquire about the Navy out of a magazine or something like that. And, obviously, you could tell that a child wrote it. Well my father took it as a joke and mailed it in, and I always wanted to join the Navy for—I don't know, because I enjoyed history and my father was in the Navy. So my father mailed this application form in to send information about joining the Navy, and I received this letter from a captain in the Navy that said, you know, “Sorry,” you know, “but you're too young.” And he gave me a couple posters and some other items to say, “Here's some stuff to help you keep thinking Navy, and when you're old enough,” you know, “please come back." Well, pretty much came back at the minimum age possible, and I always wanted to join the Navy when I was a child. I think it was that TV commercial—“It's not just a job. it's an adventure.”</p>
<p><strong>Barnes<br /></strong>So was the Navy a must for you?</p>
<p><strong>Clark<br /></strong>Pretty much. yeah. <em>[air conditioning unit comes on]</em></p>
<p><strong>Barnes<br /></strong>So you said you attended boot camp in Orlando?</p>
<p><strong>Clark<br /></strong>In Orlando, at the Naval Training Center.</p>
<p><strong>Barnes<br /></strong>And was that by choice, or did they just tell you where to go?</p>
<p><strong>Clark<br /></strong>Um, I would like to think it was by choice, because when I joined in this February—and having lived in Florida and being accustomed to the warm weather—I told the recruiter that I would go into the Navy now, if I could go to Orlando or San Diego, and not Great Lakes. Because there were three facilities for boot camp in the Navy—Great Lakes, San Diego, and Orlando, at that time. And I remember my father was very anxious. He said, “Well, you're going to go in now,” you know, “take him.” But somehow—luck, I would presume—I went through Orlando.</p>
<p><strong>Barnes<br /></strong>We'll come back to this, but what were you trained to do for the Navy? What was your job? Or your jobs?</p>
<p><strong>Clark<br /></strong>Initially, when I went in, I was a basic seaman recruit to do basic shipboard tasks, such as, you know, chipping paint and painting. and in the boats and bay field, sort of basic deck board duties. However, during the course of the time, I did become a signalman, which was communications and navigation, primarily with Morse code, with flashing lights—semaphore, as well.</p>
<p><strong>Barnes<br /></strong>Semaphore?</p>
<p><strong>Clark<br /></strong>In the flags. And that “A” school by the way. If I had entered the Navy as a signalman instead of a basic seaman recruit, the training for the Signalman School was here in Orlando, as well, at the Naval Training Center.</p>
<p><strong>Barnes<br /></strong>We're going to circle back through your life as a recruit, and then we'll circle back through your life as a sailor. So when you first got to—your first day off the bus, so to speak, you know, what were some of the biggest adjustments you had to make going through?</p>
<p><strong>Clark<br /></strong>Alright. I'm going to take a step back from the bus over to the Orlando Naval Training Center, since we're in the state of Florida. I'll keep us in the state of Florida. So, when you enter the military, you go to your recruiting office and you complete all that, and they, I presume, do the background checks—similar—probably similar to any new employment process, if you're hiring somebody.</p>
<p>So one of the key things after you go through that, you have to go through what they call the “MEPs center”—Military Entrance Processing facility—and that was in Jacksonville. And up there you get an initial physical, and they determine if you're—kind of the final step—if you're worthy enough to go on active duty. So I went through that in Jacksonville, and I remember going through there and, for some reason, I had thought that I was not going to enter the Navy until the summertime. And this one naval chief overheard me say that, and he said, “What did you say?” And I said, “I’m not going on active duty until the summer.” I say, “I get to go home, you know, after I go through the MEPS process today.” and he said, “Oh, no you’re not. You’re going in tomorrow morning, and I’m going to personally see to it.” I guess I was talking out of line.</p>
<p>So anyways[sic], we rode a bus from Jacksonville—and I remember I had to call my parents and say, “I’m not coming home.” [<em>laughs</em>] It was kind of sudden and quick. So we rode a bus from Jacksonville. and of course, we didn’t even take [Interstate] 95 and [Interstate] 4. It was like going on a Greyhound. I think it took about five hours to get there, because, you know, we went down, you know, [U.S. Route] 17, and then through Palatka, and all the back roads through there to get to Orlando. So we made it there, and they drop us off at the bus—at the bus area.</p>
<p>And then you kind of get indoctrinated where you come in and you start to, initially—so the initial shock was like, “Wow. this is for real.” But you still had your civilian clothes and you still had your hair. And so—and then that way you—you got your assignment, you know, where your—what your company you're going to be, what building at the Orlando Naval Training Center would be your home for the course of boot camp. And then the next day was kind of, you know—the first couple days were kind of intrigue, you know—kind of getting indoctrinated. And you go through a health screen, you go through and get your hair cut, and your clothes and all that assigned, then you begin your boot camp.</p>
<p><strong>Barnes<br /></strong>Do you have anything that stands out from your time?</p>
<p><strong>Clark<br /></strong> Oh yes. Yeah. definitely. So, for example—and at this time I obviously had more hair than I do now—but I was very proud of my hair. You know, “pretty boys,” as they would say in the Navy. and when I got my head shaved, I didn't look at myself in a mirror for about five or six weeks. I remember I would feel it and be like, <em>Oh</em>. And luckily they didn't have mirrors or anything in the boot camp berthing area—you know, the living area. So I made a purpose not to look at myself. That was the biggest, biggest shock.</p>
<p>The other shock that I had was I was going to have to learn how to fold clothes, because—kind of like out of a movie, where, you know, my mommy is able to wash, fold, and put my clothes away for me. But that changed, and I had to learn how to fold clothes.</p>
<p>But I was a baseball player in high school and very physically active, so the physical nature of boot camp that everybody thinks about—the physical activity was really not an issue for me. I was already in pretty good shape from playing baseball and other physical activities.</p>
<p><strong>Clark<br /></strong>Do you have any memories from when you graduated? Did your folks come down?</p>
<p><strong>Barnes<br /></strong>Yes. As part of the process, there was a graduation ceremony. And, like, my family, including my father's parents—my grandparents—came down and they went to the graduation ceremony, and they were able to get a tour of the facility. And it’s like a parade ground, and they set up these bench area bleachers. and the families were able to watch us do our Pass and Review and hear the speeches from the—from Captain Nice, who was the Recruit Training Center commanding officer and NCS (National Call to Service) conductor of ceremony. Then afterwards, everybody went home.</p>
<p>But, you know, we were able to meet up and, you know, it was good for my family to be there to see that. And that was, you know, an equivalent of like a high school graduation. I would say very similar, but you know dressed in military and military ceremony.</p>
<p><strong>Barnes<br /></strong>When you graduated from boot camp, what was your next assignment?</p>
<p><strong>Clark<br /></strong>Sure. upon graduating boot camp—boot camp lasted about eight and a half weeks. I actually entered active duty on February 26<sup>th</sup>, 1985, and then boot camp officially started March 1<sup>st</sup>. And, as I mentioned, those first couple of days were, you know, getting your hair cut, and getting your clothes, and getting indoctrinated.</p>
<p>And then when I graduated, I started—I continued at the Orlando Naval Training Center. They did have additional training schools there. The one I went to is—when I entered the Navy, I entered the Apprenticeship Training Program. and that was open to individuals who wanted to focus on more of a general—kind of like a liberal arts, if you want to call it that—to compare it to college. So there was a Seaman Apprenticeship, a Firemen Apprenticeship, and an Air Apprenticeship.</p>
<p>And then once you completed that training, then you would get assigned to a permanent duty station. So seamen went in to, you know—were eligible and did a cross-range of duties, such as, in the boatmen mate field, which is the deck duty. And then airmen, you know, went and supported, you know, aircraft either on carriers or as part of a detachment. And firemen kind of could go on ships, because they were the ones who worked down in what we called “the pit”—the boiler room and the engine rooms where the boiler technician rates and the machinist mates ran that. So I went through the Seaman Apprenticeship Training program.</p>
<p><strong>Barnes<br /></strong>Were there certain classes you had to take, or do you know about the classes from the various—from the three places you just—the three schools you just described?</p>
<p><strong>Clark<br /></strong>Yes. So basically how the Orlando Naval Training Center was set up is you kind of had—there were—if I remember—I think there were 10 buildings—10 or 12 buildings. And it was set up very, you know, military-style. On one end, you had sort of—and they were called—I forget what they were called. But there's like Building One, Building Two, etc. So on each end was kind of like the administrative offices, and then in between and in sequential order on each side, I think there was[sic] 12. There was[sic] 2 on the end, and five this way and five that way. And then on one side—and, in the middle, there was a divider, like a road that went through the middle. And on one side was strictly where boot camp was conducted. and on the other side is where the schools were conducted. They were the living quarters basically, or “berthing areas,” as they’re called in the Navy.</p>
<p>And so I went through the Seaman Apprenticeship Training. It was a series of classroom training and on-the-job training. They did the USS <em>Blue Jacket</em>, which was there—which was a training, you know—simulation of a ship and so we would go perform for seamen apprenticeship training. You know, how to tie knots, how to tie up the ship, how to raise flags, and other things associated with the Seamen Apprenticeship. And then the fireman did similar things, where, you know, they went in and simulated what jobs they would do once they went to the fleet. And that apprenticeship training was approximately four weeks for that.</p>
<p><strong>Barnes<br /></strong>How would you describe the relationship between your instructors on that side versus your instructors on...</p>
<p><strong>Clark<br /></strong>Sure.</p>
<p><strong>Barnes<br /></strong>The recruit side?</p>
<p><strong>Clark<br /></strong>On the recruit side, the boot camp, you know, was very strict. Very boot camp. very structured. You know, very military. You know, “controlling” is—I guess, would be a way to describe it. You know, your day was fully planned. You, you know—we woke up at four<sub> A.M.</sub> We went, you know—we did some initial drills and then we have our set breakfast time. You know, Company 101’s breakfast was from say 5:00 to 5:30.</p>
<p>You came back, you washed up, you know, brushed your teeth—whatever. Then you had set criteria of everyday what you would do. And most of it was practicing marching for your graduation ceremony, as well as other, you know, stuff that was boot camp related. You know, physical activity, swimming, firefighting drills that everybody needs to know for the military, and other basic stuff.</p>
<p>Now this was a little bit more specialized, and it was, like I said, classroom and on-the-job training. I would say that there was a bit more freedom. It was like a 9-to-5 job. You know, you woke up, you started class at eight o'clock, you had lunch from 12 to 1, and you were free to go do what you want.</p>
<p>In addition, I guess the big thing was—you were free on the weekends to go do whatever you wanted. Whereas in boot camp, you know, you were in boot camp and you were not allowed to leave. The only time that we left boot camp was after six weeks, we were granted what they called a “restricted liberty,” where it was kind of like an elementary school field trip. You know, like SeaWorld or [Walt] Disney [World], or somewhere like that. And it was very restricted. And, you know, it was covered.</p>
<p>And then you had an unrestricted liberty, like the week before you graduated, and that’s where you could stay within the city of Orlando, and kind of go anywhere you want and you had to be back at a certain time. And I guess a story for this would be—everybody—all the instructors and the officers—would say South OBT [Orange Blossom Trail] is off limits, because it’s kind of a dodgy area. But of course, where does everybody go? South OBT.<a title="">[2]</a> So that’s pretty much where unrestricted liberty went.</p>
<p>And then, like I said, during the apprenticeship training you were free to do[sic] on the weekend. and then I used to go home, you know. My mother would come pick me up or my father would come pick me up, and I’d visit my friends on the weekend, and then I had to be back Monday morning by eight o’clock to go to class. So it didn’t really matter, but I’d usually come back Sunday night, because we were still living in our living quarters. I guess the way I’d compare, you know, is boot camp was kind of like, you know, elementary school and high school. Very structured, very strict, limited. And apprenticeship training was more like college, where, “Hey, this is what you got to do,” you know, “Here's your times. the rest of that’s up to you.”</p>
<p><strong>Barnes<br /></strong>Now you had—when you said you were living there, did you guys have apartments almost when you were an apprentice?</p>
<p><strong>Clark<br /></strong>No. It was very—it was the same as what we had in boot camp. You know, the same structure. So basically it was an open area, like a barracks, and it was for enlisted. Now, officers tended to have the equivalent of more like the hotel or a small apartment, and they would usually share that with one other officer, depending on their rank. But general enlisted—and this even continued into the Navy with various living quarters on ships—whether you were enlisted or if you were chief, which was a senior enlisted person—kind of like middle management. Where if you were an officer, different living quarters. So it was an open area, and it had bunk beds and lockers for you to store your stuff. It was the same as in boot camp.</p>
<p><strong>Barnes<br /></strong>Now, outside of the schools—the training schools—the command schools that you went to—do you have any recollection of the other schools that maybe were offered at the base?</p>
<p><strong>Clark<br /></strong>Um, yes. from what I recall, because, as I went—during my time in the Navy, I went on, and—they call it “striking out”—I don't know why they call it that, because it’s actually a win ,you know—but basically, you get to move on from sort of a general, seaman apprenticeship-type role to a more specialized one. And I became a signalman, which was the shipboard flags communications and navigation, as well as communications with flashing lights via Morse code and semaphore. And the Signalman School was here in Orlando.</p>
<p>And also—and then—so basically the school structure was as follows. You had the generalists, the Apprenticeship Training Program that I talked about that I went through. Then you had “A” schools, which was[sic] schools that were for a specific job in the Navy, whether you were a storekeeper, a signalman, or, you know, something like that. Then there were also “C” schools, and “C” schools were for very specialized skills which normally required and extended enlistment period, such as six years active duty.</p>
<p>And so, during that time, people were kind of classified based on what their enlistment was that they signed up for. There were the 3-by-6s, which meant you were three years active and then six years of inactive reserves. Or IRR, right—“Inactive Readiness Reserves” I believe is the military term. There were 4-by-4s—and I was a 4-by-4—which meant four years active, four years inactive. And then there were the 6-by-2s, which were the specialty folks who went to extended training. They were six years active and then two years inactive reserves. Unless, of course, if they re-enlisted on active duty, then they would continue.</p>
<p>And the key thing about “C” school was that, once you completed about a two-year classroom/on-the-job training program, you automatically became an E[nlisted Rank] 4—a petty officer third-class. We used to call those people “boot camp thirds.” Because, like, as you go through, you know, you'll be an E-1, E-2, E-3, and then E-4. whereas these guys automatically got credits, basically like college, you know—you got some free credits. So there were some “C” schools here, including the Nuclear Program was here, and the Signalman School was here, and I think—no. The Storekeeper School was in Mississippi. that wasn’t here. But from what I remember, Apprenticeship Training, Signalman, and there was, like, Fire Control Technicians, Radar Schools.</p>
<p><strong>Barnes<br /></strong>Any other—anything else you think about—life off of base, special to base?</p>
<p><strong>Clark<br /></strong>I guess just kind of life on the base. There was Navy Exchange, so if you were a retired naval person—and Florida accumulated a lot of, you know, a lot of retirees and a lot of military retirees, because of the history with Sanford and Orlando—so the Navy Exchange store was there. So if you were active duty or if you were retired military, you could do your shopping. In certain cases, get things a lot cheaper than out in the regular market.</p>
<p>Other than that, it was pretty much, from what I remember, just a training facility. I remember there was a high school on—right on the outside of the base. Seemed like—sometimes we would joke like we were kind of in prison, you know, and you could see the freedom on the other side. I remember, you know, like we would be marching on the grinder and doing all these drills, and you'd look over and see these high school kids running track and field, or, you know, something like that at the high school, and you're thinking we're in prison, but…</p>
<p><strong>Barnes<br /></strong>When you left Orlando, you boarded a ship?</p>
<p><strong>Clark<br /></strong>Yes. Upon completion of my apprenticeship training course—a little bit more of the story here is I had a chief petty officer. I forget his name, but you received your orders where you went to go, and I was always kind of joking around a little bit with the chief. And sure enough, where I get stationed, but the same ship he had come from to the Orlando Naval Training Center. so I remember he told me it was going to be tough, and that he was gonna—he arranged to have me go to the USS <em>Richard E. Bird</em> TDG-23—guided missile destroyer—ported out of Norfolk, Virginia. And that's where I went. And, interesting enough, this chief I then met years later when I was attending UCF and I was working at NationsBank—now Bank of America. He was a customer in there, and I remember him when he came in. we chatted and caught up, and he was living out by UCF at the time, and he was a customer at the bank.</p>
<p>But I caught my ship and I remember it was in the middle of deployment, towards the tail end of the North Atlantic—NATO [North Atlantic Treaty Organization] cruise. And I remember I had received my orders and I had to go there, and I had all my airplane tickets. They arranged and all that. And I looked on there and I'm like, <em>Where is this place called Ponta Delgada? </em>And there was no Internet in 1985, so I had to go look in the encyclopedia, and it was in the Azores Islands—Portuguese islands in the Atlantic Ocean. I remember I flew from Orlando to New York, and then caught airport to Lisbon[, Portugal], and had a couple night’s stay in Lisbon overnight, and then caught the flight to Ponta Delgada, where I caught my ship. And I still remember the first people I met, who I'm still in contact with today, on board my ship. Gary Hayne[sp], Kurt Kiesden[sp], and Alan Welch[sp] in particular, because I was assigned to deck division, and I was assigned to them.<a title="">[3]</a> And then from there, you know, I was assigned to the ship and that became my permanent duty station that I stayed at for the remainder of my term—three years and eight months.</p>
<p><strong>Barnes<br /></strong>So you left the Navy when?</p>
<p><strong>Clark<br /></strong>In February ’89. Four years active duty, and then served in the inactive reserves, which just meant if there's a call up, then you were subject.</p>
<p><strong>Barnes<br /></strong>What did you end up doing when you left the Navy?</p>
<p><strong>Clark<br /></strong>Okay. When I left the Navy, I started attended Daytona Beach Community College, which I think is now Daytona State College or something. and so I stayed in Flagler County and just did kind of odd jobs. I worked in a warehouse, primarily while I went to DBCC. And then I started working in the bank as a bank teller and then a sales and service rep[resentative].</p>
<p>And that actually worked out well, because, at the time, with the state, you could complete your first two years at a community college, then automatically transfer into any of the Florida state university system campuses. So I transferred to Orlando, because I worked at the bank it was quite an easy transfer to move over. So I started UCF in the Fall of ’93, after graduating from DBCC in the Spring of ’93. And then I graduated in Spring of ‘95 from UCF.</p>
<p>And also, I guess, during the—some other good things—when I became a basic seaman apprenticeship and I was assigned to the deck division on board, besides just chipping paint and doing all the deck stuff, the favorite thing—and I still remember it today, and it was one of my favorite things—you know, I barely had my driver's license—but at age 17, I qualified as a helmsman, and I drove the ship. I was at the wheel, and I qualified to run the ship's engines—the lee helm. and I used to stay on lookout watch. So here I was at 17 years old—and I actually saw a video on YouTube, like a Navy video, and it shows, like, the 22-year-old guy says, “Yeah. this is my job.” He says the same thing.</p>
<p>And I still remember to this day how to take the helm. You would go up—if you were to take the helm—let’s just say you’re at the wheel now—now I would walk up to the—well, I would first come to you and say, “Hey, what’s[sic] the coordinates? Where do you steer and where do you check in?”And that’s sort of the numbers from the compass of where—what direction you were going. I’d collect that, I’d go check what the speed was in knots, and then I would go up to the Officers’ Deck and salute, and he would say, “Officer of the deck, request permission to take the helm, steering course 225, checking 222 starboard unit, starboard cable, all engines ahead standard, 17 knot.” And the officer on deck would reply back and say, “Relieve the helm.” Then he would go over and then I would—I would take over. Yeah. it’s cool.</p>
<p><strong>Barnes<br /></strong>Well I was getting ready to ask you, what were some of your favorite memories of the...</p>
<p><strong>Clark<br /></strong>Oh, okay. alright. That’s a great one.</p>
<p><strong>Barnes<br /></strong>Do you have another one there that...</p>
<p><strong>Clark<br /></strong>Oh. Yeah. There’s[sic] plenty of them—and then really anything you tend to do, you know, in your life, it’s really about the people. And, you know, made some great friends. Still in contact with a lot them today. And lessons learned, you know, as a young kid—17 to 21, while I was in the Navy. And there’s a lot of memories, you know, of growing up doing stuff.</p>
<p>And I guess another thing is—I was always kind of a prankster a little bit, and I used to come home on leave for spring break, so I could be with all my friends. And we'd go to Daytona [Beach] and all that. One time I went off-base and I got—the senior chief, Senior Chief Moses, who was in charge of deck division, who I worked for—his plan was, you know, you had to look like a sailor. He was very strict with inspections. Well, one time I was trying to sneak and I went off-base and I got what he would call a “pretty-boy haircut.” So I came back and sure enough someone told on me and he personally walked me down to the ship’s barber and butchered me or whatever.</p>
<p>And so, as a retaliatory, I decided next day, <em>I’m going to go put some red mousse in my hair and go stand inspection in front of him.</em> Big mistake [<em>laughs</em>]. I remember he walked up to me, put his face in my face, and he goes, “Take your hat off, punk.” And he was this Texas—Texan guy. Big Texan guy. I took it off and I was smiling, and I wasn’t smiling much after that. He told me I had exactly two seconds to wash that “expletive” out of my hair or he was going to personally shave my head. [<em>laughs</em>] Let’s just say I jumped down the forward hatch and had the stuff out pretty quickly. [<em>laughs</em>]</p>
<p><strong>Barnes<br /></strong>This kind of ties into this whole project that we’re doing and you mentioned it, but you made a lot of personal friends. You’re still in contact with them?</p>
<p><strong>Clark<br /></strong>Yep. Yeah. Out on Facebook. They're all in on Facebook. We have our ships—we have a page of our ships, and so a lot of us connected through there, but even before that there was like a newsletter and some reunions that go. Because I was on an older ship that was commissioned in the early 60s and then decommissioned shortly after I left in 1990. So, you know, there’s[sic] 30 years of history pretty much with my ship that I was on. So the reunions—you have 30 years of people who served on board. So it’s quite large and extensive.</p>
<p>And then I always try to make the effort to visit some of the folks. I travel extensively for my current job, and if I go to a city where one of those guys are, you know, we always try to meet up. And a lot of them are kind of joking when, you know, I first got connected with them, say on Facebook, and they say, “I can’t believe you’re this corporate guy in a suit. You’re the last guy we would have thought as a corporate guy in a suit.”</p>
<p><strong>Barnes<br /></strong>Is this your first trip—you've been back to Orlando since?</p>
<p><strong>Clark<br /></strong>Oh, yeah. And actually, I guess after I finished the Navy, I graduated from UCF, and then worked locally in Altamonte [Springs] at the Kirchman Corporation, which was a banking software company. And then I worked for Pro Systems in Maitland. and then I went to—on an assignment to Luxemburg in Europe. I was there for a couple years. and then I came back and I was on a project in San Francisco[, California]. And then—then this was 2001.</p>
<p>So basically the time scale goes from exited active duty in ‘89, college until ‘95, Kirchman Corporation and Pro ‘96-‘97, Luxemburg from ‘98 to 2001, and then San Francisco for about a half a year. And then I came back to Maitland, and was working in Maitland and lived in Apopka from 2001 ‘till 2005, when I moved to Atlanta[, Georgia], and I've been in Atlanta since 2005.</p>
<p><strong>Barnes<br /></strong>What do you think about all of the changes of the area that used to be the base?</p>
<p><strong>Clark<br /></strong>You know, it’s kind of somewhat sad. There’s really nothing left there. Karla Novak was a personal friend of mine from when—from UCF days—gave me a tour around the Lone Sailor Foundation and the plans for that. And she showed me where the statue is going to be, you know, we’re kind of—both her and I went through there. So we were thinking this is—and she says, “Well, this is the old grinder.” and she was saying, “Remember we’d go over here and have to do these drills?”</p>
<p>Well, now it’s this open grass area. or over there is the housing where our berthing area—but now Baldwin Park is there. So it’s somewhat sad to think that—and I'm kind of one that—I like to preserve history. I wouldn’t want to say you have to preserve the base as-is, but you know, I think how important and how many lives, you know, were shaped, such as mine, going through boot camp. You know, going from being a kid to being an adult basically. you know, that there’s really not much left there.</p>
<p><strong>Barnes<br /></strong>Well, what do you think the legacy of the base is?</p>
<p><strong>Clark<br /></strong>I would say the legacy of the base is going to be, you know, the individual experiences of the people that really went through there. I mean, there’s not much left to see of, you know—what was left there, what was done. It was, you know, a training facility, classroom, and on-the-job training basically. You know, so there’s not much left as far as what you think of the Navy. You know, ships or aircraft or weapons or anything like that. I really think it’s about personal experience. And everybody had a different experience. You know, what they went through there.</p>
<p><strong>Barnes<br /></strong>As a returning sailor, what would want to see if you returned back to the area to see the memorial? I mean, what would resonate with you?</p>
<p><strong>Clark<br /></strong>I think some pictures, you know, of the facility itself, you know. Kind of like, if you went into a museum, you like to see this was Orlando Naval Training Center was here from 1968 ‘till 1992, or something like that. Here’s the pictures and, you know, kind of what, you know—like for my boot camp book—went there, you know. There’s[sic] pictures in there that show the activities and kind of what went on there, and everything’s changed from, you know—boot camp is probably similar, but there’s a lot of changes, you know.</p>
<p>And I think preserving the history and at least showing that, while we can—would be, you know, a good thing. You know, to show there with the Lone Sailor—the Lone Sailor is a great thing to—to reflect their—well, I think any memorabilia or, you know, pictures that show at one point in time this is what was here and quantify it. You know, x-number of people went through during this time who were the commanding officers, you know, kind of like any similar memorials or stuff like that.</p>
<p><strong>Barnes<br /></strong>That’s about all I have. Is there anything that we missed that you’d like to add or a story you'd like to share?</p>
<p><strong>Clark<br /></strong>I think I pretty much covered everything. You know, that was my time here in Orlando at the Naval Training Center for boot camp and then kind of post activities. So I think we've pretty much covered the full spectrum of your questions there, so.</p>
<p><strong>Barnes<br /></strong>Okay. Well, thank you very much.</p>
<p><strong>Clark<br /></strong>Thank you. I'm glad to help.</p>
<div><br /><div>
<p><a title="">[1]</a> The Orlando Naval Training Center will occasionally be referred to throughout the interview as “NTC Orlando.”</p>
</div>
<div>
<p><a title="">[2]</a> South OBT refers to a portion of U.S. 441, known as Orange Blossom Trail in parts of Orlando, Florida.</p>
</div>
<div>
<p><a title="">[3]</a> Note that names are spelt as they sound and may not be accurate.</p>
</div>
</div>
active duty
Air Apprenticeship Training
airman
airmen
Apopka
apprentices
apprenticeship schools
Apprenticeship Training Program
Atlanta, Georgia
Atlantic Ocean
Azores Islands
Bainbridge
Baldwin Park
Bank of America
bank tellers
Barnes, Mark
basic seaman recruits
berthing areas
boot camp
boot camps
chief petty officer
chief petty officers
Clark, Jeffrey Edward
Community Veterans History Project
Company 101
CVHP
Dan Taylor
Daytona Beach Community College
DBCC
deck divisions
deployment
E-1
E-2
E-3
E-4
East Hartford, Connecticut
Enlisted Rank 1
Enlisted Rank 2
Enlisted Rank 3
Enlisted Rank 4
Facebook
Fire Control Technicians
firefighters
fireman
firemen
Firemen Apprenticeship Training
Flagler County
Flagler Palm Coast High School
Forrest Gump
Greyhound
guided missile destroyers
Hayne, Gary
Hazen, Kendra
helmsman
helmsmen
I-4
I-94
immigrants
Inactive Readiness Reserves
inactive reserves
Interstate 4
Interstate 95
IRR
Italian immigrants
Italians
Kiesden, Kurt
Kirchman Corporation
lee helms
Lieutenant Dan
Lone Sailor Foundation
Lone Sailor Memorial Committee
Lone Sailor Memorial Project
Luxemburg
Maitland
Mayflower
Mediterranean Sea
Mediterranean Squadron
MEP
Military Entrance Processing
Morse code
Moses
NationsBank
NATO
Naval Training Center Orlando
Navy Exchange
Navy Memorial of Central Florida
Nice, France
Norfolk, Virginia
North Atlantic
North Atlantic Squadron
North Atlantic Treaty Organization
Novak, Karla
NTC Orlando
Nuclear Program
OBT
officers
Orange Blossom Trail
Orleman, Andrew
Palm Coast
Petty Officer
Petty Officers
Philippines
Ponta Delgada, Portugal
Pro Systems
Radar School
recruit training
recruits
sailors
sales representatives
San Francisco, California
Seaman Apprenticeship Training
seamen
semaphore
service representatives
Shriners Temple
signalman
Signalman School
signalmen
Storekeeper School
U.S. Army
U.S. Navy
U.S. Route 17
U.S. Route 441
U.S.S Richard E. Byrd DDG-23
UCF
University of Central Florida
US-17
US-441
USS Bluejacket
USS Chiwawa CV40
USS Richard E. Bird TDG-23
veterans
Welch, Alan
Wiggins, Leanne
World War II
WWII
YouTube
-
https://richesmi.cah.ucf.edu/omeka/files/original/254867a60c37e3bc46fe285fbbefc1d7.mp3
e70959dd9ada35b99b1c24356dfbdc5a
https://richesmi.cah.ucf.edu/omeka/files/original/2896dbb425123a3a5aa5e9375e239f3d.pdf
cf8be4c92aab6f192700c0aab496ff67
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
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
27 minutes and 59 seconds
Bit Rate/Frequency
128kbps
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
RICHES Podcast Documentaries, Episode 4: Gentrification and Urban Renewal: Revitalizing Central Florida’s African American Communities
Alternative Title
Gentrification and Urban Renewal Podcast
Subject
Podcasts
Documentaries
Orlando (Fla.)
Winter Park (Fla.)
Gentrification--United States
Urban renewal--Florida--Orlando
Description
Episode 4 of RICHES Podcast Documentaries: Gentrification and Urban Renewal. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 4 examines some of the factors that led to the ultimate decline of what was once a relatively prosperous African-American community in Central Florida, the efforts that have gone into restoring them, and the effectiveness of those campaigns. Primarily looking at the history of the Parramore district and Hannibal Square, discussion topics range from the effects of urban development and gentrification to the ways in which these communities have fought to preserve their heritage and improve their neighborhoods.
Abstract
This podcast examines some of the factors that led to the ultimate decline of what was once a relatively prosperous African-American community in Central Florida, the efforts that have gone into restoring them, and the effectiveness of those campaigns. Primarily looking at the history of the Parramore district and Hannibal Square, discussion topics range from the effects of urban development and gentrification to the ways in which these communities have fought to preserve their heritage and improve their neighborhoods.
Type
Sound
Source
Original 27-minute and 59-second podcast by Geoffrey Cravero, April 1, 2011: "RICHES Podcast Documentaries, Episode 4: Gentrification and Urban Renewal: Revitalizing Central Florida’s African American Communities." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Parramore, Orlando, Florida
Hannibal Square, Winter Park, Florida
Creator
Cravero, Geoffrey
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Thompson, Geraldine F.
Brotemarkle, Benjamin D.
Chambliss, Julian C.
Livingston, Fairolyn
Date Created
ca. 2011-04-01
Format
audio/mp3
Extent
25.8 MB
151 KB
Medium
27-minute and 59-second podcast
14-page digital transcript
Language
eng
Mediator
History Teacher
Civics/Government Teacher
Geography Teacher
Humanities Teacher
Provenance
Originally created by Geoffrey Cravero 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/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<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
Cox, Dale. <a href="http://www.worldcat.org/oclc/781177259" target="_blank"><em>Old Parramore: The History of a Florida Ghost Town</em></a>. S.l: Createspace], 2010.
Dickinson, Joy Wallace "<a href="http://articles.orlandosentinel.com/2006-07-02/news/ORFLASH02_1_brotemarkle-oral-history-central-florida" target="_blank">Parramore Legacy: 'Black History is Part of Everybody's History'</a>." <em>The Orlando Sentinel</em>, July 2, 2006. http://articles.orlandosentinel.com/2006-07-02/news/ORFLASH02_1_brotemarkle-oral-history-central-florida.
"<a href="http://deimos.apple.com/WebObjects/Core.woa/Browse/ucf.edu.2577623765.02577623773.7292816977?i=1331393182" target="_blank"><span>RICHES Podcast Documentaries, </span>Episode 4: Gentrification and Urban Renewal</a>." RICHES of Central Florida. http://deimos.apple.com/WebObjects/Core.woa/Browse/ucf.edu.2577623765.02577623773.7292816977?i=1331393182.
Frazier, Amanda E. <a href="http://www.worldcat.org/oclc/47806651" target="_blank"><em>On the Other Side of the Tracks: Redevelopment in West Winter Park</em></a>. Thesis (A.B. Honoris)--Rollins College, 2001, 2001.
Florida. <a href="http://www.worldcat.org/oclc/435532264" target="_blank"><em>Urban Revitalization in Florida</em></a>. [Tallahassee, Fla.]: Florida Legislative Committee on Intergovernmental Relations, 2005.
"<a href="http://www.cityoforlando.net/economic/pathways-for-parramore/" target="_blank">History of Pathways for Parramore</a>." City of Orlando. http://www.cityoforlando.net/economic/pathways-for-parramore/.
Livingston, Fairolyn. <a href="http://www.worldcat.org/oclc/68757928" target="_blank"><em>A Window on Hannibal Square: A View of Life in Early Westside Winter Park and a Portrait of the Lives and Careers of Walter B. Simpson and Frank R. Israel, the Only Black Men to Every Hold Office in the City of Winter Park, Florida</em></a>. 1997.
Russin, Teresa. <a href="http://purl.fcla.edu/fcla/etd/UFE0021792" target="_blank"><em>The Community Land Trust Model and Smart Growth Principles As a Means to Provide Affordable Housing in the Face of Gentrification</em></a>. [Gainesville, Fla.]: University of Florida, 2007. http://purl.fcla.edu/fcla/etd/UFE0021792.
"<a href="http://www.hannibalsquareheritagecenter.org/aboutus.html" target="_blank">Welcome</a>." Hannibal Square Heritage Center. http://www.hannibalsquareheritagecenter.org/aboutus.html.
"<a href="http://www.hannibalsquare.com/" target="_blank">Welcome to the Hannibal Square Association</a>." Hannibal Square Association. http://www.hannibalsquare.com/.
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/254867a60c37e3bc46fe285fbbefc1d7.mp3" target="_blank">RICHES Podcast Documentaries, Episode 4: Gentrification and Urban Renewal: Revitalizing Central Florida’s African American Communities</a>
Date Copyrighted
2011-04-01
Date Issued
2011-04-01
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Table Of Contents
0:00:00 Introduction
0:03:40 Founding of Parramore
0:04:22 Effects of integration
0:07:17 William Monroe Wells and the South Street Casino
0:08:35 Interstate Highway 4 and the decline of Parramore
0:12:00 Hannibal Square and Winter Park
0:14:22 Real estate and infrastructure
0:17:33 Revitalization and gentrification
0:27:21 Conclusion
Transcript
<p><strong>Lester<br /></strong>I’m Dr. Connie [L.] Lester, the Director of the RICHES program, and you are listening to the RICHES documentary podcast.</p>
<p>[<em>radio static</em>]</p>
<p><strong>Lester<br /></strong>Welcome to the RICHES documentary podcast. RICHES—the Regional Initiative for Collecting the Histories, Experiences, and Stories of Central Florida—is an umbrella program housing interdisciplinary public history projects that bring together different departments at the University of Central Florida with profit and nonprofit sectors of the community in order to promote the collection and preservation of the region’s history. By facilitating research that records and presents the stories of communities, businesses, and institutions in Central Florida, RICHES seeks to provide the region with a deeper sense of its heritage. This series feature a podcast every two weeks, in the middle and at the end of each month that will explore various aspects of Central Florida history.</p>
<p>In today’s episode, “Gentrification and Urban Renewal: Revitalizing Central Florida’s African-American Communities,” Geoffrey Cravero examines some of the reasons that these once flourishing neighborhoods began to decline, and what city leaders are doing to save these communities.</p>
<p><strong>Cravero<br /></strong>Hi. I’m Geoffrey Cravero, and in today’s episode, “Gentrification and Urban Renewal: Revitalizing Central Florida’s African-American Communities,” we’re gonna be speaking with Representative Geraldine [F.] Thompson and Dr. Benjamin [D.] Brotemarkle about the Parramore district of Downtown Orlando, and Dr. Julian C. Chambliss and Fairolyn Livingston about Hannibal Square, the African-American side of Winter Park, Florida. Central Florida’s African-American community was once relatively prosperous, consisting of a thriving business district, populated by a mix of professionals and working-class families, and in many ways, quite self-sufficient.</p>
<p>This podcast will examine some of the factors that led to the ultimate decline of these regions, the efforts that have gone into restoring them, and the overall effectiveness of those campaigns. Geraldine Thompson has been a representative in the Florida State Legislature since 2006. A former educator and administrator at Valencia Community College, she is also a founder of the Wells’ Built Museum of African American History and Culture.</p>
<p>The Executive Director of the Florida Historical Society, Dr. Brotemarkle has written several books on Florida history and culture, including <em>Crossing Division Street: An Oral History of the African American Community in Orlando</em> and <em>Beyond the Theme Parks: Exploring Central Florida</em>. You might also recognize him as the producer and host of <em>Florida Frontiers</em>, the weekly radio magazine of the Florida Historical Society.</p>
<p>Dr. Julian Chambliss is an associate professor of history at Rollins College, specializing in 19<sup>th</sup> and 20<sup>th</sup> century urban America, African-American history in Florida, race and ethnicity, American planning history, as well, as other topics related to the urban experience.</p>
<p>Born in Hannibal Square, Fairolyn Livingston has spent most of her life in the community, and is now Manager of the Hannibal Square Heritage Center.</p>
<p>I’d like to thank each of our guests for taking the time to speak with us. I asked Representative Thompson and Dr. Brotemarkle to tell us about the rise and fall of Orlando’s Parramore community.</p>
<p><strong>Thompson<br /></strong>Parramore was founded in the 1800s, uh, when the city was just, uh, beginning to form, and it was the location where many African Americans lived initially. The city was separated, as was the case throughout the South, generally by the railroad tracks. You had the, uh, white community on one side and the African-American community on the other side. So, uh, Parramore is just west of the railroad tracks in Downtown Orlando, and the pioneers in the African-American community who made significant contributions to the City [of Orlando] and to Central Florida lived in Parramore.</p>
<p>When the community went through integration at the end of, uh, “legally sanctioned apartheid” —is what I call it—uh, the idea was that, in order to get true integration, you had to close some of the major institutions in Parramore. So you saw the schools, uh, close. Many of the churches also moved out. Uh, the Parramore area had become saturated, and people needed other places to live, and so, uh, places like Washington Shores, the Richmond Heights area, uh, Carver Shores, were established and many people moved to those areas which were, at that time, considered the suburbs, and many of the professionals who lived in Parramore also moved, and so you left behind, uh, people who were, for the most part, renters, who did not own the properties where they lived. Uh, there was very little that was owner-occupied in Parramore—a lot of absentee landlords.</p>
<p>So when you lost the major institutions like your schools, your churches, the professional individuals who had made it the economic and the social hub for African Americans in Central Florida, then an element, uh, of crime began to—to build, and, uh, there were a lot of problems, and quite frankly, a lot of the decision-makers, who were deciding what was going to happen and how Central Florida, uh, would grow, did not really consider Parramore worthy of much of an investment, and so that’s what led to a blighted area for a very long time.</p>
<p>There have been a lot of very effective efforts to bring business back into the community. Uh, there is one charter school now in the community—the Nap Ford [Community] School. Other than Nap Ford, however, there are still no schools in Parramore. The students are bussed out to nine different, uh—different schools in—in the area. Uh, the businesses that have come into the area include, uh, the Bank of America. You now have the Federal Courthouse that is also built in the Parramore area, as well, as the Florida A[gricultural] & M[echnical] University College of Law. Uh, the Wells’ Built Museum, which is in the former Wells’ Built Hotel, um, is celebrating now 10 years—our 10<sup>th</sup> anniversary, and so we have been able to document, and to preserve, and to share a lot of the history of Parramore, which makes people much more aware that it is a significant co—uh, community, and as we revitalize and as we grow, it’s something worth saving.</p>
<p>We are in the process of, uh, restoring the residence of the person who built the Wells’ Built. His name was William Monroe Wells, one of the early African-American physicians here. He came here in 1917, and in addition to a thriving medical practice, he had a social club, which was called the South Street Casino, and he brought, uh, big bands, [Edward] “Duke” [Kennedy] Ellington, [William] “Count” [James] Basie, Ella [Jane] Fitzgerald, to perform at the South Street Casino, which he owned, and after the entertainers, uh, finished performances, they didn’t have a place to stay. So that was his motivation for building a hotel, and, uh, so in addition to refurbishing the Wells’ Built and operating it as a museum of African-American history, we’re now in the process of refurbishing his home, which was located where the new Amway Center, uh, is, And that’s another business that has come into Parramore, which is Downtown Orlando, and so the home was moved rather than, uh, to have it demolished, and we will make it part of the museum complex, and we’ll operate a museum store in Dr. Wells’ residence. So his legacy is alive and well, on South Street.</p>
<p><strong>Brotemarkle<br /></strong>Well, there are many factors that—that led to the demise of the hotel and casino. Uh, first of all, eh, as—as great and wonderful and necessary as the civil rights laws of the 1960s were, once African Americans could move anywhere they wanted to, uh—and this is not unique to the Parramore neighborhood. This happened to communities throughout the South, in particular, uh, but many of the community leaders—that[sic] helped keep the infrastructure of the community together—moved out of the neighborhood. So consequently, in many cases, uh, all that were—were left were the people who couldn’t afford to move anywhere else, and actually, in the case of the Parramore neighborhood, this had actually started a little bit before that in the 1950s. People had started migrating over to the Washington Shores neighborhood in Orlando, but the—the—the civil rights laws definitely contributed to the continued exodus, uh, from the Parramore neighborhood of many of the people, uh—the community leaders. Uh, also, the building of I[nterstate Highway]-4, uh, right through—right by the—the Parramore neighborhood kind of—into that neighborhood, uh, helped to break that up a little bit, as well. Uh, that was, uh, another factor.</p>
<p>Uh, so as these—as the community leaders moved out of the neighborhood, the Parramore neighborhood itself entered, uh, a state of social and economic decline, and, uh, I—I think it is starting to, uh, pull out of it a little bit, and that was really part of the purpose of the Wells’ Built Museum of African American History and Culture—was to be an economic engine for the neighborhood, and hopefully, tap into this cultural and heritage tourism and bring people into the neighborhood for that reason. It is a fascinating era because, uh, again, between—with—with Division Street as the dividing line the—the Parramore neighborhood was really a thriving, self-sustained community, uh, parallel to the—to the white community in Orlando. Uh, here were institutions, Jones High School, uh, many of the churches, uh, that really created a strong fabric. Uh, uh, there was a, uh, uh, African-American chamber of commerce there in the Parramore neighborhood. There were black theatres. There were everything that the community needed right there. Uh, tailors, and—and businesses of all types were right there, and—and of course, the Wells’ Built Hotel and South Street Casino right in the middle of all this—this—this thriving African-American community.</p>
<p>So it’s really an interesting, uh, look at history, and—and also, the unintended negative impact of those civil rights laws in the 1960s, again, as—as wonderful and as necessary as they were, they really did have this—this unintended negative impact when, uh, some of the community leaders moved out, and, again, the building of I-4, kinda right through the heart of the community, and, uh, the East-West Expressway too, meeting right there, uh, caused further problems, uh, but I—I think that the community is—is pulling out of that era of social and economic decline that it suffered in the late 20<sup>th</sup> century, and hopefully the Wells’ Built Museum of African American History and Culture is contributing to that.</p>
<p><strong>Cravero<br /></strong>Dr. Chambliss and Mrs. Livingston describe some of the factors that enabled Hannibal Square and Winter Park to grow into thriving communities, and how this prosperity has affected the development and gentrification of the region.</p>
<p><strong>Chambliss<br /></strong>Well, in that early period, um, Hannibal Square, was, I think, able to grow and be successful because, of the model of, uh, attracting residents, promoting, uh, Winter Park as a sort of like leisure, uh, vacation destination, uh, and this has really become at the core of the identity of Winter Park. If you think about Winter Park over time, it really was founded by [Loring] Chase and [Oliver E.] Chapman as a sort of destination location for people who wanted to sort of live a certain kind of sort of leisurely lifestyle. Well, into, uh, 20<sup>th</sup> century that—that has been maintained.</p>
<p>If you look at the growth of Winter Park, uh, which grew rapidly after, uh—in the 1930s and 1940s and 1950s, like, and the people of Winter Park recognize. It’s part of the reason that it grew is because, like, they really sort of like saw the place as a kind of residential haven, and the fact—by the time you get to the 1950s, um, the city is known as the “City of Homes.” Um, and part of this is because they have like a large number of wealthy residents. Again, those wealthy residents have servants, and some of those servants are working in—in—are black people, uh, working in these white homes and then going back across the railroad tracks to Hannibal Square. So like, they have this steady work from all these rich people and that really does affect Hannibal Square.</p>
<p>At the same time, there’s a number of architectural—James Gamble Rogers is a very well-known architect—really sort of crystallized the architectural identity of Winter Park, with a fresh revival—a Medi—a Mediterranean revival style. So when you look at the homes, there’s a lot of like talk about Winter Park and Park Avenue—really sort of like crystallizes that sort of European style, uh, café culture look, right? And that really starts in 1960, and they really sort of keep trying to promote that. The chamber of commerce does a great job of trying to promote that and maintains it really today. it’s one of the reasons that these places really talk about Winter Park. They tend to talk about it as a place where you just want to kind of like stroll, in sharp contrast to the rest of the sort of retail and vacation experience in the rest of Central Florida, and as a consequence, the growth of the east side of Winter Park has been phenomenal, and the value of land there has grown tremendously, and so much so that by the time you get to the late 1990s, uh, arguably, the east side of Winter Park is built out, alright? So you can’t cheaply acquire land on the east side of Winter Park. You can buy a lot and—and really, we’re talking—we’re talking about the high-end of the real estate bubble, and Winter Park was one of the places where values were extremely high, and so the east side, really, by—by every stretch of the imagination is really sort of built up in value, um, over the period of the town.</p>
<p>The west side, which was the black side—which was sort of like off limits because it was—because of segregation—had lagged behind. It started out with the development of the town, as I—as I said, a sort of economic area where African-American property owners, and—and business owners, and African-American businesses were flourishing in Hannibal Square, but very quickly, with the end of—of official Jim Crow segregation, um, you see middle-class people moving out, and the median income and the median age on the west side of Winter Park really starts to—the income starts to go down. The age starts to go up, and services for the west side don’t keep. in fact, [inaudible] great stories about the fact that the roads, on the west side of Winter Park, weren’t really sort of kept up at the same level as the roads on the east side of Winter Park, And other kinds of infrastructure issues like that, and as a consequence, the value of homes and property on the west side lagged behind that was on the east side of Winter Park. So value of black property lagged behind value of white property, which is common.</p>
<p>As a result of that, there’s a lot of push, um, to do something about the—the view—the view-scape and the housing stock on the west side, and if you go back and look at some of the language that people use in the city council meetings or in some of the things that people are saying when they—they’re pointing to houses that are boarded up, they’re talking about a spike in crime, and indeed, there is a real concern that Hannibal Square, which by this time, is no longer home of like businesses more like light retail and bars and things like that—convenience stores—that are really the haven for—in the minds of white residents, at least—crime and violence. Indeed, there is[sic] the police reports show large number of drug arrests or suspicious crime in the west side in 1980s and early 1990s, and it really sort of spurs on dialogue about what needs to be done to improve the housing stock to clean up Hannibal Square and basically correct this problem, and there are a variety of reasons for this. I mean, some of it was the crime, but also, if you look at the way that the town is laid out, if you’re coming in through[?] the main drag, coming in—off of, like, Orlando Avenue, one of the main sort of like entry points into the city of Winter Park is through, um, Morris [Avenue], and you basically go through the heart of the black community to do that, and if you go back to the 1990s, that looked radically different than it does now.</p>
<p>If you look at it now it looks actually quite nice, ‘cause it’s been rezoned and it—there’s new buildings, uh—office buildings, mix-use stuff—but back then, it—there were homes there, and some of them were boarded up, and the City had routinely had issues or had programs in place where they were trying to address this question, of, like, the quality of housing stock on the west side. They had some housing rehabilitation programs that they created in the 1970s. They supported, of course, you know, the creation of the Winter Park Community Center in Hannibal Square, but really, you know, the economy changed, as I said, and the median age started to creep up.</p>
<p>So you get a large number of elderly people who, eh, own property—been in their family for generations—but they couldn’t keep it up in a way that the City might want, and so—so this created an opportunity for developers to come into, um, the west side and champion sort of a new push to sort of rehabilitate the region, and this made sense from the City’s standpoint, because, like, depressed property is low—low tax property. so if you want to increase your tax base, you want to improve the—the value of the property there—but it also created, like, a high gentri—gentrifying push, because, remember, you can’t cheaply build anything on the east side of town. So for most developers, they’re really looking to do a big project. they kind of have to do it on the west side of town. They had to do it west of the railroad tracks.</p>
<p>So in the late 1990s and the ear—early 2000s, the City of Winter Park creates a Community Redevelopment Agency—the CRA—and the sort of focal point of the CRA is the sort of box that is bordered by Park Avenue on the east, Webster Avenue on the north, and, like, [U.S. Route] 17-92, and then Fairbanks [Avenue]. So it’s a huge block, and basically it’s Park Avenue and Downtown Winter Park, and the black side of town. So that’s a huge swath of land, and it—it’s prime real estate that could be developed, but is also, primarily, the heart of the black community, and almost immediately, large numbers of residents in the black community recognized that the City’s efforts to improve the area of the CRA was going to push out the black community. Now, from the City’s standpoint, the City’s always maintained that its goal was to maintain the character of the black community or the character of Hannibal Square, but if you’re going to allow traditional market forces to be your primary vehicle to achieve this, then gentrifying effects are almost unavoidable.</p>
<p>You can’t, as the city’s done—like the city’s done a, uh, sort of three-tier sort of approach. It’s provided loans for businesses to move into Hannibal Square. It totally redesigned, um, Shady Park, which is in the center of Hannibal Square, in response to some of the crime and complaints of some of the businesses that were being enticed into the—into the area, because of the CRA. So the old part was—had a lot of benches and—and shading covers, and—and older people would hang out there and talk, and the new park sort of took all that away, and is much more aesthetically pleasing, but is also a place where you can’t really linger, which made a lot of sense, in terms of trying to address some of these questions about crime and—and—and disruption associated with that area—um, but they also worked very diligently to eliminate some of the bars, some of the focal points of crime, and that was successful. They moved in new businesses so that Dexter’s on Winter Park, uh—Dexter’s a fairly well-known restaurant chain in the area—where it became like really an anchor and they created a parking lot for it, and then a number of other businesses—light retail, service-oriented, and restaurant businesses—moved in, and of course there was a train—a change in the infrastructure or the sort of decorative infrastructure of the street. So like you had the decorative brick put in, and, like, new lightening-like fixtures—so basically, extending the feel and look of Park Avenue, down New England [Avenue] into, uh, the heart of the community, which was Hannibal Square.</p>
<p>Of course, African Americans felt and, I think, some of them continue to feel that that process is deliberately pushing them out, and they have a point, because once all that—all that was in place, one of the things that started happening is that the—the tax assessment for the area started to change. People had previously—been sort of locked at a tax assessment of like, you know, a very low number. Everything gets reassessed when a large number of businesses start moving in. So these are older people. Remember, the demographics of the area are that the older people are staying and younger people are moving out. So the old people tend to be on fixed incomes, and pensions, living off their retirement savings. So a big hit, in terms of—“I used to pay $500 in taxes. Now, I’m paying a thousand.” It’s a huge deal, and because the property on the west side, as I said, had not kept up with property on the east side, there was a new assessment on all the value of the property. So people were being offered you know, two, three, four times what they bought the property for originally—and to move out—and some of them were, and this is one of the things that really sort of like characterized the region.</p>
<p>So, um, at the height of the real estate bubble, there was tremendous gentrifying pressure on Hannibal Square, and lots of developers were active in the area, and probably the most famous ones was Dan Bellows, who’s usually associated with the transformation of Hannibal Square. he has a number of big projects, and, you know, sort of mixed-use with retail on the bottom and residential on the top, and that really sort of, like, changed the nature of the community, and Bellows is often painted as a boogeyman, and there are a number of stories associated with him, but he’s sort of emblematic of a kind of push to create new construction in the area, in part because that’s the place where you can with relatively minimal investment do something big, and that has been the sort of overriding problem for the west side for many years.</p>
<p>There has been, for well over a decade—I mean, since the late 1990s, I think, there’s been a sort of push to—“There’s going to be the in here. I want to improve the west side. I want to bring more businesses here,” and as a result, uh, longtime residents have, um, sort of been displaced. There are new businesses there, but they don’t really cater to the residents, or nor do they really employ the residents, which is also really problematic. I mean, you don’t really see west side residents going to eat at Dexter’s. So from a sort of symbolic standpoint, African Americans feel that they’re being pushed down, and from an economic standpoint, there are push and pull factors that are hastening the exit of African Americans in the area.</p>
<p><strong>Livingston<br /></strong>Leading up to, uh, the Civil Rights Movement and even probably as early as 19—late 1940s, after the, uh—World War II, the job market begin[sic] to change a bit. More opportunities will open up for, uh—for Afro-Americans. Many Afro –Americans, uh, went away—military, school, whatever the case may be—and didn’t come back, because they felt there was nothing here for them, outside of service to somebody else. They wanted to have real careers and—and—and do big things in the world, and as a result of that, the community began to age, if you will, and certainly after the Civil Rights Movement and—and moving forward, many more of our young people are moving away, because they feel that they don’t have access or they can’t make it in this area in—in—in Winter Park, you know?</p>
<p>It’s been a painful process for them. Generally, uh, when you’re talking gentrification, between the original people who were in a place, and the wealthier people who come into the place, there’s usually a group—a group in between, but for us, we went—we went—we went right from, um, families being displaced to a business area that really doesn’t have any services that local people find of service to themselves. So gentrification’s been a hurtful process, because when people come in to redevelop, they don’t come in to redevelop for the people who are there. They don’t get input from the people in the community, because that’s not what’s gonna drive the dollar, you know? Nobody’s gonna come in and put in affordable housing or affordable rental units outside of a group such as Habitat for Humanity, who’s doing a great job, and the Hannibal Square Community Land Trust. Uh, people felt that they were just pushed aside, and the most painful thing was the picture that was painted of the neighborhood. That’s what they did. They just [inaudible] and made it like a noose, and put it around the necks of the people in this neighborhood, and pulled the chair.</p>
<p>See, some people have been injured over and over and over again. They were injured during slavery. Then, after Reconstruction, they were injured again, and then, Jim Crow came along, and they were injured. So they’ve been injured over and over, and when you keep injuring people, and they[?] don’t get a chance to heal, it—it can really do something to—to them. You know, even though on the outside, they look cold, and they’re moving forward, and they’re doing things, there’s still a pain in their souls that is just almost undescribable[sic].</p>
<p><strong>Cravero<br /></strong>I’d like to thank our guests, Representative Thompson, Dr. Brotemarkle, Dr. Chambliss, and Mrs. Livingston for joining our discussion. I’m Geoffrey Cravero. Thank you for listening.</p>
<p><strong>Lester<br /></strong>Thank you for listening to the RICHES documentary podcast. Feel free to contact us with any questions or comments on the program that you just heard. Please join us for the next episode, “[Episode 5:] A History of Gay Days.”</p>
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African American
African-American community
African-American neighborhood
Amway Center
apartheid
Bank of America
Basie, William James "Count"
Bellows, Dan
Beyond the Theme Parks: Exploring Central Florida
Brotemarkle, Benjamin D.
Carver Shores
casino
Chambliss, Julian C.
Chapman, Oliver E.
Chase, Loring
civil rights
Civil Rights Movement
Community Redevelopment Agency
CRA
Cravero, Geoffrey
crime
Crossing Division Street: An Oral History of the African-American Community in Orlando
desegregation
Dexter's
displacement
doctor
documentary
Downtown Orlando
East Winter Park
elderly
Ellington, Edward Kennedy "Duke"
ethnicity
Faribanks Avenue
federal courthouse
FHS
Fitzgerald, Ella James
Florida A&M University
Florida Agricultural and Mechanical University
Florida Frontiers
Florida Historical Society
Florida House of Representatives
Florida Legislature
gentrification
Habitat for Humanity
Hannibal Square
Hannibal Square Community Land Trust
heritage
historic preservation
historic restoration
HOTEL
I-4
integration
Interstate Highway 4
Jones High School
legislature
Lester, Connie L.
Livingston, Fairolyn
Mediterranean revival architecture
Morris Avenue
museum
Nap Ford Community School
orlando
Orlando Avenue
park
Park Avenue
Parramore
physician
podcast
preservation
property value
race
race relations
real estate
real estate bubble
real estate development
real estate industry
real estate value
revitalization
RICHES Podcast Documentaries
Richmond Heights
Rogers, James Gamble
Rollins College
school
segregation
Shady Park
South Street Casino
taxes
Thompson, Gerladine F.
tourist
U.S. 17-92
U.S. Route 17-92
urban development
urban renewal
Valencia Community College
VCC
Washington Shores
Webster Avenue
Wells, William Monroe
Wells' Built Hotel
Wells' Built Museum of African American History and Culture
West Winter Park
Winter Park
Winter Park Community Center
World War II
WWII