1
100
10
-
https://richesmi.cah.ucf.edu/omeka/files/original/fd31296325e31836da3e2617590ede99.pdf
40467b57837f2023d78fda2079632458
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
Watermark Collection
Alternative Title
The Watermark Collection
Subject
Gay culture--United States
Description
Since 1994, <em>The Watermark</em> has been the cornerstone source of LGBTQ+ (Lesbian, Gay, Bisexual, Trans, Queer/Questioning, and others) centered news for the Central Florida region. Founded by Tom Dyer in Orlando, the publication began generating bi-weekly issues beginning August 31, 1994. Since then, <em>The Watermark</em> has consistently published newspaper style issues every other Thursday. Gaining traction, the publication expanded in 1995 to include Tampa and, in 1997, <em>The Watermark</em> became a permanent piece of LGBTQ+ culture when the publication initiated the first large-scale Gay Days Weekend event, the Beach Ball at Disney’s Typhoon Lagoon. Before 1999, the publication printed 20,000 copies every week, distributing them to over 500 locations between its two major cities. Following 1999, the publication launched watermarkonline.com shifting to an online publication style. In 2016, Rick Claggett purchased <em>The Watermark</em>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/" target="_blank">RICHES Program</a>
Type
Collection
Contributing Project
<a href="http://www.floridalgbtqmuseum.org/%20" target="_blank">GLBT History Museum of Central Florida</a>
<a href="http://www.watermarkonline.com/">The Watermark</a>
Curator
Smith, Robert
Cepero, Laura
O'Neal, Rhiannon
Hearn, Nikki
Greene, Quintella
Rodriguez, Sharon
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.floridalgbtqmuseum.org/%20" target="_blank">GLBT History Museum of Central Florida</a>
External Reference
"<a href="http://www.watermarkonline.com/aboutcontact/" target="_blank">About/Contact</a>." WatermarkOnline.com, accessed July 11, 2016. http://www.watermarkonline.com/aboutcontact/.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
The Watermark, Vol. 2, No. 2, January 25, 1995
Alternative Title
Watermark, Vol. 2, No. 2
Subject
Gay culture--United States
Description
The second issue of volume two of <em>The Watermark</em> was published on January 25, 1995, and focuses on community issues with the LGBTQ+ (Lesbian, Gay, Bisexual, Trans, Queer/Questioning, and others) movement. The main topics discussed in this issue are Iran's persecution of gay nightclub patrons, West Palm Beach voters' defeat of a proposal that sought to remove gay rights protections from municipal law, the Metropolitan Business Association's (MBA) Second Annual Expo, a federal court's ruling allowing a veterans group to bar the LGBTQ+ community from marching in Boston's St. Patrick's Day Parade, and Scott Laurent Galleries. This issue also includes letters to the editor, theater and film reviews, restaurant reviews, and comic strips, as well as culture, artful living, travel, marketplace, and classifieds sections.<br /><br />Since 1994, <em>The Watermark</em> has been the cornerstone source of LGBTQ+ centered news for the Central Florida region. Founded by Tom Dyer in Orlando, the publication began generating bi-weekly issues beginning August 31, 1994. Since then, <em>The Watermark</em> has consistently published newspaper-style issues every other Thursday. Gaining traction, the publication expanded in 1995 to include Tampa and, in 1997, <em>The Watermark</em> became a permanent piece of LGBTQ+ culture when the publication initiated the first large-scale Gay Days Weekend event, the Beach Ball at Disney’s Typhoon Lagoon. Before 1999, the publication printed 20,000 copies every week, distributing them to over 500 locations between its two major cities. Following 1999, the publication launched watermarkonline.com shifting to an online publication style. In 2016, Rick Claggett purchased <em>The Watermark</em>.
Type
Text
Source
Original 32-page newspaper: <a href="http://www.watermarkonline.com/" target="_blank"><em>The Watermark</em></a>, Vol. 2, No. 2, January 25, 1995: Publications Collection, <a href="http://glbthistorymuseum.com/joomla25/index.php?lang=en" target="_blank">GLBT History Museum of Central Florida</a>, Orlando, Florida.
Requires
<a href="http://www.adobe.com/products/reader.html" target="_blank">Adobe Acrobat Reader</a>
Is Part Of
<a href="https://richesmi.cah.UCF.edu/omeka/collections/show/203" target="_blank">The Watermark Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 32-page newspaper: <a href="http://www.watermarkonline.com/" target="_blank"><em>The Watermark</em></a>, Vol. 2, No. 2, January 25, 1995.
Coverage
Bahia Shrine Temple, Orlando, Florida
Iran
West Palm Beach, Florida
Walt Disney World, Lake Buena Vista, Florida
Boston, Massachusetts
Duke University, Durham, North Carolina
Denver, Colorado
United Kingdom
Kansas City, Missouri
Gaborone, Botswana
Daytona Beach, Florida
Scott Laurent Galleries, Winter Park, Florida
Creator
Kudis, Ken
Bartsch, Carol
Sheehan, Patty
Dyer, Tom
Johnson, D. J.
Brenner, Harmony
Anderson, Mark
Maines, Ted
Bray, Dan
Gustetter, April
Peterson, Keith
Emmer, Sarah
Kilgore, Michael L.
Fowler, G. K.
Schultz, Nan
Toscas, Dimitri
Crescitelli, Jim A.
Newsman, Leslea
Badal, Sharon
De Matteis, Stephen
Sloan, Rosanne
Saran, Joe
Almeida, David
Provencher, William André
Dean, Brandon
Bruin, Patrick
Wilde, Diane
Vassel, Yvonne C. T.
Hartman, Keith
Bechdel, Alison
Orner, Eric
Porter, Jill
Vangelys, Gabriel
Holland, Robert
Messmer, Katie
Kenney, Tera
Williams, Mike
Publisher
<a href="http://www.watermarkonline.com/" target="_blank">Watermark Media</a>
Date Created
ca. 1994-11-23
Date Issued
1994-11-23
Date Copyrighted
1994-11-23
Format
application/pdf
Extent
282 MB
Medium
32-page newspaper
Language
eng
Mediator
History Teacher
Provenance
Originally published by <a href="http://www.watermarkonline.com/" target="_blank">Watermark Media</a>.
Rights Holder
Copyright to this resource is held by <a href="http://www.watermarkonline.com/" target="_blank">Watermark Publishing Group</a> and is provided here by <a href="http://riches.cah.UCF.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Contributing Project
<a href="http://glbthistorymuseum.com/joomla25/index.php?lang=en" target="_blank">GLBT History Museum of Central Florida</a>
Curator
Smith, Robert
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.UCF.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://glbthistorymuseum.com/joomla25/index.php?lang=en" target="_blank">GLBT History Museum of Central Florida</a>
External Reference
"<a href="http://www.watermarkonline.com/aboutcontact/" target="_blank">About/Contact</a>." WatermarkOnline.com, accessed July 11, 2016. http://www.watermarkonline.com/aboutcontact/.
activism
activists
Alachua County
Alan Bruun
Amnesty International
Anderson
Andre Provencher
Andrews Sisters
Anne Waldron
Anthony Fauci
Audrey Hepburn
Bahia Shrine Auditorium
Barbie
Bart Zarcone
Bennett Klein
bisexuals
Bob Spears
Brad Houghton
Bruce Jenner
capital punishment
Carl S. Simon
Carol Bartsch
Cheryl Griggs
Chris Lynde
Christine Robison
Chuck Almand
Clermont
Cloutier
Dade
David Almeida
David Caton
David Geffen
David Ho
David Roberson
David Schwartz
Daytona
Daytona Beach
De Matteis
Diana Ross
Diane Wilde
Dimitri Toscas
Disney
Don Dias
Douglas Battawa
Eddie Hilliard
Eleanor Roosevelt
Elgan
Elke Martin
Enyart
Epcot
Eric Overmyer
Eric Rollings
Erica Rand
Finn
Fowler
Gail Bird
gay
Georg Ketelhohn
George Coscia
George M. Shaw
Glenda Hood
Graham
Gus Van Sant
Harold Fong
HOMAN
homosexuality
homosexuals
Ian Russell
Iran
Islamic Penal Law
James Bybee
James S. Koopman
Jamie P. Still
Jay Boyar
Jay Levy
Jim Crescitelli
Joel Strack
John Doe
John McCombs
John Rose
John Travolta
Johns Hopkins
Johnson
Johnston
Jonathan Bamford
Jonathan Hollingshead
Judy Davis
Katie Messmer
Keanu Reeves
Keith Baber
Keith Bergstrasser
Keith Bergstrasser & Company, Inc
Keith Brodie
Keith Morrison
Keith Peterson
Ken Kundis
Keohane
Kim Jones
Lambda Center
Laurence Mark
Laurent Nicastro
Leonard Cohen
lesbians
Lesbigay Coalition
Leslie Bennet
LGBT
LGBTQ+
Life Care Resources
Linda Chapin
Lou Baio
Lucy Carney
Lyman
Maitland
Maitland Civic Center
Marcia Gay Harden
Margaret Reinfeld
Margarethe Cammermeyer
Mario Pabon
Marlene Bernstein
Martha Stewart
Martin
Martin Scorsese
Mary Jess
Mary Linger
Menino
Metropolitan Business Association
Miami
Michael Dunn
Michael Hodges
Michael Jackson
Miller
Moonstruck
Natural Born Killers
Newman
Nicastro
orlando
Orlando Public Library
Palm Beach
Palm Beach County
Paradise Island
Patrick Bruin
Patty Sheehan
Phil Donahue
Phillips
queers
questioning
Rainbow Democratic Club
Richard Cloutier
Richard Giorgio
Robert Deniro
Robert Holland
Robert Sean Leonard
Robin Buhrke
Ron Carnival
Ronald Reagan
Rosalind Russell
Rosanne Sloan
Saidi Sirjani
Sam Shepard
same-sex
Sandie Swift
Sandy Fink
Sarah Emmer
Sarah Nuckles
Sarano
Saviz Shafaie
Schwartz
Scott Alles
Sean Astin
Sharia law
Sharon Badal
Shepard
Somers
Stephan Likosky
Steve Rheaume
Steve Roberts
Susan Sarandon
Tampa
Tampa Bay
Tampa Bay Gay Men's Chorus
Ted Maines
Tera Kenney
The Client
The Lambda Center
The Watermark
Tim Huskins
Tom Dyer
trans
transgender
Val Stevens
W. Thomas Dyer
Watermark Media, Inc.
West Palm Beach
William F. Weld
William Finn
Wilson
Winslow
Winter Park
Yolanda Clark
-
https://richesmi.cah.ucf.edu/omeka/files/original/c20009fd747d934827e4fb7335c31c26.pdf
0799da4ded85e4da02adc7ea62130277
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.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Oral History of Emmanuel J. Agon Kresky
Alternative Title
Oral History, Emmanuel J. Agon Kresky
Subject
Orlando (Fla.)
Music--Florida
Mass shootings
Memorials--Florida
Gay culture--United States
Description
An oral history interview of Emmanuel J. Agon Kresky, a member of the Orlando Gay Chorus. The interview was conducted by Sarah Schneider at the University of Central Florida Center for Emerging Media in Orlando, Florida, on November 17th, 2016. Some of the topics covered include joining the Orlando Gay Chorus, his favorite productions, the 2012 and 2016 Gay and Lesbian Association of Choruses festivals, the mass shooting at Pulse nightclub, the Orlando Gay Chorus’s response to the Pulse tragedy, the community, national and international responses to the Pulse tragedy, the significance of Pulse before and after the tragedy, the role of social media in the aftermath of the tragedy, and the long-term consequences of the tragedy.
Table Of Contents
0:00:00 Joining the Orlando Gay Chorus and favorite productions <br />0:02:51 Gay and Lesbian Association of Choruses festival <br />0:05:12 Mass shooting at Pulse nightclub <br />0:09:43 Orlando Gay Chorus’s response to Pulse tragedy <br />0:20:11 Community response to Pulse tragedy <br />0:22:31 National and international response to Pulse tragedy <br />0:24:57 2016 Gay and Lesbian Association of Choruses festival <br />0:29:10 Significance of Pulse before and after tragedy <br />0:32:57 Role of social media in aftermath of tragedy <br />0:36:23 Long-term consequences of Pulse tragedy <br />0:38:52 Closing remarks
Abstract
Oral history interview of Emmanuel J. Agon Kresky. Interview conducted by Sarah Schneider in Orlando, Florida, on November 17, 2016.
Type
Moving Image
Source
Kresky, Emmanuel J. Agon. Interviewed by Sarah Schneider, November 17, 2016. Audio record available. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>, Orlando, Florida.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
<a href="http://www.adobe.com/products/reader.html" target="_blank">Adobe Acrobat Reader</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank">Orlando Gay Chorus Collection</a>, LGBTQ+ Collection, RICHES of Central Florida.
Has Format
Digital transcript of original 40-minute, and 37-second oral history: Kresky, Emmanuel J. Agon. Interviewed by Sarah Schneider. Audio record available. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>, Orlando, Florida.
Coverage
Cathedral Church of St. Luke, Orlando, Florida
Dr. Phillips Center for the Performing Arts, Orlando, Florida
GALA Choruses Festival, Denver Performing Arts Center, Denver, Colorado
Lake Eola Park, Orlando, Florida
Orlando, Florida
Camping World Stadium, Orlando, Florida
Parliament House, Orlando, Florida
Publix Supermarkets, Inc., Orlando, Florida
Pulse nightclub, Orlando, Florida
Creator
Kresky, Emmanuel J. Agon
Schneider, Sarah
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Date Created
2016-11-17
Date Copyrighted
2016-11-17
Format
video/mp4
application/pdf
Extent
1.17 GB
Medium
40-minute and 37-second audio recording
16-page digital transcript
Language
eng
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Emmanuel J. Agon Kresky and Sarah Schneider 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
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
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, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.
Ogles, Jacob. "<a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank">Pride in Orlando Will Take on New Meaning</a>." <em>The Advocate</em>, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.
Hyman, Jamie. "<a href="http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/" target="_blank">Community rises up after mass shooting at Orlando gay nightclub kills 49</a>." <em>Watermark</em>, June 16, 2016. Accessed October 18, 2016. http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/.
Click to View (Movie, Podcast, or Website)
<a href="https://youtu.be/KGGSKVhkBrg" target="_blank">Oral History of Emmanuel "Manny" J. Agon Kresky</a>
Transcript
<p><strong>Schneider <br /></strong>[<em>beep</em>] Today is Thursday, November 17<sup>th</sup>, 2016. My name is Sarah Schneider and I am conducting an oral history interview with Manny [Emmanuel J.] Agon Kresky of the Orlando Gay Chorus. The interview is being conducted at the UCF [University of Central Florida] Center for Emerging Media in Orlando, Florida.</p>
<p>So thank you for being here today.</p>
<p><strong>Kresky<br /></strong>Mmhmm.</p>
<p><strong>Schneider<br /></strong>And can you start off by telling us your name please?</p>
<p><strong>Kresky<br /></strong>Sure. Um, my—my full name is Emmanuel. Emmanuel J. Agon Kresky.</p>
<p><strong>Schneider<br /></strong>Thank you. And to start off, can you tell us where were you born and how long have you lived in Orlando?</p>
<p><strong>Kresky<br /></strong>Um, I was born in South Florida. I was born—born in Hollywood, um—Hollywood, Florida. My parents lived in Dania Beach[, Florida]. Um, grew up in South Florida and went to college in [Washington,] D.C. After college, I went back to South Florida. And then moved to Orlando[, Florida] in, um, maybe 1998 or so. 1998 or 1999.</p>
<p><strong>Schneider<br /></strong>Okay. And how long have you been a part of the Orlando Gay Chorus?</p>
<p><strong>Kresky<br /></strong>Since, um, early 2000s. So maybe like 2003. I’d have to double check, but I think around 2002, 2003.</p>
<p><strong>Schenider<br /></strong>And what brought you to join the chorus?</p>
<p><strong>Kresky<br /></strong>[<em>laughs</em>] Um, let’s see. I had—I had sung with, um, Candlelight—uh, the Candlelight, uh, Processional over at Epcot. I sang with cast choir there. And after performing with Disney, I kind of wanted to continue singing after the holidays. And I had attended one or two OGC[1] concerts. And, um, I auditioned after maybe the second time seeing them perform.</p>
<p><strong>Schenider<br /></strong>Okay. And, um, can you tell us about some of your favorite productions or…</p>
<p><strong>Kresky<br /></strong>[<em>laughs</em>].</p>
<p><strong>Schneider<br /></strong>…performances you had?</p>
<p><strong>Kresky<br /></strong>Um, sure. So the—the—the holiday concerts always[sic] the most popular ones. The ones that people get, uh, most excited about. Um, I think my personal favorite was the one that had the format of a radio show. And so there was an MC[2] and, um, it was like a broadcasted concert. It was like a, um—it was—it was more structured. Um, it was a more structured concert.</p>
<p>Another one that I—that—that sticks out in my mind was one of the earlier ones. And it was called, um, “From Sissies to Superstars”. And it told the story of Oliver Button. I think that was his name. Oliver Button. And, um, it told of a story of a—of a—of a kid who was a little different. Um, and how he navigated through some challenges in his life.</p>
<strong>Schneider<br /></strong>Mm. Um, and have you participated in the GALA[3] events?
<p><strong>Kresky<br /></strong>Yes. I go—for whatever reason, I did not go to the ones that were actually closer to home. So there’s one in Tampa[, Florida] and there was one in Miami[, Florida]. Uh, I didn’t go to those. Um, my first GALA festival was in Denver in 2012. And we returned this year, um, to—to Denver for the 2016 festival.</p>
<p><strong>Schneider<br /></strong>So you—you have—you’ve been there twice for GALA events.</p>
<p><strong>Kresky<br /></strong>Yes.</p>
<p><strong>Schneider<br /></strong>[inaudible].</p>
<p><strong>Kresky<br /></strong>Yes. Even though I have been in the chorus for longer, for whatever reason I, um, did not join the rest of the chorus members by doing the festival up until 2012.</p>
<p><strong>Schneider<br /></strong>Mmhmm. And, um, what has your experience at the GALA events be[sic] like—been like? Can you tell me a little bit more about what that event is like?</p>
<p><strong>Kresky<br /></strong>2012 and 2016 were very different. Um, and a big part of that was because of Pulse[4]. Um, it was just very, eh—eh, [<em>sighs</em>]—it was—it was affirming. It was humbling. Um, there were—there were just a lot of random people who’d come up to us. And because they knew that we were from Orlando, they would give us words of encouragement. They would hug us. Um, they would thank us for coming. Um, it was just very—very humbling.</p>
<p>Um, 2012, being that it was my first GALA, was a different experience, where it was like, “Oh, my god. I can’t believe this is my first year coming. I don’t know why I didn’t go to the one in Tampa. I don’t know why I didn’t go to the one in Miami.” Um, we did a great set. It was just very uplifting to be surrounded by so many likeminded people. And i—in 2012, it was just a more joyous celeb—celebratory kind of feel to it. It was also when I started dating Nick [Nicholas Agon Kresky]. So, um, that will always have a very, um, you know—an important, uh, piece of my heart. Uh, 2012.</p>
<p>But, yeah. Two very different experiences. Uh, both great experiences. Just very different.</p>
<strong>Schneider<br /></strong>Um, and so, getting to Pulse, um, can you tell us how you first heard about what happened?
<p><strong>Kresky<br /></strong>Yeah. So, um, I guess it was Sunday morning. Um, I—Nick had already gone—Nick, my husband, had already gone to work at Universal [Studios Florida]. We were having some work done upstairs in our house, so we were sleeping downstairs. For whatever reason, I checked my iPhone from work. Um, I don’t always do that on the weekends. Um, but for whatever reason, I did. I hope my boss isn’t watching this because I—I check my iPhone all the time [inaudible] [<em>laughs</em>]. Um, so i—the —for whatever reason, I—I—I scroll through, uh, my messages. And I work for an online travel agency. And there was a message from one of our operational, um, departments—is—mi—mentioning that there was an incident. And, um, they were trying to ascertain whether or not any of the travelers that booked through our website were impacted by it.</p>
<p>And so be—this was before we knew the extent of it. We knew that there was a shooting. We didn’t know that—how many people were injured. How many people were dead. Um, and then—so, um, I read it. I didn’t—again, not knowing that it was a terrorist or it’s somebody who is mentally disturbed, um, I—I knew that the operations people were looking, um—looking into it.</p>
<p>Um, I didn’t think that anyone that I—I knew would have been at the club at the time of the day—or time of night. Um, and then—so I think I sent out a few emails to my hotel partners saying, “Hey. Um, I heard there was a shooting. I hope every—all of your guests are okay.” And then I—I didn’t really put that much thought into it.</p>
<p>Um, later that same morning, I started getting texts and Facebook messages from—from my friends outside of Florida asking if I was alright. And, um, you know, wishing that I was safe. And, um, telling like that they hope I’m doing well. And just—you’re kind of like awestruck. It’s like I—why is this happening [<em>laughs</em>]? Like who—uh, why are people reaching out? Again, not knowing the extent of how many people lost their lives. How many were injured at, um—at Pulse.</p>
<p>Eh, gr—I grew up in South Florida. Went to school in [Washington,] D.C. So, sad to say, shootings were not unheard of. And so, again, not realizing the extent of the damage that was done to the patrons that were there. Um, to the community. Just mindboggling. And then, um, you know, I started watching the news. The—you know, it’s hard to go back to sleep. Right? So you [<em>laughs</em>]—you watch the news. And then, um, just kept the TV on. And then, you know, more messages, um, about what’s going on.</p>
<p>And, uh, I think I worked—I had to work that day, so, um, we were hearing about—I think one of the West Coast cities was having their pride event. And there might have been some hubbub about, um, somebody, eh, going to one of their pride events with maybe ammunition—with guns in their car. Wondering what the extent of this attack was going to be. Again, at—at this time, we don’t—I don’t think we knew that much information on—no—I don’t think we knew the—who the perpetrator was on Sunday afternoon.</p>
<p>So just very—you know i—it was just not anything that I could relate to. Like 9/11[5], like I was—I was born. I mean I was—I was alive during 9/11. But it was—it was much more remote. Right? Um, and this one hit a lot closer to home. Because while—while I don’t think I knew anyone there that night, I knew that pe—other people did.</p>
<strong>Schneider<br /></strong>Mmhmm. And so can you tell me a little bit about the Orlando Gay Chorus’s response, um, in the days and weeks following the shooting?
<p><strong>Kresky<br /></strong>Yeah. So, um, I think Carol Studer,[6] um, and J.D. Casto[7] were just on top of it—on top of everything. So there were many requests for us to, um—to perform at various events. It was—you—there were so many—there was—it was—it was almost impossible if you had a, um—i—if you have a job or other commitments that you could actually make every event. Um, because the chorus was, eh, pretty much in high demand. And, um, y—you know, some were m—more uplifting than others. Right? So there were, eh—the—the ones—the—Cory [Connell]’s outside of Publix [Supermarkets, Inc.] was—was hard because, um, it was unlike some of the other ones where we were trying to raise awareness or create a sense of community or strengthen the sense of community or raise money or something like that. It was like, <em>We’re at somebody’s memorial service</em>. Um, you know, quite—quite sobering for that.</p>
<p>Um, so there was—there was Cory’s event. Um, there was the—there was prayer vigil at the cathedral that we go to. The Episcopal cathedral that we—we go to. [Cathedral Church of] St. Luke’s. We went to that. There were two events over at Dr. Phillips Center [for the Performing Arts]. One that was put on by the local arts community, um, and one that was actually, uh, Broadway folks. They came down from New York for a fundraiser. Um, more recently, there was a vigil, um, actually at Pulse. And, um, some of the survivors, uh, w—were—were invited. And it was the first time back at Pulse for many of them. Um, and up until that time, nobody could go through the fence. Um, but that night that we were there, uh, they opened up the fence and we actually, um, sang inside—inside the—the fence.</p>
<p><strong>Schneider<br /></strong>And what were you feeling and thinking as that was going on? What was that—the atmosphere like at that—what you just described?</p>
<p><strong>Kresky<br /></strong>Um, I mean we can’t feel—I mean i—it’s like—it’s—it’s—I—I guess the only thing I can equate it to would be if you’re going to—if you’re going to a place of worship and regardless of whether it’s your church or somebody else’s church or synagogue, um, you—y—you j—you just know enough to be respectful. And then you, um, you know, talk in hushed tones. And you can smile at your friends, but you’re not—it’s not necessarily a time to be joyous per se. Or happy per se.</p>
<p>Um, it was, um—they had—they had murals on the wall. They had, um, eh, i—th—I don’t think it was—it was a permanent mural. It was more like a canvas or paper. I’m not sure exactly what the material was. But people were saying their goodbyes or writing down the names of their loved ones. Um, and it was—we were honored to be there. Uh, but it was very, um—I don’t know if sobering is the word. It’s kind of—I hope your other interviewees are much more articulate than I am [<em>laughs</em>].</p>
<p><strong>Schneider<br /></strong>[<em>laughs</em>].</p>
<p><strong>Kresky<br /></strong>I—it was—it was—it was—we were honored to be there. We were honored to be there. And we, um—we—we sang “True Colors”, which is fitting for the event. Um, another one that we didn’t sing that night, but, um, “You’ll Never Walk Alone”. Those seem to be the—the two most requested songs from us. Or—or the ones that we seemed to be the most appropriate for the type of event. [inaudible].</p>
<p><strong>Schneider<br /></strong>Um, and do you have any other moments in those vigils or memorial services that stand out to you? Um, or things about them that you think—or you’d like to share?</p>
<p><strong>Kresky<br /></strong>The, um—the—the church we go to—the cathedral—St. Luke’s Cathedral did a—did a wonderful, um—wonderful job, um, of—and I think there—there was media there, so there might be—there might be a t—a tape or something of it. Uh, of that night. But it was sh—they—they had one candle on the altar for each and every single victim. They had 49 candles. Each candle was—was different. No two candles were alike. Um, it was very—i—it was very nice. It was very, um—it was something that only like the cathedral could do because there was a sense of, um, kind of pageantry to it. But so tasteful. And so respectful. And just—just—it was—it—I felt that it was the right, um, um—th—the right, uh, feel to it. If that makes sense.</p>
<p>Um, later that night, after we had cleared out of the cathedral, they had a vigil on Lake Eola. So this might have been [<em>sighs</em>] a week. The Sunday after Pulse. Right? A week after. Um, the vigil at Dr. Phillips [Center for the Performing Arts] on the lawn the day after Pulse, um—I—I was not able to make it because I had to work. Uh, Nick [Nicholas Agon Kresky] went, but I was unable to make it. So, um, fo—for me, that was like the big, massive gathering event where you could actually—after leaving the cathedral, we walked over to Lake Eola, which is just maybe a block away. And then you could see the entire border of the lake surrounded with people with candles.</p>
<p>Um, it was just very nice to see that many people come together. Whether it was the LGBT community. Whether it was the Latinx community, um, coming together. Whether it was just people who wanted to put an end to gun violence. It was just really nice to see the—the city coming together. That probably stuck out the most.</p>
<p>Um, another one actually that sticks out—not a vigil. Much more, um, joyous, um, was actually Orlando City Soccer [Club]. Like I never thought I enjoyed soccer until we were invited to sing at the halftime show. And they had the entire, um, stadium decked out in a rainbow. So it was one section was red, next one was orange. All the way around. And they had 49 seats up in the bleachers left empty for, um, the victims of the shooting. And there was a candle—or not a candle, but a balloon on each of the seat[sic] to commemorate them. And you could see those balloons from anywhere in the stadium. It was just very—it was very nice to see. Um, I think it was 49 minutes into the game. They actually stopped the game for a moment of silence. So—never was interested in soccer before [<em>laughs</em>]. It’s like, <em>Wow. I really like soccer now. And I really like this team</em>. Because I think that was the first, um, major sports event after the Pulse shooting. I think it was the—I think it was the Saturday after Pulse that they did that. Then they had their—their game.</p>
<p><strong>Schneider<br /></strong>And what did you think about singing in the stadium? What was tha—what’d that feel like—the actual performance element?</p>
<p><strong>Kresky<br /></strong>Um, [<em>laughs</em>] from a—from a technical standpoint, there were some learnings[sic]. Um, there was a—I guess there’s a delay. So I don’t know how we sounded. The people that saw us on TV soun—heard—uh, said th—that, uh—that we sounded—we sounded good. Um, i—it was very welcoming. I never—I’ve never necessarily been the victim of—of—of a hate crime. I’ve never, eh—I don’t believe that I’ve been discriminated before in the past because of my, um, sexual orientation as an adult. And I don’t—in Orlando, I don’t really expect that anyway. Um, but these soccer fans seemed very, very welcoming. And there were just so many rainbow flags that night at the soccer stadium you would have thought it was a Pride event. Um, it was just very uplifting. Very affirming. Uh, very welcoming. Yeah.</p>
<strong>Schneider<br /></strong>And what did you think about, um, the reaction of the community—the local community to what had happened? You touched on this a little bit already…
<p><strong>Kresky<br /></strong>Mmhmm.</p>
<p><strong>Schneider<br /></strong>…but is there anything else you—you had thought or—or felt in the communi—in response—the community’s reaction?</p>
<p><strong>Kresky<br /></strong>Eh, um, i—it—it’s unfortunate it takes something like this to actually bring people together. Um, but—but in a—in a sense that’s—that’s what happened. People came together. And, um, I think, you know, i—the people at—the people at work kind of gave me my space, um, because [inaudible] go through all sorts of emotions. I think every day for a week I cried at some point. Listening to the radio. Watching TV. Talking to somebody. I would—I would cheer up inevitably. Um, in the car on my way to work. And—and occasionally, I’ll watch a clip or something on YouTube and I’ll start tearing up. People would just say, “Hey. If you need somebody to talk to, I’m here.”<br /><br />Um, the week following the incident, I reached out—well, I didn’t take any time off. I just continued my work. But I have some gay partners. I—I work for an online travel agency, so we have, uh, partners that are—that work in hotels. And I reached out to all my—my gay friends [<em>laughs</em>] that worked in hotels. And it just been m—meet with them—one—one for lunch. Um, you know, ‘cause you never know when somebody’s not gonna be there anymore. So it was a—a nice time to reconnect and kind of, um—kind of reconnect. And then I—kind of like process together. And thank God for Nick. Because y—you know, we have each other to make—to try to make sense of it all. Um, not that we did make sense of it, but th—we have each other to—to lean on, which I was very grateful for.</p>
<p><strong>Schneider<br /></strong>And, um, what did you think about reactions to the Pulse shooting from people outside of the local community? So either nationally or even internationally. Um, did you s—did you feel any of that or think about that?</p>
<p><strong>Kresky<br /></strong>Yeah. I—I think w—[<em>sighs</em>] you know, when I would cheer up in the car or watching TV or—or YouTube, it wasn’t really tears of sadness. I think it was just feeling the love from the other—the other cities. Um, seeing pictures of, you know, the White House decked out in rainbow colors. The Sydney Opera House. All these, um, landmarks. And seeing them as just from the people around the world sending their love to Orlando.</p>
<p>Um, the other—I work for Expedia. That’s the online travel agency. I’m not sure if you have to edit it—that out. But, um, the other Expedia offices, um, sent us, you know, “We Love Orlando” signs. And they took a picture of their, um—of their team holding up rainbow flags, banners and stuff like that. It’s—it’s quite unfortunate that after—after Pulse, you know, we were doing the same thing for the offices in France. And I think there was—there was[sic] a few with gun violence and terrorist attacks in Europe that we—we did the same for them. Right? Um, because you never think it’s gonna happen to your—your—your own city. Right? There was New York. There was Boston. We might be a big—“big-ish” city, but we’re not the same par as the size of those cities. Right? So you don’t think that we would be a target for—for a terrorist attack.</p>
<p>Um, but yeah. The—the f—oh, my God. And talk about Festival GALA, you know, just—the love that we got from there—from—from our fellow choruses from around the world. They had these huge banners. Um, “We Are With You, Orlando”. “We Are Orlando”. Just like huge banners. Um, I think one’s at the [Orange County Regional] History Center. But probably—I don’t know. It seems like the length of this—of this room out there in the other room on the—in the foyer area. Um, just lots of love from the other cities.</p>
<p><strong>Schneider<br /></strong>Mmhmm. And, um, what else did you i—I know you talked about how different 2012 and 2016 were at the GALA events, but can you say more about, um, what the 2016 event was like and—and, um, yeah—how Pulse impacted…</p>
<p><strong>Kresky<br /></strong>Yeah. So…</p>
<p><strong>Schenider<br /></strong>…that experience?</p>
<p><strong>Kresky<br /></strong>…um, we had—we had gone into, um—into rehearsals with a totally different set. Um, and Nick is actually probably a little better versed at talking about what we actually intended to sing originally before Pulse. After Pulse, it’s like, <em>Okay. W—we—this set does not—is not fitting anymore. We need to have a new set. </em>And we came up with a new set.</p>
<p>Um, so “True Colors” again. It was probably the song that we sung[sic] most often at the—at the events. And then we ended with, um, “You’ll Never Walk Alone”.[8] And I hope there’s a—I—I know there is on YouTube, um, our director speaking to the audience.[9] Packed audience. Um, when we performed there were people who tried to get in that couldn’t. Um, everyone wanted to see Orlando from what they tell us. But there was—we—we—he spoke about what it was like waking up that morning. Um, similar—similar experience. Like, <em>Why are these people contacting me? Why—why am I getting all these texts? Why am I getting all these Facebook messages?</em></p>
<p>Um, and we were just a mess. The chorus members [<em>laughs</em>] were just like trying to hold it together. We had gotten through almost every song. We knew that “You’ll Never Walk Alone”, um, was—was gonna be the next song. And it was just—it was—it was very hard to—to—to get through his introduction of that song. Um, and then when we sang, he had invited the entire, um, audience to sing along with us. Because there was no way we were getting through that song without crying if we weren’t already crying. Um, and then we ended on a—on a different song after that to kind of show people that, y—you know, Pulse is not—I think Mayor [John Hugh “Buddy”] Dyer said that Pulse is not going to define us. We weren’t gonna end on a sad song. Right? “You’ll Never Walk Alone” can be a little, um, solitary. It’s a little melancholy. So we ended with up with, uh, “We Are Family”. And then we had pink boas and pink glasses and little things in our hair. And it was just a—a—a—a fun number to end on.</p>
<p>Um, but yeah. Eh, tha—I think [<em>sighs</em>], uh, that was, um—eh, I—they—they said that the s—our set was the set that everyone was trying to get into to see.</p>
<p>And then the other—the other choruses actually—many of them made reference to, uh, the gun violence or homophobia or, um, something along those lines in their own set. And they made—a lot of times, they made mention of it. Um, now that I think about it—because while we performed, we’d also watch other people perform as well.</p>
<p><strong>Schneider<br /></strong>And, um, was there anything else you wanted to say about the interactions between you and members of the other gay—uh, the other choruses at that event, you know, outside of the performance?</p>
<p><strong>Kresky<br /></strong>[<em>laughs</em>].</p>
<p><strong>Schneider<br /></strong>Was there anything else…</p>
<p><strong>Kresky<br /></strong>Yeah.</p>
<p><strong>Schneider</strong> …you heard from people?</p>
<p><strong>Kresky<br /></strong>Um, just a lot of—a lot of hugs from random people [<em>laughs</em><span style="text-decoration:underline;">]</span>. I—so I, um—I’m not always the most “huggy” person [<em>laughs</em>]. So it’s like, <em>Oh! Why are you hugging me?</em> Um, but no. It was, um—I—I—I always appreciate when people say, “Can I hug you?” Or “May I…” It’s like, <em>Sure.</em> You know? I know it’s coming. Um, but yeah. There was[sic] a lot of people who wanted to welcome us. To thank us for being there. Reaffirming.</p>
<strong>Schneider<br /></strong>Mm. And I’m curious what the, um—Pulse as a place—if it meant anything to you as a place before what happened. And if now i—it has any significance in your mind as a location and site.
<p><strong>Kresky<br /></strong>Yeah. So, um, I was, um—I am acquainted with one of the old managers there. Uh, with Ron Legler. I—I met him through Florida Theatrical Association. And so, um, he—he moved to Baltimore[, Maryland] a—a little while ago. I don’t know that I’ve been to Pulse since he left Orlando. Um, so for me, I—I’ve been a few times. Usually as his guest. Um, it’s not a place where I f—I frequented. It was no—my—my place was actually Parliament—uh, not—well, Parliament House nowadays. But, um, back—back when I was younger, um, we used to go to Pleasure Island [Walt Disney World Resort] on Thursdays. So it was usually [<em>laughs</em>] in—in my twenties—in my late-twenties, it was Pleasure Island on Thursday and Southern Nights on Friday. And then Saturday night: Parliament House. On those rotations that I went out every single night of the weekend. I don’t do that anymore. Um, now it’s like maybe once a month there’s a show over at Parliament House we wanna see. We’ll go to Parliament House.</p>
<p>Um, so, eh, Pulse kind of opened up—kind of as—as—kind of off of that “go every weekend” kind of phase of my life. Um, but Ron’s partner, Andrew—Andrew Springer, had his birthday party there. So there was a reason to go to Pulse. Right? Um, so if there was a birthday party. If there were friends coming in from out of town, then we might go to Pulse.</p>
<p>Um, I—I think some of the—some of the stuff that the newscasters said after Pulse could be true for any of the gay clubs. That it was a safe place. That for many in the community, it was, you know, their place of worship if you will. I thought that was a change—it was strange, um—a strange, uh, term to use. But I—I know that a number of people have used gay clubs in general as a—as a—as a—as their place of worship. As their church. Um, so I—I appreciate it for that. Um, for that aspect of it. While it wasn’t necessarily my place of worship, um, I do respect it for being a safe place where people would gather. Where people would feel safe. Um, where people can be their—themselves. Right? Um, yeah.</p>
<p>And now that I’m older, it’s like I don’t know that I can stay out past midnight [<em>laughs</em>]. So I—had I been out, I think I would’ve been in bed way before—way before 1:45 at that point.</p>
<p>But if it was—you know, as you think about how if it wasn’t Pulse and if it was Parlia—and if it was Parliament House. And if it wasn’t 1:45, but it was twelve midnight or something like that, it could have been any one of us. Right? Um, you never know.</p>
<strong>Schneider<br /></strong>Um, you mentioned briefly, um, Facebook and things like that. People contacting you after it happened. Did you see social media playing any response in—or any, um, part in the time following the shooting in people’s response to the shooting? Or did you feel like that wasn’t really a big part of—of people’s reactions?
<p><strong>Kresky<br /></strong>Before Pulse, I never knew that there was a feature on Facebook to mark yourself safe. And while I was appreciative of that so I can see which of my friends were, um—were safe, I was like, <em>Oh, my God. Why is this even necessary? Or like what kind of world to we live in that this is necessary that they built this?</em> Um, I don’t know—eh, you know, I like to think that, for the most part, Facebook is—is neutral. And so I don’t know that they did anything to either, um, promote awareness about Pulse or downplay it. Um, obviously, so much of what we see on Facebook is just who we decide to follow on Facebook. Um, so lo—lots of posts from, um—lots—lots of posts about, um—from—from other—from other cities wishing us well. From other gay choruses wishing us well. Um, lots of that stuff, which was quite uplifting.</p>
<p>Um, eh, there were th—you know, there were the—the pictures of—of the outside of Pulse. As people were driving by. Um, I—I never visited either the hospital or Pulse while the memorials were up. Before, eh, the [Orange County] Regional History Center started protecting the—the—the stuff left behind. Um, but there was[sic] many pictures of the memorials were laid out. Either—and there was actually—they were laying stuff out on the lawn, too, of Dr. Phillips. Um, so saw many pictures of that on Facebook as well.</p>
<p>It was helpful to find out, you know—to promote certain things. Like, um, the little arts organizations did the “Beautiful Together” event over at Dr. Phillips. So there was lots of, um, you know, <em>We’re trying to—to—to promote the event. And then so, you know, we’re sharing stuff on Facebook.</em> Um, [<em>laughs</em>] I don’t know how much of it you could share for the—for the—“From Broadway with Love[: A Benefit Concert for Orlando]” because I think that the event sold out almost immediately. Um, but there was—there were[sic] lots of mention about who’s coming to the event and who confirmed. And, um, during the event and after the event, lots of pictures of—of—of, you know, the celebrities interacting with the—with the locals, which was nice to see.</p>
<p>Yeah. But for the most part, I think that—I like to think that Facebook is pretty neut—neutral. And then, uh—it’s just a tool that we use, in that, you know, we’re—we’re—we see [<em>door closes</em>] what we choose to see and who we choose to follow on Facebook.</p>
<strong>Schneider<br /></strong>Do you have any thoughts about the long-term impact of Pulse, um, and the shooting, whether the impact, um—what—let me—let me s—ask that question again. What would you think the long-term consequences of the shooting might be for the Orlando gay community and for the larger City of Orlando?
<p><strong>Kresky<br /></strong>Um, gun control reform I think would be a big one. I—y—you know, the perpetrator wasn’t from Orlando. He came from outside of Orlando. So I think that just educating people I think would help. Um, but, you know—but then, you know, we wonder like, <em>Okay. Are—do we need to go outside of Orlando to educate people there? </em>Um, you know, when somebody shoots somebody like what’s—in any fashion, it’s like, <em>What the heck’s going through their mind?</em> Like <em>H—where did this come from? Where did this hate come from? Where’d this ignorance come—came—come from?</em> And y—you like—we can’t always dictate how people think. I don’t think we should dictate what people think. But I think that we can—we—we can put laws in place that prevent massive harm through—through assault rifles. Through guns. Through gun violence. Whatever. Um, I think they go hand in hand. I think we need more [<em>sighs</em>], um—I think we need gun control that makes sense. I think we need to—to reform some of the stuff that we have out there. Um, but at the same time, I think we need to continue to educate. Um, part of our mission statement for the—for the Orlando Gay Chorus is about changing people’s hearts and people’s minds. And I think that we need to continue doing that so that this doesn’t happen in the future.</p>
<strong>Schneider<br /></strong>Um, do you have any other reflections about the Pulse shooting or about your i—involvement in the Orlando Gay Chorus or anything else you’d like to talk about?
<p><strong>Kresky<br /></strong>Um, I w—I’m appreciative of you—being given the opportunity to do this. Um, the chorus has been—you know, it’s family. It can be dysfunctional. We don’t always get along. There’s sibling rivalry. Um, but we’re lucky in the sense that we had a family to fall back on. And we had our own support group. I don’t know how many other people, um, have that luxury. Right? Um, that have the ability to—to seek the support of someone as easily as we had it. Um, we’re—we’re able to be there for each other. We’re—we’re definitely very appreciative of that. Um, you know? So i—this would’ve been totally different if it wasn’t for the chorus I think. And if it wasn’t for Nick. Um, yeah.</p>
<p><strong>Schneider<br /></strong>Well, is there anything else you didn’t talk about that you’d like to share?</p>
<p><strong>Kresky<br /></strong>Um, I’m sure I’ll think of something as soon as you turn off the camera. But [<em>laughs</em>] for…</p>
<p><strong>Schneider<br /></strong>[inaudible].</p>
<p><strong>Kresky<br /></strong>…right now, I’m good.</p>
<p><strong>Schenider<br /></strong>Okay. Well, thank you so much for participating and sharing your story with us. We really appreciate it.</p>
<strong>Kresky<br /></strong>Yeah.
<div><br /><div>
<p>[1] Orlando Gay Chorus</p>
</div>
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<p>[2] Master of Ceremonies</p>
</div>
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<p>[3] Gay and Lesbian Association of Choruses</p>
</div>
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<p>[4] 2016 Orlando nightclub shooting</p>
</div>
<div>
<p>[5] September 11 attacks</p>
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<div>
<p>[6] Vice President of Orlando Gay Chorus</p>
</div>
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<p>[7] Public Relations and Marketing for the Orlando Gay Chorus</p>
</div>
<div>
<p>[8] https://www.youtube.com/watch?v=ClS4TKtZMk4</p>
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<p>[9] https://www.youtube.com/watch?v=U1urPSxm7Gc</p>
</div>
</div>
2016 Orlando nightclub shooting
Andrew Springer
Beautiful Together
Candlelight Processional
Carol Studer
Cathedral Church of St. Luke
Cory Connell
Denver
Dr. Phillips Center for the Performing Arts
Emmanuel "Manny" J. Agon Kresky
Epcot
Expedia, Inc.
Expedia.com
Facebook
From Broadway with Love: A Benefit Concert for Orlando
From Sissies to Superstars
fundraisers
GALA Choruses Festival
Gay and Lesbian Association of Choruses
GLBT
gun control
gun regulation
gun violence
hate crimes
homophobia
homosexuality
J.D. Casto
John Hugh “Buddy” Dyer
Lake Eola Park
Latinx community
LGBT
LGBTIQ
LGBTQ
mass shootings
Nicholas Agon Kresky
Oliver Button
Orange County Regional History Center
orlando
Orlando City Soccer Club
Orlando Gay Chorus
outreach events
Parliament House
Pleasure Island (Walt Disney World)
Publix Supermarkets, Inc.
Pulse massacre
Pulse nightclub
Pulse nightclub shooting
Pulse tributes
rainbow flags
Ron Legler
Sarah Schneider
social media
Southern Nights
Sydney Opera House
terrorist attacks
True Colors
University of Central Florida Center for Emerging Media
vigils
We Are Family
White House
You’ll Never Walk Alone
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https://richesmi.cah.ucf.edu/omeka/files/original/363d02de7cb206c705f066f5539cb10b.mp3
fc292b63460ba50b9b542f7c83779b97
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"Do Nothin' Till You Hear From Me" by Terry Myers
Alternative Title
"Do Nothing Til You Hear From Me" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
R&B (Music)
Description
An audio recording of "Do Nothing till You Hear from Me," composed by Duke Ellington (1899-1974), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Do Nothin' Till You Hear From Me" was composed by Ellington in 1940 and lyrics were later added by Bob Russell (1914-1970). It was recorded by Ellington in 1944, reaching number one in the rhythm and blues charts.
Type
Sound
Source
Original 6-minute and 15-second audio recording: Ellington, Duke and Bob Russell. "Do Nothing Til You Hear From Me," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Creator
Ellington, Duke
Russell, Bob
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
5.72
Medium
6-minute and 15-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Duke Ellington and Bob Russell, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Duke Ellington and Bob Russell and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
Bob Russell
CAH
Church Street Station
College of Arts and Humanities
Do Nothin' Till You Hear From Me
Duke Ellington
Edward Kennedy Ellington
Ellington, Duke
Ellington, Edward "Duke" Kennedy
Epcot
Francis Albert Sinatra
Frank Sinatra
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
R&B
radio stations
radios
Reed
reed players
Reuben Bloom
rhythm and blues
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
Sidney Keith Russell
soprano saxophones
soprano saxophonists
tenor saxophones
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/fff8a7b681743b6c27e74b48fe485a68.mp3
c69d8cd269ef99518d9ae1338c9ce9e6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"My One and Only Love" by Terry Myers
Alternative Title
"My One and Only Love" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Pop music
Description
An audio recording of "My One and Only Love," composed by Guy Wood (1911-2001) with lyrics by Robert Mellin (1902-1994), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "My One and Only Love" is a pop standard composed and published by Wood and Mellin in 1952 and recorded by Frank Sinatra (1915-1998) in 1953. It has since been recorded by numerous artists.
Type
Sound
Source
Original 5-minute and 58-second audio recording: Wood, Guy and Robert Mellin. "My One and Only Love," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Creator
Wood, Guy
Mellin, Robert
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
5.47 MB
Medium
5-minute and 58-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Guy Wood and Robert Mellin, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Guy Wood and Robert Mellin and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
CAH
Church Street Station
College of Arts and Humanities
Epcot
Francis Albert Sinatra
Frank Sinatra
Guy B. Wood
Guy Wood
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
musicians
My One and Only Love
National Public Radio
NPR
orlando
PBS
pop music
pop standard
Public Broadcasting Service
radio stations
radios
Reed
reed players
Reuben Bloom
Robert Mellin
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
soprano saxophones
soprano saxophonists
tenor saxophones
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/15787dfd68243bc27ed8df5c5359f9ef.mp3
53d55d09c661bc1032338dd0f7d3400f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"Strike Up the Band" by Terry Myers
Alternative Title
"Strike Up the Band" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Pop music
Description
An audio recording of "Strike Up the Band," composed by George Gershwin (1898-1937) and Ira Gershwin (1896-1983), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. Brothers George and Ira Gershwin composed "Strike Up the Band" in 1927 for a musical of the same name. Although the musical was unsuccessful, the song became popular.
Type
Sound
Source
Original 5-minute and 44-second audio recording: Gershwin, George and Ira Gershwin. "Strike Up the Band," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Creator
Gershwin, George
Gershwin, Ira
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
5.25 MB
Medium
5-minute and 44-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by George Gershwin and Ira Gershwin, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by George Gershwin and Ira Gershwin and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
CAH
Church Street Station
College of Arts and Humanities
Epcot
Francis Albert Sinatra
Frank Sinatra
George Gershwin
Ira Gershwin
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
musicals
musicians
National Public Radio
NPR
orlando
PBS
pop music
pop standard
Public Broadcasting Service
radio stations
radios
Reed
reed players
Reuben Bloom
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
soprano saxophones
soprano saxophonists
Strike Up the Band
tenor saxophones
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/52a1d60538b3174fdc0e56c8af9e73b4.mp3
f49986224ee0bb82986c5dcac394beb3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"It's a Wonderful World" by Terry Myers
Alternative Title
"It's a Wonderful World" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "It's a Wonderful World," composed by Jan Savitt (1907-1948), Harold Adamson (1906-1980), and "Johnny Guitar" Watson (1935-1996), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. Although most songwriters were under contract to publishers during the big band era, in rare cases, a bandleader would write his/her own song. Savitt, along with Adamson and Watson, composed "It's a Wonderful World," and recorded it on Savitt's 1938-1941 recording collection, <em>It's Time to Jump and Shout</em>.
Type
Sound
Source
Original 4-minute and 21-second audio recording: Savitt, Jan, Harold Adamson, and Johnny Watson. "It's a Wonderful World," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Creator
Savitt, Jan
Adamson, Harold
Watson, Johnny
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
3.99 MB
Medium
4-minute and 21-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Jan Savitt, Harold Adamson and Johnny Watson, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Jan Savitt, Harold Adamson and John "Johnny Guitar" Watson, Jr. and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
CAH
Church Street Station
College of Arts and Humanities
Epcot
Francis Albert Sinatra
Frank Sinatra
Harold Adamson
It's a Wonderful World
It's Time to Jump and Shout
Jacob Savetnick
Jan Savitt
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
John Watson, Jr.
Johnny Guitar Watson
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
radio stations
radios
Reed
reed players
Reuben Bloom
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
soprano saxophones
soprano saxophonists
tenor saxophones
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/c50e2ea092f19ce47ee01e86a745117f.mp3
c3f8dbdf59d96ba1b58133305e221e38
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"Recado Bossa Nova" by Terry Myers
Alternative Title
"Recado Bossa Nova" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Recado Bossa Nova," composed by Luiz Antonio and Djalma Ferreira, and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Recado Bossa Nova" was written by Brazilian composers/musicians Antonio and Ferreira and first recorded by Hank Mobley (1930-1986) on his 1965 album, <em>Dippin'</em>.
Type
Sound
Source
Original 6-minute and 13-second audio recording: Antonio, Luiz and Djalma Ferreira. "Recado Bossa Nova," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Rio de Janeiro, Greater Rio de Janeiro, Brazil
Creator
Antonio, Luiz
Ferreira, Djalma
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
5.7 MB
Medium
6-minute and 13-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Luiz Antonio and Djalma Ferreira, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Luiz Antonio and Djalma Ferreira and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
bossa nova
Brazilian jazz
Brazilians
CAH
Church Street Station
College of Arts and Humanities
composers
Djalma Ferreira
Epcot
Francis Albert Sinatra
Frank Sinatra
Hank Mobley
Henry Mobley
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
Luiz Antonio
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
radio stations
radios
Recado Bossa Nova
Reed
reed player
reed players
Reuben Bloom
Rio de Janeiro, Brazil
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
soprano saxophones
soprano saxophonists
tenor saxophones
tenor saxophonist
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/ff2c257bf19b64a1f84e3100b5e68733.mp3
b36e7fc0a7de96ba4a7ef81b49453cc5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"Gone With the Wind" by Terry Myers
Alternative Title
"Gone With the Wind" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Pop music
Description
An audio recording of "Gone with the Wind," composed by Allie Wrubel (1905-1973) with lyrics by Herb Magidson (1906-1986), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Gone with the Wind" is a pop standard written by Wrubel and Magidson in 1937. It was a number one song for Horace Heidt (1901-1986) that same year, and recorded by numerous artists over the next several decades.
Type
Sound
Source
Original 5-minute and 26-second audio recording: Wrubel, Allie and Herb Magidson. "Gone With the Wind," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Creator
Wrubel, Allie
Magidson, Herb
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
4.98 MB
Medium
5-minute and 26-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Allie Wrubel and Herb Magidson, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Allie Wrubel and Herb Magidson and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
Allie Wrubel
CAH
Church Street Station
College of Arts and Humanities
Elias Paul Wrubel
Epcot
Francis Albert Sinatra
Frank Sinatra
Gone With the Wind
Herb Magidson
Herbert A. Magidson
Horace Heidt
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
musicians
National Public Radio
NPR
orlando
PBS
pop
pop music
pop standard
Public Broadcasting Service
radio stations
radios
Reed
reed players
Reuben Bloom
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
soprano saxophones
soprano saxophonists
tenor saxophones
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/153f1936f31ed3518f50e03f8552c2eb.mp3
1086aa5382e5073065e479126ed05187
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"Don't Worry 'Bout Me" by Terry Myers
Alternative Title
"Don't Worry 'Bout Me" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "Don't Worry 'Bout Me," composed by Rube Bloom (1902-1976) with lyrics by Ted Koehler (1894-1983), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Don't Worry 'Bout Me" was composed by Bloom and Koehler in 1938 and has been recorded by numerous artists, including Ella Fitzgerald (1917-1996), Billie Holiday (1915-1959), and Frank Sinatra (1915-1998).
Type
Sound
Source
Original 5-minute and 40-second audio recording: Bloom, Rube abd Ted Koehler. "Don't Worry 'Bout Me," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Creator
Bloom, Rube
Koehler, Ted
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
5.2 MB
Medium
5-minute and 40-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Rube Bloom and Ted Koehler, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Reuben "Rube" Bloom and Ted L. Koehler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
Billie Holiday
CAH
Church Street Station
College of Arts and Humanities
Don't Worry 'Bout Me
Eleanora Fagan
Ella Fitzgerald
Ella Jane Fitzgerald
Epcot
Francis Albert Sinatra
Frank Sinatra
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
radio stations
radios
Reed
reed players
Reuben Bloom
Rosie O'Grady's Good Time Jazz Emporium
Rube Bloom
soprano saxophones
soprano saxophonists
Ted Koehler
Ted L. Koehler
tenor saxophones
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM
-
https://richesmi.cah.ucf.edu/omeka/files/original/5aee10848080824c892b973fde31650f.mp3
391c3ca39117ee2fd2e40942c72e5b56
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Jazz Collection
Alternative Title
Jazz Collection
Subject
Music--United States
Jazz--United States
Orlando (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.
Contributor
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida.
Type
Collection
Coverage
Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida
DeLand, Florida
Young Musicians Camp, University of Miami, Miami, Florida
WUCF-TV, University of Central Florida, Orlando, Florida
Curator
Cepero, Laura
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"><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.
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
"I Thought About You" by Terry Myers
Alternative Title
"I Thought About You" by Myers
Subject
Orlando (Fla.)
Music--United States
Jazz--United States
Description
An audio recording of "I Thought About You," composed by Jimmy Van Heusen (1913-1990) with lyrics by Johnny Mercer (1909-1976), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. The jazz standard, "I Thought About You," was written by Van Heusen and Mercer in 1939 and has been performed and recorded by numerous jazz artists, including Miles Davis (1926-1991), Ella Fitzgerald (1917-1996), Billie Holiday (1915-1959), Frank Sinatra (1915-1998), Mal Waldron (1925-2002), and Dinah Washington (1924-1963).
Type
Sound
Source
Original 7-minute and 31-second audio recording: Van Heusen, Jimmy and Johnny Mercer. "I Thought About You," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida
Coverage
WUCF-FM, University of Central Florida, Orlando, Florida
Creator
Van Heusen, Jimmy
Mercer, Johnny
Publisher
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
Contributor
Myers, Terry
Date Created
2006-08-14
Date Issued
2006-08-14
Date Copyrighted
2006-08-14
Format
audio/mp3
Extent
6.89 MB
Medium
7-minute and 31-second audio recording
Mediator
History Teacher
Humanities Teacher
Music Teacher
Provenance
Originally created by Jimmy Van Heusen and Johnny Herndon Mercer, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>.
Rights Holder
Copyright to this resource is held by Jimmy Van Heusen and John "Johnny" Herndon Mercer and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cravero, Geoffrey
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>
External Reference
"<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015).
Billie Holiday
CAH
Church Street Station
College of Arts and Humanities
Dinah Washington
Edward Chester Babcock
Eleanora Fagan
Ella Fitzgerald
Ella Jane Fitzgerald
Epcot
Fagan, Eleanora
Fitzgerald, Ella Jane
Francis Albert Sinatra
Frank Sinatra
Holiday, Billie
I Thought About You
jazz
jazz ensembles
jazz saxophones
jazz saxophonists
Jimmy Van Heusen
John Herndon Mercer
Johnny Mercer
Mal Waldron
Malcolm Earl Waldron
Miles Davis
Miles Dewey Davis III
musicians
National Public Radio
NPR
orlando
PBS
Public Broadcasting Service
radio stations
radios
Reed
reed players
Rosie O'Grady's Good Time Jazz Emporium
Ruth Lee Jones
soprano saxophones
soprano saxophonists
tenor saxophones
tenor saxophonists
Terry Myers
Tommy Dorsey Orchestra
UCF
University of Central Florida
Walt Disney World
woodwind players
woodwinds
WUCF-FM