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https://richesmi.cah.ucf.edu/omeka/files/original/3bee9bb2e9e2f39ea2b9ec6fd93d25b3.jpg
ce2af4d58276e348032e8c08d8bf1102
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
U.S. Census Collection
Alternative Title
Census Collection
Subject
Census--United States
Population--United States
Orange County (Fla.)
Marion County (Fla.)
Brevard County (Fla.)
St. Lucie County (Fla.)
Seminole County (Fla.)
Volusia County (Fla.)
Flagler County (Fla.)
Lake County (Fla.)
Osceola County (Fla.)
Description
Collection of United States Census population records for various counties in Central Florida from 1840 to 2000.
The Census Act of 1840 was signed into law on March 3, 1839 and later amended on February 26, 1840. This piece of legislation established a centralized census office during each enumeration. Congress designated the census questionnaire designs to the Secretary of State. However, each household received inquiries regarding "the pursuits, industry, education, and resources of the country" and included questions related to school attendance, literacy, and vocation.
In March of 1849, Congress pass legislation that established a census board consisting of the Secretary of State, the Attorney General, and the Postmaster General. The board was responsible for preparing and printing forms and schedules for enumeration related to population, mining, agriculture, commerce, manufacturing, education, etc. The 1850 Census also increased population inquiries to include every free person's name (as opposed to just the head of the household), as well as information on taxes, schools, crime, wages, estate values, etc.
The Census Act of 1850 authorized the U.S. Census of 1860 and stipulated that its provisions be adhered to for all future decennial censuses should no new legislation be passed by the first of the year of said census. In May of 1865, the U.S. Census Office was abolished and many superintending clerks were transferred to the General Land Office.
Although the 1870 Census was conducted under the provisions of the Census Act of 1850, a new act was passed on May 6, 1870. The new census legislation required two changes in procedures related to questionnaire return submission dates. Moreover, penalties for refusing to reply to inquires were expanded to apply to all questions and questionnaires. The questionnaires themselves had to be redesigned due to the end of the "slave questionnaire", as slavery had been formally abolished slavery nationwide via the Thirteenth Amendment to the U.S. Constitution. This left five schedules for the census: General Population, Mortality, Agriculture, Products of Industry, and Social Statistics. In addition, the use of a Charles W. Seaton, a U.S. Census Office chief clerk and later superintendent, invited a rudimentary tallying machine that partially alleviated the difficulties of tallying and tabulating questionnaire responses. Finally, the new superintendent for the Ninth Census, General Francis A. Walker, introduced employment examinations to test the qualifications of applicants to the Census Office, allowing for increased efficiency in the process of collecting census data.
The newest act authorizing the Census of 1880 provided for supervision of enumeration by "supervisors of the census", selected exclusively for the collection of census data. All supervisors, as well as the superintendent, were to appointed by the U.S. President and approved by the Senate. Census enumerators were required to personally visit each household and family within his subdivision. The new census act also allowed for the collection of data related to the condition and operation of railroad corporations, incorporated express companies, and telegraph companies, as well as data related to the condition and operation of life, fire, and marine insurance companies. Corporations who refused to provide the census with "true and complete" answers were subject to fines. In addition, the census superintendent was required to collect and publish data on the population, industries and resources of the District of Alaska. Finally, the 1880 Census consisted of five schedules: Population, Mortality, Agriculture, Social Statistics, and Manufacturing.
The Census of 1890 was authorized by an act modeled after the 1880 enumeration and signed into law on March 1, 1889. The 1890 Census was supervised by 175 employees and enumerators were required to collect all information by personally visiting each household. The 1890 Census included essentially the same inquires from the 1880 Census, with some notable additions, such as questions about home and farm ownership and indebtedness; and the names, units, length of service, and residences of former Union soldiers and sailors, as well as the names of the widows of those who were no longer alive. Racial categorization was expanded to include "Japanese", along with "Chinese", "Negro", "mulatto", "quadroon", "octoroon", and "White". Herman Hollerith, a former employee of the U.S. Census Office, invited the electric tabulating system, which was widely used in the 1890 Census, allowing data to be processed faster and more efficiently. On October 3, 1893, Congress passed a law that transferred census-related work to the direction of the commissioner of labor. Congress passed another act on March 2, 1895, effectively abolishing the U.S. Census Office and transferring the remaining responsibilities to the Office of the Secretary of the Interior.
Congress limited the Census of 1900 to content related to population, mortality, agriculture, and manufacturing. Special census agents were authorized to collect statistics related to incidents of deafness, blindness, insanity, and juvenile delinquency; as well as data on religious bodies, utilities, mining, and transportation. The act authorizing the 1900 Census designated the enumeration of military personally to the U.S. Department of War and the U.S. Department of the Navy, while Indiana Territory was to be enumerated by the commissioner of Indian Affairs. Annexed in 1898, Hawaii was included in the census for the first time. In 1902, the U.S. Census Office was officially established as a permanent organization within the U.S. Department of the Interior. The office became the U.S. Census Bureau in 1903 and was transferred to the Department of Commerce and Labor.
The Census of 1910 was approved by legislation introduced in December of 1907 and enacted in July of 1909. The delay was the result of a disagreement over the appointment of enumerators. President Theodore Roosevelt supported the hiring of enumerators via the civil service system, while Congress supported enumerators as positions of patronage. President Roosevelt successfully won the debate. This census act also changed Census Day from the traditional date of June 1st to April 15th. Additional questions regarding the nationality and native language of foreign-born persons and their parents. Funds for the U.S. Census Bureau were also increased to expand the Census' permanent workforce and created several new full-time positions, including a geographer, a chief statistician, and an assistant director. The assistant director was to be appointed by the President and approved by the Senate, while all other census employees were hired on the basis of open, competitive examinations administered by the Civil Service Commission. Despite the use of automatic counting machinery, issues with the tabulation process persisted. Finally, with the United States' entrance into World War I in 1917, the U.S. Census Bureau became a source of even more valuable purpose: the Census was able to use population and economic data to report on the populations of draft-age men, as well as information regarding each state's industrial capabilities.
The Census of 1920 changed the date of Census Day from April 15th to January 1st, as requested by the U.S. Department of Agriculture, which argued that farmers' memories and harvest information would be more accurate on this day. The U.S. Census Bureau was also authorized to hire additional employees at its headquarters in Washington, D.C. and to create a special field force to collect census data. The legislation authorizing the 1920 Census also allowed for a census of manufacturing to be conducted in 1921, and for such a census to be repeated every two years thereafter, as opposed to the traditional five-year census cycle. Furthermore, a census of agriculture and livestock was to be conducted in 1925 and to be repeated every ten years thereafter. In addition, penalties for those who refused to supply information or those who supplied false information were strengthened. As a result of these changes, census of population, manufacturing, and agriculture and livestock became increasingly independent of one another.
The "usual place of abode", the location where residents regularly slept, instead of where they worked or were visiting, became the new basis for enumeration in the 1920 Census. Those with no permanent or regular residence were listed as residents of the location that they were enumerated at. Enumeration related to institutional inmates and dependent, defective, and delinquent classes were also modified. Unlike the previous census, the 1920 Census did not have inquires related to unemployment, to Union or Confederate Army or Navy service, to the number of children born, or to the length of time that a couple had been married. The Census of 1920, however, did include four additional questions: one regarding year of naturalization and three regarding native languages. Issues also arose as a result of changes in international boundaries following World War I, particularly for persons declaring birth or parental birth in Austria-Hungary, Germany, Russia, or Turkey. In response, enumerators were required to ask said persons for their province, state, or region of birth. Enumerators were not required to ask individuals how to spell their names, nor were respondents required to provide proof of various pieces of information. Race was determined by the enumerator's impressions.
The act authorizing the 1930 Census was approved on June 18, 1929, allowing for a census of population, agriculture, irrigation, draining, distribution, unemployment, and mining. For the first time, specific questions for inquiry were left to the discretion of the Director of the Census. The Census encompassed each state, as well as the District of Columbia, Alaska, Hawaii, and Puerto Rico. The Governors of Guam, American Samoa, the Virginia Islands, and the Panama Canal Zone were responsible for conducting censuses in their territory. Between the date that the census act was passed and Census Day (April 1st), the stock market crashed, plunging the entire country into the Great Depression. In response, there were public and academic requests for access to unemployment data collected in the 1930 Census; however, the U.S. Census Bureau was unable to meet this demands and the bureau was accused of present unreliable data. Congress required a special unemployment census for January 1931, which ultimately confirmed the severity of the economic crisis. Another unemployment census was conducted in 1937, as mandated by Congress. Because this special census was voluntary, it allowed the Census Bureau to experiment with statistical sampling. Only two percent of households received a special census questionnaire.
Congress authorized the 1940 Census in August 1939, providing the Director of the Census the additional authority to conduct a national census of housing in each state, the District of Columbia, Hawaii, Puerto Rico, the Virgin Islands, and Alaska. The housing census was conducted separately, though enumerators often collection housing information at the same time that they collected population information. The Census of 1940 was the first time that the U.S. Census Bureau used advanced statistical techniques. In particular, the census used probably sampling, which had only previously been tested in a trial census of unemployment conducted the Civil Works Administration during 1933-1934, in surveys of retail stores in the 1930s, and in an official sample survey of unemployment conducted amongst two percent of American households in 1937. Probability sampling allowed for the inclusion of additional demographic questions without increasing the burden on the collection process or on data processing. Moreover, sampling the U.S. Census Bureau was able to publish preliminary returns eight months before tabulations were completed. Likewise, the census increased its number of published tables, and also was able to complete data processing with higher quality and more efficiency. New census questions focused on employment, unemployment, internal migration, and incomes—reflecting on the concerns of the Great Depression, the country's housing stock, and the need for public housing programs.
The Census of 1950 encompassed every state, Alaska, Hawaii, American Samoa, the Panama Canal Zone, Guam, Puerto Rico, the Virgin Islands, and other small American territories. For the first time, the U.S. Census Bureau enumerate American living abroad to account for members of the U.S. Armed Forces, vessel crew members, and government employees residing in foreign countries. The U.S. Department of Defense, the U.S. Department of State, the U.S. Maritime Administration, and several other federal agencies were responsible for distributing and collecting census questionnaires in a cooperative effort. Persons living abroad for reasons other than what is listed above had their census information reported by families or neighbors residing in the United States, but such data was criticized as unreliable and were not published in official statistics. The 1950 Census also included a new survey on residential financing collected separately on a sample basis from owners of owner-occupied properties, rental properties, and mortgage lenders. The accuracy of the new census was increased by improved enumerator training, the use of detailed street maps for enumerators, the publication of "Missed Person" forms in local newspapers, and the designation of a specific night to conduct a special enumeration of transient individuals. Moreover, a post-enumeration survey was conducted to further verify the accuracy of the original enumeration. A sample of approximately 3,500 small areas was compared to the original census data to identify households that may have been omitted initially. Likewise, a sample of approximately 22,000 households were re-interviewed to identify persons omitted in the original enumeration count. Though not used for the 1950 Census, the UNIVersal Automatic Computer I (UNIVAC I), the first non-military computer, was used to tabulate some of the statistics for the 1954 census of economy. In August of 1954, Congress codified various census statutes, such as the Fifteenth Census Act of 1929, authorizing the decennial census and other census.
The Census of 1960 was the first to be mailed to respondents. The U.S. Postal Service delivered census questionnaires to households, the head of household was required to complete the questionnaire, and an enumerator was to pick it up. The enumeration process was divided into two stages: first, select data for each person and dwelling unit was collected; and second, more detailed economic and social data was collected from a sample of households and dwelling units. The census questionnaires for the second stage were hand-delivered by enumerators as they were collecting data from the first stage. Households receiving the second census questionnaire were to complete the form and mail it to their local census office. Twenty-five percent of the population was giving additional sample questions. Because of the increased use of sampling, less populated areas were prone to sampling variation; however, this did not significantly decrease the usefulness of census statistics gathered. Moreover, increased use of sampling reduced data processing costs. Additional questions included in the 1960 Census were related to places of works and means of transportation to work. By 1960, nearly all census data was processed using computers. The U.S. Census Bureau used a Film Optical Sensing Device for Input to Computer (FOSDIC) for the first time, thus decreasing the amount of time and money required for data input.
In 1966, the U.S. Census Bureau sought suggestions from advisory committees and from the public, resulting in numerous proposals for additional inquiries related to the scope and structure of the census, as well as in public interest for the publication of additional census data. Researchers also concluded that the 1950 Census and the 1960 Census had undercounted certain segments of the population. Moreover, they noted a growing distrust of government activity and increased resistance to responding to the census. Simultaneously, both the public and private sectors expressed need for accurate information. The U.S. Census Bureau decreased its number of questions from 66 to 23 in an effort to simplify its products. A register for densely populated areas was also created to ensure that all housing units were accounted for. A Spanish-language questionnaire was also enclosed with census questionnaires in areas with a significant amount of Spanish-speaking households. Additionally, a question on Hispanic origins or descent was asked independently from race, but only on a five-percent sample. Only five questions were given to all individuals: relationship to household head, sex, race, age, and marital status. Additional questions were asked in smaller sample groups. This was also the first census in which respondents of urban areas were asked to mail their forms to the Census Bureau, rather than to hold questionnaires for enumerators.
Address Coding Guides were used to assign census geographic codes to questionnaires. Counts, a series of computer tape files, were an additional innovation used to increase the accuracy of census data. Count 1 consisted of complete count data for block groups and/or enumeration districts. Count 2 contained census tracts and minor civil/census county divisions, while Count 3 consisted of census blocks. Counts 4-6 provided sample census data for geographic areas of various population sizes. The Census Bureau also produced six Public Use Microdata Sample files, each of which contained complete information for a sample of approximately two million people. Finally, the Census Bureau developed the Summary Tape Processing Center Program, which was a group of organizations, both public and private, that processed census data from computer tapes.
For the 1990 Census, the U.S. Census Bureau utilized extensive user consultation prior to enumeration in order to refine both long and short form census questionnaires. The short form consisted of 13 questions and was given to the entire population. The long form asked 45 questions and was given to a 20 percent sample. The long form included topics related to marital history, carpooling, residence, residential elevators, and energy usage. Unlike the 1980 Census, the new census eliminated questions regarding air conditioning, the number of bathrooms in a residence, and the type of heating equipment used. A vast advertising campaign was marketed to increase public awareness of the census via public television, radio, and print media. Like the previous census, the Census of 1990 made a special effort to enumerate groups that have historically been undercounted in previous censuses called "S-Night": individuals in homeless shelters, soup kitchens, bus and railway stations, and dormitories (enumerated separately in the 1980 Census on "M-Night"); and permanent residents in hotels and motels (enumerated separately in the 1980 Census on "T-Night"). Following legal issues filed in response to the 1980 Census regarding statistical readjustment of undercounted areas, the Census Bureau initiated a post-enumeration survey (PES), in which a contemporaneous survey of households would be conducted and compare to the census results from the official census. In a partial resolution of a 1989 lawsuit filed by New York plaintiffs, the U.S. Department of Commerce agreed to use the PES to produce population data that had been adjusted for the projected undercount and that said data would be judged against the unadjusted data by the Secretary of Commerce's Special Advisory Panel (SAP).
The Census of 1990 also introduced the U.S. to the Topologically Integrated Geographic Encoding and Referencing System (TIGER), which was developed by the U.S. Geological Survey and the Census Bureau. TIGER used computerized representations of various map features to geographically code addresses into appropriate census geographic areas. It also produced different maps required for census data collection and tabulation. Five years earlier, the Census Bureau became the first government agency to publish information on CD-ROM. For the 1990 Census, the bureau made detailed census data, which had previously been only available to organizations with large mainframe computers, accessible to any individual with a personal computer. Census data was also available in print, on computer tape, and on microfiche. Using two online service vendors, DIALOG and CompuServe, the Census Bureau also published select census data online.
As with previous censuses, the 1990 Census undercounted the national population, and again, the African-American population had an estimated net undercount rate that was significantly higher than the rate for other races. In July of 1991, the Secretary of Commerce announced that he did not find evidence in favor of using adjusted counts compelling—despite SAP's split vote on the issue—and chose to use unadjusted totals for the official census results. In response, the New York plaintiffs resumed the lawsuit against the Department of Commerce. A federal district court divided in favor of the DOC in April of 1993. The U.S. Court of Appeals, however, rejected the previous court ruling and ordered that the case be reheard by the federal district court. In March of 1996, the U.S. Supreme Court finally ruled in favor of the Secretary of Commerce's decision to use the unadjusted census date, but did not rule on the legality or constitutionality of the use of statistical adjustment in producing apportionment counts.
For the 1990 Census, the U.S. Census Bureau utilized extensive user consultation prior to enumeration in order to refine both long and short form census questionnaires. The short form consisted of 13 questions and was given to the entire population. The long form asked 45 questions and was given to a 20 percent sample. The long form included topics related to marital history, carpooling, residence, residential elevators, and energy usage. Unlike the 1980 Census, the new census eliminated questions regarding air conditioning, the number of bathrooms in a residence, and the type of heating equipment used. A vast advertising campaign was marketed to increase public awareness of the census via public television, radio, and print media. Like the previous census, the Census of 1990 made a special effort to enumerate groups that have historically been undercounted in previous censuses called "S-Night": individuals in homeless shelters, soup kitchens, bus and railway stations, and dormitories (enumerated separately in the 1980 Census on "M-Night"); and permanent residents in hotels and motels (enumerated separately in the 1980 Census on "T-Night"). Following legal issues filed in response to the 1980 Census regarding statistical readjustment of undercounted areas, the Census Bureau initiated a post-enumeration survey (PES), in which a contemporaneous survey of households would be conducted and compare to the census results from the official census. In a partial resolution of a 1989 lawsuit filed by New York plaintiffs, the U.S. Department of Commerce agreed to use the PES to produce population data that had been adjusted for the projected undercount and that said data would be judged against the unadjusted data by the Secretary of Commerce's Special Advisory Panel (SAP).
The Census of 1990 also introduced the U.S. to the Topologically Integrated Geographic Encoding and Referencing System (TIGER), which was developed by the U.S. Geological Survey and the Census Bureau. TIGER used computerized representations of various map features to geographically code addresses into appropriate census geographic areas. It also produced different maps required for census data collection and tabulation. Five years earlier, the Census Bureau became the first government agency to publish information on CD-ROM. For the 1990 Census, the bureau made detailed census data, which had previously been only available to organizations with large mainframe computers, accessible to any individual with a personal computer. Census data was also available in print, on computer tape, and on microfiche. Using two online service vendors, DIALOG and CompuServe, the Census Bureau also published select census data online.
As with previous censuses, the 1990 Census undercounted the national population, and again, the African-American population had an estimated net undercount rate that was significantly higher than the rate for other races. In July of 1991, the Secretary of Commerce announced that he did not find evidence in favor of using adjusted counts compelling—despite SAP's split vote on the issue—and chose to use unadjusted totals for the official census results. In response, the New York plaintiffs resumed the lawsuit against the Department of Commerce. A federal district court divided in favor of the DOC in April of 1993. The U.S. Court of Appeals, however, rejected the previous court ruling and ordered that the case be reheard by the federal district court. In March of 1996, the U.S. Supreme Court finally ruled in favor of the Secretary of Commerce's decision to use the unadjusted census date, but did not rule on the legality or constitutionality of the use of statistical adjustment in producing apportionment counts.
For the Census of 2000, the short form consisted of only seven questions, while the long form consisted of 52 questions and used for a 17 percent sample of the population. For the first time, race questions were not limited to a single category; rather, respondents were able to check multiple boxes. A new question related to grandparents as caregivers was also mandated by legislation passed in 1996. Disability questions were expanded to including hearing and vision impairments, as well as learning, memory, and concentration disabilities. The 2000 Census also eliminated questions related to children born, water sources, sewage disposal, and condominium status. In addition, the 2000 Census was the first in which the Internet was used as the principal medium for the dissemination of census information. Summary Files were available for download immediately upon release and individual tables could be viewed via American FactFinder, the Census Bureau's online database. Files were also available for purchase on CD-Rom and DVD.
Due to declining questionnaire mail-back rates, the U.S. Census Bureau marketed a $167 million national and local print, television, and public advertising campaign in 17 different languages. The campaign successfully brought the mail-back rate up to 67 percent. Additionally, respondents receiving the short form were given the option of responding via the Internet. Telephone questionnaire assistance centers available in 6 languages also took responses via the phone. Statistical sampling techniques were utilized in two ways: first, to alter the traditional 100 percent personal visit of non-responding households during the non-response follow-up (NRFU) process by instead following up on a smaller sample basis; second, the sampling of 750,000 housing units matched to housing unit questionnaires obtained from mail and telephone responses, as well as from personal visits. The goal of the latter was to develop adjustment factors for individuals estimated to have been missed or duplicated and to correct the census counts to produce one set of numbers. This "one-number census" would correct for net coverage errors called Integrated Coverage Measurement (ICM). Both of these measures were taken in an attempt to avoid repetition of the litigation costs generated by the 1980 Census and the 1990 Census. Despite these efforts, two lawsuits—one filed by the U.S. House of Representatives—were filed in February 1998 challenging the constitutionality and legality of the planned uses of sampling to produce apportionment counts. Both cases were decided in favor of the plaintiffs in federal district courts, but the U.S. Department of Commerce made appeals to the U.S. Supreme Court. Known as the U.S. Department of Commerce v. the U.S. House of Representatives, the Court ruled that the Census Bureau's plans to use statistical sampling for purposes of congressional apportionments violated the Census Act. The bureau revised its plan, stating that it would produce statistically adjusted data for non-apportionment uses of census data information, such as redistricting. However, in March of 2001, the Census Bureau recommended against the use of adjusted census data for redistricting due to accuracy concerns; the Secretary of Commerce determined that the unadjusted data would be released as the bureau's official redistricting data. The Director of the Census Bureau also rejected to the use of adjusted data for non-redistricting purposes in October of that same year.
Language
eng
Type
Collection
Coverage
Mosquito County, Florida
Brevard County, Florida
Flagler County, Florida
Lake County, Florida
Marion County, Florida
Orange County, Florida
Osceola County, Florida
Seminole County, Florida
Volusia County, Florida
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Contributor
Gibson, Ella
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<span>This resource is not subject to copyright in the United States and there are no copyright restrictions on reproduction, derivative works, distribution, performance, or display of the work. Anyone may, without restriction under U.S. copyright laws:</span>
<ul class="one_column_bullet"><li>reproduce the work in print or digital form</li>
<li>create derivative works</li>
<li>perform the work publicly</li>
<li>display the work</li>
<li>distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.</li>
</ul><span>This resources is provided here by </span><a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only. For more information on copyright, please refer to </span><a href="http://www.copyright.gov/title17/92chap1.html#105" target="_blank">Section 5</a><span> of </span><a href="http://www.copyright.gov/title17/92chap1.html" target="_blank">Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code</a><span>.</span>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
<span>United States. <a href="https://www.census.gov/history/pdf/wright-hunt.pdf" target="_blank"><em>Historical Statistics of the United States: Colonial Times to 1970</em></a></span><span>. Washington: U.S. Dept. of Commerce, Bureau of the Census, 1975. https://www.census.gov/history/pdf/histstats-colonial-1970.pdf.</span>
<span>United States, and Carroll D. Wright. <a href="http://www.worldcat.org/oclc/166662" target="_blank"><em>The History and Growth of the United States Census</em></a></span><span>. Washington: U.S. Government Printing Office, 1900. https://www.census.gov/history/pdf/wright-hunt.pdf.</span>
"<a href="https://www.census.gov/history/www/through_the_decades/" target="_blank">Through the Decades</a>." United States Census Bureau, United States Department of Commerce. https://www.census.gov/history/www/through_the_decades/.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Original Format
1 table
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
U.S. Census for Central Florida, 1940
Alternative Title
Census, 1940
Subject
Census--United States
Orange County (Fla.)
Marion County (Fla.)
Brevard County (Fla.)
St. Lucie County (Fla.)
Seminole County (Fla.)
Volusia County (Fla.)
Flagler County (Fla.)
Lake County (Fla.)
Osceola County (Fla.)
Population--United States
Description
The Sixteenth United States Census records for Brevard County, Flagler County, Lake County, Marion County, Orange County, Osceola County, Seminole County, and Volusia County, Florida for 1940. The census divides the population by gender, race ("white" and "black"), and native-born vs. foreign-born. Those who were foreign born were further divided by country of origin. The census then lists the population categorized by age, primary and secondary school attendance, and college attendance. The census also collected information on agriculture, on manufacturing, on commerce, on unemployment, and on labor.<br /><br />Congress authorized the 1940 Census in August 1939, providing the Director of the Census the additional authority to conduct a national census of housing in each state, the District of Columbia, Hawaii, Puerto Rico, the Virgin Islands, and Alaska. The housing census was conducted separately, though enumerators often collection housing information at the same time that they collected population information. The Census of 1940 was the first time that the U.S. Census Bureau used advanced statistical techniques. In particular, the census used probablity sampling, which had only previously been tested in a trial census of unemployment conducted the Civil Works Administration during 1933-1934, in surveys of retail stores in the 1930s, and in an official sample survey of unemployment conducted amongst two percent of American households in 1937. Probability sampling allowed for the inclusion of additional demographic questions without increasing the burden on the collection process or on data processing. Moreover, sampling the U.S. Census Bureau was able to publish preliminary returns eight months before tabulations were completed. Likewise, the census increased its number of published tables, and was also able to complete data processing with higher quality and more efficiency. New census questions focused on employment, unemployment, internal migration, and incomes—reflecting on the concerns of the Great Depression, the country's housing stock, and the need for public housing programs.
Type
Dataset
Source
Original census data collected by the <a href="http://www.census.gov/" target="_blank">U.S. Census Bureau</a>, 1940.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/104" target="_blank">U.S. Census Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original census data collected by the <a href="http://www.census.gov/" target="_blank">U.S. Census Bureau</a>, 1940.
Coverage
Brevard County, Florida
Flagler County, Florida
Lake County, Florida
Marion County, Florida
Orange County, Florida
Osceola County, Florida
Seminole County, Florida
Volusia County, Florida
Creator
<a href="http://www.census.gov/" target="_blank">U.S. Census Bureau</a>
Publisher
<a href="http://www.commerce.gov/" target="_blank">U.S. Department of Commerce</a>
Contributor
Gibson, Ella
Date Created
ca. 1940-04-01
Format
image/jpg
Extent
2.05 MB
Medium
1 table
Language
eng
Mediator
History Teacher
Economics Teacher
Civics/Government Teacher
Geography Teacher
Provenance
Originally collected by the <a href="http://www.census.gov/" target="_blank">U.S. Census Bureau</a> and published by the <a href="http://www.commerce.gov/" target="_blank">U.S. Department of Commerce</a>.
Rights Holder
This resource is not subject to copyright in the United States and there are no copyright restrictions on reproduction, derivative works, distribution, performance, or display of the work. Anyone may, without restriction under U.S. copyright laws:
<ul class="one_column_bullet"><li>reproduce the work in print or digital form;</li>
<li>create derivative works;</li>
<li>perform the work publicly;</li>
<li>display the work;</li>
<li>distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.</li>
</ul>
This resources is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. For more information on copyright, please refer to <a href="http://www.copyright.gov/title17/92chap1.html#105" target="_blank">Section 5</a> of <a href="http://www.copyright.gov/title17/92chap1.html" target="_blank">Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code</a>.
Accrual Method
Item Creation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="https://www.census.gov/history/www/through_the_decades/overview/1940.html" target="_blank">1940 Overview</a>." U.S. Census Bureau. https://www.census.gov/history/www/through_the_decades/overview/1940.html.
United States. <a href="https://www.census.gov/history/pdf/wright-hunt.pdf" target="_blank"><em>Historical Statistics of the United States: Colonial Times to 1970</em></a>. Washington: U.S. Dept. of Commerce, Bureau of the Census, 1975. https://www.census.gov/history/pdf/histstats-colonial-1970.pdf.
United States, and Carroll D. Wright. <a href="http://www.worldcat.org/oclc/166662" target="_blank"><em>The History and Growth of the United States Census</em></a>. Washington: U.S. Government Printing Office, 1940. https://www.census.gov/history/pdf/wright-hunt.pdf.
"<a href="http://www.census.gov/1940census/" target="_blank">Taking You Back to the 1940s</a>." U.S. Census Bureau. http://www.census.gov/1940census/.
Transcript
U.S. Census of 1940
Population
Brevard County Flagler County Lake County Marion County Orange County Osceola County Seminole County Volusia County
Population Total 16,142 3,008 27,255 31,243 70,074 10,119 22,304 53,710
Males 8,175 1,631 13,553 15,574 33,901 5,118 11,234 25,899
Females 7,967 1,377 13,702 15,669 36,173 5,001 11,070 27,811
Black Population Total 5,256 1,334 7,602 13,671 16,940 2,061 10,751 14,787
Other Race Population Total 15 5 0 0 2 12 3 18
Native-Born Population Total 10,421 1,561 19,039 17,220 50,977 7,777 11,182 36,813
Males 7,912 1,569 13,224 15,374 32,841 4,967 11,024 24,890
Females 7,753 1,329 13,411 15,511 35,059 4,878 10,898 26,692
Foreign-Born Population Total 450 108 614 352 2,155 269 368 2,092
Males 263 62 329 200 1,060 151 210 1,009
Females 214 48 291 158 1,114 123 172 1,119
Foreign-Born Population by Country of Origin Latvia 1 0 0 0 2 0 0 0
Finland 4 0 28 1 2 1 3 18
Rumania 0 0 1 3 15 0 10 7
Bulgaria 0 0 3 0 2 0 8 2
Greece 5 0 4 4 29 1 9 34
Italy 28 1 25 11 80 8 10 51
Lithuania 2 4 3 0 3 1 0 5
U.S.S.R. (Russia) 4 3 13 6 86 0 10 58
Yugoslavia 4 0 2 0 7 1 0 25
Hungary 3 6 14 2 33 4 8 36
Austria 16 4 12 6 59 14 4 40
Czechoslovakia 29 3 3 1 47 0 29 6
Belgium 1 0 4 0 10 0 1 8
Netherlands 15 1 7 8 22 3 2 32
Denmark 22 0 10 4 27 4 3 33
Sweden 13 5 73 13 107 12 31 107
Norway 11 1 11 4 38 2 2 23
Irish Free State 19 1 11 9 44 18 8 43
Northern Ireland 1 0 6 4 18 2 4 23
Wales 7 0 4 0 16 4 0 13
Scotland 8 5 25 20 69 11 20 81
England 71 18 102 73 372 48 57 489
Poland 5 34 22 17 40 1 2 43
Germany 91 8 73 60 266 54 44 267
France 12 6 6 11 46 3 9 33
Switzerland 3 0 10 3 27 4 9 24
Spain 1 0 1 0 6 1 2 5
Portugal 0 0 0 0 1 0 0 9
Azores 0 0 0 1 0 0 0 5
Australia 0 1 5 1 7 0 0 7
Central and South America 1 0 6 1 12 0 4 12
Cuba and Other West Indies 5 0 6 3 44 2 4 27
Mexico 1 0 1 0 5 1 1 1
Canada, Other 61 5 102 57 481 59 56 441
French Canada 2 1 9 4 34 6 2 33
Asian Countries 0 0 6 0 21 1 2 9
Turkey (Asia) 1 0 0 1 28 1 4 3
Palestine and Syria 0 1 0 22 22 1 5 27
Other European Countries 0 0 1 0 3 0 0 2
Luxemburg 2 0 0 1 2 1 5 0
Education
Brevard County Flagler County Lake County Marion County Orange County Osceola County Seminole County Volusia County
Population Attending School by Age 5-6 188 29 279 323 650 76 239 493
7-13 1,830 329 3,008 4,001 7,671 1,011 2,592 5,559
14-15 505 81 836 1,131 2,071 298 677 1,705
16-17 373 44 592 848 1,597 207 482 1,259
18-20 199 21 354 422 906 86 276 845
21-24 37 10 81 91 227 29 68 184
Years of School Completed for Males 0 181 112 431 669 688 176 429 639
1-4 847 286 1,367 1,715 3,008 456 1,501 2,054
5-6 650 130 1,103 1,286 2,356 499 1,019 1,946
7-8 1,313 208 2,065 1,932 4,810 1,062 1,377 4,283
Years of High School Completed for Males 1-3 619 101 941 1,133 2,861 389 727 2,181
4 639 54 958 834 3,231 359 650 2,260
Years of College Completed for Males 1-3 308 33 500 346 1,505 139 322 1,091
4+ 255 19 489 307 1,602 127 224 1,165
Males with School Completion Not Reported Total 55 11 64 188 257 13 34 81
Years of School Completed for Females 0 133 50 224 467 493 90 265 447
1-4 575 178 940 1,309 2,141 294 1,138 1,596
5-6 577 116 983 1,249 2,414 384 1,024 1,828
7-8 1,199 157 1,912 1,981 4,999 1,026 1,248 4,536
Years of High School Completed for Females 1-3 689 100 1,197 1,357 3,529 523 852 3,005
4 887 77 1,339 1,102 4,939 546 891 3,678
Years of College Completed for Females 1-3 389 31 670 477 1,849 163 420 1,547
4+ 200 14 437 295 1,334 98 237 1,016
Females with School Completion Not Reported Total 26 5 44 46 191 1 12 74
Agriculture
Brevard County Flagler County Lake County Marion County Orange County Osceola County Seminole County Volusia County
Number of Farms by Race White 715 104 1,966 1,324 2,337 432 706 1,454
Non-White 49 3 51 822 62 10 54 64
Acreage of Farms by Race White 169,671 30,726 111,511 188,138 207,353 488,471 64,934 261,864
Non-White 1,268 60 2,013 31,912 2,482 117 810 1,422
Farms by Ownership and Management Full Owners 649 88 1,767 1,399 1,399 355 583 1,292
Part Owners 25 12 50 334 334 25 68 80
Manager-Operated 60 2 117 69 69 15 39 34
Farms by Tenure Total 30 5 83 344 107 47 70 112
Share Tenants and Croppers 0 0 11 62 12 3 9 12
Share-Cash Tenants 0 0 0 8 1 0 1 2
Cash Tenant-Operated 9 4 34 171 53 30 45 63
Other Tenant-Operated 21 1 38 103 41 14 15 37
Farm Acreage by Ownership and Management Full Owners 8,750 3,175 32,704 34,004 33,942 3,409 7,140 12,749
Part Owners 292 1,446 2,384 16,380 1,586 198 1,917 1,862
Manager-Operated 28,717 N/A 17,453 34,549 41,939 62,552 4,211 70,395
Acres of Land in Farms of Full Owners Total 28,438 8,868 83,123 123,333 135,783 189,299 41,437 65,959
Acres of Land in Farms of Part Owners Total 112,463 18,743 8,080 36,018 28,108 143,323 18,300 118,971
Owned Land 31,403 1,233 3,468 21,809 4,996 14,542 11,861 9,179
Farm Acreage by Tenure Total 1,321 61 4,868 26,150 4,005 93,414 1,796 7,961
Share Tenants and Croppers 0 N/A 369 4,255 N/A 138 N/A 5,257
Share-Cash Tenants 0 61 0 379 518 0 308 0
Cash Tenants 236 N/A 2,191 15,049 1,377 92,716 661 1,235
Other Tenants 1,085 N/A 2,308 6,467 2,110 560 827 1,469
Farms by Acreage 3-9 162 6 327 216 567 84 211 381
10-19 274 26 819 559 898 138 267 568
20-29 174 13 523 306 585 91 169 375
30-49 126 28 336 431 371 80 100 205
50-69 47 12 141 190 143 23 56 86
70-99 43 8 145 256 138 29 29 74
100-139 30 4 93 125 85 15 31 52
140-179 26 9 36 112 50 11 10 23
175-179 0 2 3 5 2 0 1 2
180-219 9 3 29 68 30 3 9 14
220-259 4 0 2 38 16 3 1 14
260-379 7 3 21 61 22 9 1 20
380-499 4 1 12 26 11 3 5 5
500-699 3 1 9 23 10 3 4 4
700-999 7 1 6 13 10 2 1 3
1,000+ 14 5 10 24 9 36 7 24
Acres of Cropland Harvested on Farms of Managers Total 2,935 N/A 9,271 8,325 11,386 931 2,944 2,844
Acres of Cropland Harvested on Farms of Tenants Total 560 26 1,911 8,442 528 313 555 506
Share Tenants and Croppers 0 N/A 125 2,023 N/A 81 N/A 71
Share-Cash Tenants 0 26 0 112 150 0 162 0
Cash Tenants 31 N/A 450 4,160 143 106 307 305
Other Tenants 529 N/A 1,336 2,147 235 126 86 130
Value of Farms Under 10 Acres Total $170 $6 $340 $220 $606 $87 $239 $423
Value of Farm Buildings on Tenant Farms Total $57,580 $800 $49,350 $176,635 $77,100 $39,475 $61,275 $124,190
Share Tenants and Croppers $0 $0 $4,950 $27,655 $17,700 $6,100 $21,300 $17,100
Share-Cash Tenants $0 $0 $0 $3,710 $0 $0 N/A $0
Cash Tenants $13,450 N/A $29,850 $98,250 $35,250 $23,450 $33,425 $70,750
Other Tenants $44,130 N/A $14,550 $47,020 $24,150 $9,925 $5,550 $36,340
Value of Farm Land Buildings By Ownership and Management Full Owners $6,524,000 $468,000 $14,608,732 $4,220,440 $20,378,911 $2,041,470 $4,986,379 $8,333,465
Part Owners $490,700 $153,500 $642,155 $1,160,466 $1,037,610 $345,313 $1,465,319 $1,031,531
Manager-Operated $2,179,500 N/A $3,940,936 $2,136,970 $6,052,604 $320,880 $1,363,018 $1,820,022
Value of Farm Land Buildings on Tenant Farms Total $480,200 $4,150 $234,380 $624,360 $472,190 $449,085 $382,550 $342,185
Share Tenants and Croppers $0 N/A $16,995 $93,490 N/A $28,000 N/A $51,200
Share-Cash Tenants $0 $4,150 $0 $10,465 $139,200 $0 $95,600 $0
Cash Tenants $24,400 N/A $87,745 $341,600 $143,020 $357,335 $226,550 $188,325
Other Tenants $455,800 N/A $129,640 $178,805 $189,970 $63,750 $60,400 $102,660
Value of Farm Land Buildings by Race White $9,373,800 $686,850 $19,282,088 $7,485,731 $7,485,731 $3,139,498 $8,104,051 $11,357,438
Non-White $300,600 $5,000 $144,115 $656,505 $656,505 $17,250 $93,215 $169,765
Value of Farm Implements and Machinery by Ownership and Operation Full Owners $1,250,220 $145,775 $2,398,955 $1,444,823 $3,787,109 $470,435 $1,209,070 $2,139,500
Part Owners $47,600 $25,325 $96,645 $365,566 $157,250 $30,650 $220,675 $199,935
Manager-Operated $218,500 N/A $196,090 $192,015 $444,016 $37,651 $139,524 $148,894
Value of Farm Implements and Machinery on Tenant Farms Total $9,575 $800 $16,610 $89,513 $13,085 $9,873 $27,177 $30,840
Share Tenants and Croppers $0 $0 $1,975 $13,255 $2,440 $1,970 $11,117 $2,535
Share-Cash Tenants $0 $0 $0 $1,165 N/A $0 N/A $0
Cash Tenants $6,250 N/A $14,080 $54,562 $8,550 $6,040 $14,650 $23,975
Other Tenants $3,325 N/A $555 $20,531 $2,070 $1,863 $1,210 $4,330
Value of Farm Implements and Machinery by Ownership and Operation Full Owners $260,622 $80,526 $333,441 $380,938 $510,070 $81,756 $332,728 $345,871
Part Owners $30,540 $42,717 $41,220 $159,302 $59,630 $7,890 $133,112 $58,115
Manager-Operated $62,470 N/A $178,375 $113,821 $145,223 $10,400 $53,052 $59,095
Value of All Crops Harvested Total $1,038,148 $501,412 $2,922,914 $1,410,710 $3,796,758 $307,552 $3,083,712 $1,401,807
Vegetables (for sale and for farm households) $39,560 $78,230 $239,125 $392,898 $219,593 $26,705 $2,325,406 $81,734
Fruits and Nuts $942,134 $2,429 $2,393,123 $486,945 $3,350,438 $271,885 $406,025 $809,119
Horticultural Specialties $52,249 N/A $238,247 $25,111 $197,802 $2,127 $298,859 $470,353
All Other Crops $878 N/A $2,932 $17,901 $807 $877 $95 $1,459
Irish and Sweet Potatoes $2,688 $367,580 $10,344 $24,872 $2,903 $3,244 $20,856 $17,578
Cereals N/A $28,406 $7,927 $165,793 $2,500 $631 $27,304 $8,604
Corn (harvested for grain) N/A $28,406 $7,909 $164,222 $2,448 $610 $27,304 $8,572
Other Grains and Seeds $24 $290 $5,264 $120,720 $362 $570 $71 $2,151
Hay and Forage $99 $23,572 $9,705 $145,127 $22,353 $1,513 $4,853 $10,809
Forest Products Sold Total 755 N/A 5,263 36,190 1,421 3,133 2,322 18,088
Manufacturing and Labor
Brevard County Flagler County Lake County Marion County Orange County Osceola County Seminole County Volusia County
Manufacturing Establishments Total 15 7 30 39 71 12 16 59
Wages Paid in Manufacturing Total $71,590 $4,073 $471,766 $382,112 $842,257 $371,217 $162,698 $467,223
Value of Products of Manufacturing Establishments Total $329 $93 $1,923 $2,447 $5,991 $1,020 $1,488 $2,451
Cost of Materials, Supplies, Fuels, Purchased Electrical Energy Total $120 $64 $872 $1,208 $2,964 $367 $792 $1,021
Wholesale Business Establishments Total 31 5 53 36 146 9 16 69
Active Proprietors of Unincorporated Wholesale Business Establishments Total 22 3 37 27 75 9 23 55
Number of Employees of Wholesale Business Establishments Total 495 4 1,285 356 3,284 90 744 479
Service Business Establishments Total 89 7 107 66 369 37 125 270
Active Proprietors of Unincorporated Service Business Establishments Total 89 5 104 64 366 42 131 274
Retail Stores Total 409 59 442 362 1,192 146 411 1,083
Amount of Retail Sales Total $5,366 $478 $7,010 $7,734 $31,510 $2,144 $5,189 $19,364
Active Proprietors of Unincorporated Retail Businesses Total 381 48 407 306 1,046 143 357 977
Persons in the Labor Force Males 4,908 1,059 7,909 9,021 20,740 2,776 6,842 14,854
Females 1,835 187 2,634 3,111 10,132 851 3,081 6,907
Employed Persons Males 4,385 1,016 6,941 8,090 18,408 2,424 6,293 12,236
Females 1,615 164 2,294 2,603 8,864 690 2,841 6,076
Employed Clerical, Sales, and Kindred Workers Males 352 26 609 648 2,860 180 488 1,562
Females 230 15 384 390 1,879 113 291 1,100
Employed Craftsmen, Foremen, and Kindred Workers Males 429 68 632 675 2,396 301 561 1,685
Females 6 0 5 8 66 4 9 27
Employed Operatives and Kindred Workers Males 543 83 766 992 2,461 307 1,128 1,513
Females 165 1 267 158 999 78 592 330
Employed Domestic Service Workers Males 67 7 121 80 457 8 51 338
Females 623 56 769 903 2,971 176 627 2,134
Employed Service Workers, Except Domestic Males 234 33 310 351 1,343 104 227 1,208
Females 221 12 240 278 1,145 127 183 1,129
Employed Proprietors, Managers and Officials Males 601 92 745 790 2,545 262 665 1,978
Females 128 12 144 148 441 66 85 424
Employed Professional Workers Males 149 18 248 257 835 84 167 669
Females 136 12 311 314 1,025 85 191 693
Employed Semiprofessional Workers Males 38 2 50 36 175 15 30 151
Females 9 0 12 3 57 9 6 34
Employed Farm Laborers, Unpaid Family Workers Males 15 11 40 186 39 21 46 38
Females 2 1 8 55 9 3 16 51
Employed Laborers, Except Farm Males 758 419 995 1,093 2,007 664 689 1,656
Females 4 2 13 35 31 3 49 18
Employed Farmers and Farm Managers Males 345 84 675 1,518 767 228 480 596
Females 43 2 43 68 69 13 37 46
Employed Female Farm Laborers and Foremen (Wage Workers) Total 20 50 73 222 116 3 826 52
Registered Emergency Workers Total 248 56 310 463 653 192 344 693
White Males 90 31 165 234 302 110 101 311
White Females 61 19 69 58 173 40 77 118
Black Males 80 6 54 136 118 30 139 245
Black Females 17 0 22 35 60 12 27 19
Persons Employed in Public Emergency Workers Males 217 21 315 411 723 147 243 1,106
Females 89 17 132 146 367 76 130 252
Employed Persons, Occupation Not Reported Males 35 6 79 46 139 19 31 73
Females 28 1 25 21 56 10 11 38
Totally Unemployed Persons, Registered Total 529 39 629 1,290 1,952 405 809 1,956
White Males 146 24 269 360 780 208 199 586
White Females 75 10 156 186 506 114 90 332
Black Males 107 4 103 352 346 37 336 499
Black Females 201 1 101 392 317 46 184 537
Partially Unemployed Persons, Registered Total 606 43 723 1,090 1,736 322 810 1,724
White Males 179 24 368 356 905 159 196 682
White Females 48 5 64 47 204 70 35 114
Black Males 233 13 208 512 424 54 410 646
Black Females 126 1 82 174 201 39 169 281
Persons Seeking Work Males 306 22 653 520 1,609 205 306 1,512
Females 131 6 208 362 901 85 110 579
New Persons Workers Seeking Work Males 26 2 24 32 68 8 12 97
Females 9 1 11 28 65 7 5 53
African Americans
agriculture
Asian Americans
Australian Americans
Azorean Americans
Belgian Americans
Brevard County
British Americans
Bulgarian Americans
Canadian Americans
Caribbean Americans
Caucasian Americans
census
Census of 1940
Central Americans
cereals
clerical
college
corn
crop
cropland
Cuban Americans
Czech Americans
Czechoslovakian Americans
Danish Americans
domestic service
Dutch Americans
education
electricity
emergency workers
employees
employment
energy
English Americans
European Americans
farm laborers
farm managers
farm workers
farming
farming implements
farms
females
Finnish Americans
Flagler County
forage
forest products
forestry
French Americans
fruits
fuel
German Americans
grain
Greek Americans
hay
Hispanic Americans
horticultural specialties
horticulture
Hungarian Americans
Irish Americans
Irish potatoes
Italian Americans
kindred
labor
laborers
Lake County
Latin Americans
Latinas
Latinos
Latvian Americans
Lithuanian Americans
Luxembourger Americans
machinery
males
managers
manufacturing
Marion County
Mexican Americans
Northern Irish Americans
Norwegian Americans
nuts
officials
operatives
orange county
Osceola County
Palestinian Americans
Polish Americans
population
Portuguese Americans
potatoes
primary education
professionals
proprietors
public emergency workers
retail
Romanian Americans
Russian Americans
sales
Scandinavian Americans
school
Scotch Americans
Scottish Americans
secondary education
seeds
Seminole County
semiprofessionals
service industry
sharecroppers
sharecropping
Slovakian Americans
South Americans
Soviet Americans
Spanish Americans
stores
Swedish Americans
sweet potatoes
Swiss Americans
Syrian Americans
tenant farmers
tenant farming
tenants
Turkish Americans
U.S. Census
unemployment
university
vegetables
Volusia County
wages
Welsh Americans
West Indian Americans
wholesale
workers
Yugoslavian Americans
-
https://richesmi.cah.ucf.edu/omeka/files/original/d08e7e0f80b36b2f595651e2622ca701.jpg
43418f03e8d37788cd621ce8faf53733
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
Seminole County Public Schools Collection
Alternative Title
SCPS Collection
Subject
Seminole County (Fla.)
Schools
High schools--Florida
Elementary schools
Grammar schools
Middle schools--Florida
Education--Florida
Teachers--Florida
Educators--Florida
Description
Collection of digital images, documents, and other records depicting the educational history of Seminole County, Florida. Items from this collection are donated by the Student Museum and UCF Public History Center.
The Student Museum has collaborated with the University of Central Florida and established the UCF Public History Center (PHC). All of the Student Museum's collections are presently housed at the PHC. The goal of the PHC is to promote access to history through ground-breaking research connecting local to global, provide cutting-edge hands-on educational programs for students and visitors, and to engage the community in contributing to and learning from history.
Contributor
<a href="http://www.scps.k12.fl.us/studentmuseum/Home.aspx" target="_blank">Student Museum</a>
<a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">UCF Public History Center</a>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/31" target="_blank">Student Museum and UCF Public History Center Collection</a>, Seminole County Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Cameron City, Sanford, Florida
Crooms Academy, Goldsoboro, Sanford, Florida
Chuluota Primary School, Chuluota, Florida
East Side Primary School, Sanford, Florida
Forest City School, Forest City, Altamonte Springs, Florida
Fort Reed, Sanford, Florida
Gabriella Colored School, Gabriella, Oviedo, Florida
Geneva Colored School, Geneva, Florida
Geneva Elementary, Geneva, Florida
Georgetown, Sanford, Florida
Goldsboro Primary School, Goldsboro, Sanford, Florida
Hungerford School, Florida
Kolokee, Geneva, Florida
Lake Howell High School, Winter Park, Florida
Lake Mary School, Lake Mary, Florida
Lake Monroe Colored School, Lake Monroe, Sanford, Florida
Longwood School, Longwood, Florida
Lyman High School, Longwood, Florida
Lyman Elementary School, Longwood, Florida
Midway, Sanford, Florida
Osceola School, Osceola, Geneva, Florida
Oviedo Colored School, Curryville, Oviedo, Florida
Oviedo High School, Oviedo, Florida
Oviedo School, Oviedo, Florida
Paola, Florida
Sanford Grammar School, Sanford, Florida
Sanford High School, Sanford, Florida
Sanford Junior High School, Sanford, Florida
Sanford Middle School, Sanford, Florida
Sanford Primary School, Sanford, Florida
Seminole County Public Schools, Sanford, Florida
Seminole High School, Sanford, Florida
South Side Primary School, Sanford, Florida
Student Museum, Sanford, Florida
UCF Public History Center, Sanford, Florida
Wagner Colored School, Florida
Westside Grammar Elementary School, Sanford, Florida
West Side Primary School, Sanford, Florida
Wilson School, Altamonte Springs, Florida
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">Public History Center/Student Museum</a>
External Reference
<span>"</span><a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">Public History Center</a><span>." Public History Center, University of Central Florida. http://www.publichistorycenter.cah.ucf.edu/.</span>
<span>"</span><a href="http://www.scps.k12.fl.us/studentmuseum/Home.aspx" target="_blank">Student Museum</a><span>." Seminole County Public Schools. http://www.scps.k12.fl.us/studentmuseum/Home.aspx.</span>
Accrual Method
Donation
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photograph
Physical Dimensions
5.5 x 4 inch
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
University of Central Florida College Representative at Oviedo High School
Description
University of Central Florida (UCF) college representative speaking to Oviedo High School seniors during the 1985-1986 school year. The students photographed are Danielle Draper, Sherrie Coleman, Eric Flynn, Lynne Weiss, Chris Cammack, Erik Vick, Steve White, and Mike Chester. <br /><br />Oviedo High School is a Seminole County Public School located in Oviedo, Florida. Originally called the Oviedo School, the institution was first established in 1922 as a K-12 school. In 1948, the secondary grades separated from the elementary school. The upper grade levels formed Oviedo High School and moved to the campus at 601 King Street. Oviedo High School is notable for <em>The Lion's Tale</em>, the award-winning school newspaper recognized by various national and state scholastic press associations; its high ratings from the Governor's A+ Plan for Education; and its successful athletics programs.
Date Created
ca. 1985-1986
Coverage
Oviedo High School, Oviedo, Florida
Source
Original black and white photograph by <em>Oviedian</em> Staff of 1986.
Source Repository
<a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank" rel="noreferrer noopener">Public History Center/Student Museum</a>
Rights Holder
Copyright to this resource is held by <a href="http://www.oviedo.scps.k12.fl.us/" target="_blank" rel="noreferrer noopener">Oviedo High School</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener">RICHES of Central Florida</a> for educational purposes only.
Transcript
Seniors Danielle Draper, Sherrie Coleman, Eric Flynn, Lynne Weiss, Chris Cammack, Erik Vick, Steve White, and Mike Chester listen intently to the college representative from UCF.
Alternative Title
UCF Representative at Oviedo High
Subject
Oviedo (Fla.)
University of Central Florida
High schools--Florida
Schools
Students--Florida
High school seniors--United States
Universities and colleges--Florida
Colleges
Abstract
Oviedo High School “Oviedian” yearbook photo of senior students in class listening to UCF representative
Publisher
<em>Oviedian</em>
Date Copyrighted
1986
Date Issued
1986
Has Format
5.5 x 4 inch print reproduction of original black and white photograph by <em>Oviedian</em> Staff of 1986: <em>Oviedian</em> 1986, (Oviedo, FL: Oviedo High School, 1986): Seminole County Public Schools Collection, <a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank" rel="noreferrer noopener">UCF Public History Center</a>, Sanford, Florida.
Is Format Of
Digital reproduction of 5.5 x 4 inch print reproduction of original black and white photograph by <em>Oviedian</em> Staff of 1986.
Is Part Of
<em>Oviedian</em> 1986, (Oviedo, FL: Oviedo High School, 1986): Seminole County Public Schools Collection, <a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank" rel="noreferrer noopener">UCF Public History Center</a>, Sanford, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/73" target="_blank" rel="noreferrer noopener">Seminole County Public Schools Collection</a>, Student Museum and UCF Public History Center Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
Is Referenced By
<em>Oviedian</em> 1986.
Format
image/jpg
Extent
474 KB
Medium
5.5 x 4 inch black and white photograph
Language
eng
Type
Still Image
Accrual Method
Donation
Mediator
History Teacher
Provenance
Originally published by the <em>Oviedian.</em>
Contributing Project
<a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank" rel="noreferrer noopener">UCF Public History Center</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener">RICHES MI</a>
External Reference
"<a href="http://www.oviedo.scps.k12.fl.us/" target="_blank" rel="noreferrer noopener">Oviedo High School</a>." Oviedo High School, Seminole County Public Schools. http://www.oviedo.scps.k12.fl.us/.
"<a href="http://www.ohsr.net/about-oviedo-high-school" target="_blank" rel="noreferrer noopener">About Oviedo High School</a>." Oviedo High School Reunions. http://www.ohsr.net/about-oviedo-high-school.
Robison, Jim. <a href="http://www.worldcat.org/oclc/796757419" target="_blank" rel="noreferrer noopener"><em>Around Oviedo</em></a>. 2012.
Creator
<em>Oviedian</em> Staff of 1986
Cammack, Chris
Chester, Mike
Coleman, Sherrie
college
college representative
Draper, Danielle
Flynn, Eric
high school
King Street
OHS
Oviedian
Oviedo
Oviedo High School
school
senior
student
UCF
university
University of Central Florida
Vick, Erik
Weiss, Lynne
White, Steve
-
https://richesmi.cah.ucf.edu/omeka/files/original/ad5fc574c9c9f62241925445bc3519e7.mp3
e319442ed090aa0e295f0fcb930a4092
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
17 minutes and 52 seconds
Bit Rate/Frequency
128kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries, Episode 19: The Home of Dr. Mary McLeod Bethune
Alternative Title
Home of Dr. Mary McLeod Bethune Podcast
Subject
Podcasts
Documentaries
Bethune, Mary McLeod, 1875-1955
Bethune-Cookman College (Daytona Beach, Fla.)
Daytona Beach (Fla.)
Historic houses, etc.
Description
Episode 19 of RICHES Podcast Documentaries: The Home of Dr. Mary McLeod Bethune. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 19 focuses on the home of Dr. Mary McLeod Bethune. In this podcast, director of the Mary McLeod Bethune Foundation, Margaret Symonette, discusses the history of the historic home. Bethune was an African-American teacher and civil rights leader best known for establishing the Daytona Educational and Industrial Training School in October 1904. In 1923, the school merged with the Cookman Institute of Jacksonville and then became affiliated with the Methodist Church the following year. The school served as a co-educational high school until 1931, when it became a junior college. In 1941, the school was accredited as a four-year college and was renamed Bethune-Cookman College.
Abstract
In this podcast we take a walk through the home of Dr. Mary McLeod Bethune. Few have walked down the hallways in which ideas were formed. Margaret Symonet[sic] takes us through a history of the home which housed one of Central Florida’s most well known women.
Type
Sound/Podcast
Source
Original 17-minute and 52-second podcast by Patrick Anderson, December 1, 2011: "RICHES Podcast Documentaries, Episode 19: The Home of Dr. Mary McLeod Bethune." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Home of Dr. Mary McLeod Bethune, Daytona Beach, Florida
Daytona Educational and Industrial Training School, Daytona Beach, Florida
Bethune-Cookman College, Daytona Beach, Florida
Bethune-Cookman University, Daytona Beach, Florida
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Creator
Anderson, Patrick
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Long, Nancy
Symonette, Margaret
Date Created
ca. 2011-12-01
Format
audio/mp3
Extent
16.4 MB
Medium
17-minute and 52-second podcast
Language
eng
Mediator
History Teacher
Economics Teacher
Geography Teacher
Provenance
Originally created by Patrick Anderson and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2471" target="_blank"><span>RICHES Podcast Documentaries, </span>Episode 19: The Home of Dr. Mary McLeod Bethune</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2471.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2493" target="_blank">RICHES Podcast Documentaries, Episode 40: Bethune Cookman University Founding</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2493.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2500" target="_blank">RICHES Podcast Documentaries, Episode 47: Integration and Sports at Bethune Cookman University</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2500.
"<a href="http://www.gcah.org/site/pp.aspx?c=ghKJI0PHIoE&b=3522559" target="_blank">Bethune-Cookman College and Foundation Daytona Beach, Florida: Heritage Landmark of The United Methodist Church</a>." General Commission on Archives & History, United Methodist Church. http://www.gcah.org/site/pp.aspx?c=ghKJI0PHIoE&b=3522559.
Hanson, Joyce Ann. <a href="http://www.worldcat.org/oclc/51060235" target="_blank"><em>Mary McLeod Bethune & Black Women's Political Activism</em></a>. Columbia: University of Missouri Press, 2003.
"<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">History</a>." Bethune-Cookman University. http://www.cookman.edu/about_BCU/history/index.html.
Long, Nancy Ann Zrinyi. <a href="http://www.worldcat.org/oclc/57363897" target="_blank"><em>The Life and Legacy of Mary McLeod Bethune</em></a>. Cocoa, Fla: Florida Historical Society Press, 2004.
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/ad5fc574c9c9f62241925445bc3519e7.mp3" target="_blank">RICHES Podcast Documentaries, Episode 19: The Home of Dr. Mary McLeod Bethune</a>
Date Copyrighted
2011-12-01
Date Issued
2011-12-01
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
African American
African American school
Anderson, Patrick
Bethune-Cookman College
Bethune-Cookman University
Bethune, Mary Jane McLeod
civil rights
civil rights activist
college
Cookman Institute
Daytona Beach
Daytona Educational and Industrial Training School
documentary
Dodson, Roger
educator
Florida A&M University
Florida Agricultural and Mechanical University
Gamble, James
Grant
HBCU
historic house
historic preservation
historic renovation
historically black colleges and universities
house
Hurston, Zora Neale
Jacksonville
Lindsay, Anne
Long, Nancy
Mary McLeod Bethune Foundation
middle class
museum
podcast
preservation
Procter & Gamble Company
Reddrick
renovation
RICHES Podcast Documentaries
school
State of Florida
Symonette, Margaret
teacher
The Life and Legacy of Mary McLeod Bethune
UCF
university
University of Central Florida
Volusia County
White Sewing Machine Company
White, Thomas H.
-
https://richesmi.cah.ucf.edu/omeka/files/original/a4d52daa3cb7c71e4bcc55261e8b35f1.jpg
5e9404d1052a19d1e21a41055a4df033
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Sanford Collection
Description
The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state.
Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon.
The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869.
In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally.
The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development.
Alternative Title
Sanford Collection
Subject
Sanford (Fla.)
Contributor
<a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>
<a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a>
<a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Sanford, Florida
Curator
Marra, Katherine
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank"><em>Sanford</em></a>. Charleston, SC: Arcadia, 2003.
"<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48.
<em>The Seminole Herald</em>. <a href="http://www.worldcat.org/oclc/52633016" target="_blank"><em>Sanford: Our First 125 Years</em></a>. [Sanford, FL]: The Herald, 2002.
<span>Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank"><em>A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</em></a></span><span>, 1975.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank"><em>Celery Soup: Florida’s Folk Life Play</em> Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 color digital image
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
Former Chase & Company Office, 2011
Alternative Title
Chase & Co. Office
Subject
Sanford (Fla.)
Chase and Company (Sanford, Fla.)
Insurance--Florida
Description
The former location of the Chase & Company office, located at 110 West First Street in Sanford, Florida, in 2011. The building served as Chase & Co.'s office since 1887 and its office for fire insurance beginning in 1917. The building is currently occupied by the University of Central Florida's Business Incubator office. Chase & Company was also one of the first vendors to lease a stall at the first Sanford State Farmers' Market when it opened in 1934. <br /><br />Chase & Company was established in 1884 by brothers Sydney Octavius Chase and Joshua Coffin Chase. The company sold insurance and later invested in storage facilities and fertilizer sales. Chase & Company was known mainly for its agricultural interests and maintained a series of citrus groves throughout Central Florida. The company was based out of Sanford and became one of the city's largest employers into the early twentieth century. Randall Chase joined in the family business soon after his brother, Sydney Chase, Jr., did in 1922. Randall became the president of Chase & Company from 1948-1965.
Type
Still Image
Source
Original color digital image by Laura Cepero, July 24, 2011.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Sanford Collection</a>, Seminole County Collection,<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Coverage
Chase & Company Office, Sanford, Florida
UCF Business Incubator, Sanford, Florida
Creator
Cepero, Laura
Date Created
2011-07-24
Format
image/jpg
Extent
213 KB
Medium
1 color digital image
Language
eng
Mediator
History Teacher
Economics Teacher
Geography Teacher
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
<a href="http://digitalcollections.lib.ucf.edu/u?/CFM,120213" target="_blank"><em>Orange County Gazetteer and Business Directory</em></a>: Jacksonville, Florida: John R. Richards and Co., 1887. http://digitalcollections.lib.ucf.edu/u?/CFM,47443.
<a href="http://digitalcollections.lib.ucf.edu/u?/CFM,121613" target="_blank"><em>Sanford, Florida City Directory, 1917-18</em></a>: Richmond, Virginia: R.L. Polk & Co., 1917. http://digitalcollections.lib.ucf.edu/u?/CFM,121613.
Warner, S. C. "<a href="http://www.fshs.org/Proceedings/Password%20Protected/1923%20Vol.%2036/198-200%20%28WARNER%29.pdf" target="_blank">Development of Marketing Citrus Fruits in Florida</a>." <em>Florida State Horticultural Society</em> vol. 36 (1923): 198-200.
Hopkins, James T. <a href="http://www.worldcat.org/oclc/1219230" target="_blank"><em>Fifty Years of Citrus, the Florida Citrus Exchange: 1909-1959</em></a>. Gainesville, Florida: University of Florida Press: 1960.
Provenance
Originally created by Laura Cepero and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Transcript
154
[illegible]
[illegible]
UCF [illegible]
1st Street
business incubator
Cepero, Laura Lynn
Chase and Company
college
education
fire insurance
First Street
insurance
insurance industry
office
Park Avenue
Sanford
UCF
university
University of Central Florida
-
https://richesmi.cah.ucf.edu/omeka/files/original/037d1056b8b166379f8e55bbb16a4d59.jpg
47e21df5a4d1776f11d722da029c7fa3
https://richesmi.cah.ucf.edu/omeka/files/original/77b11923fb5c35ba0ae3dbaf921cbd0e.jpg
1ea572036180ef1f7dec259cd904881a
https://richesmi.cah.ucf.edu/omeka/files/original/9468b0f55f89b4bd98a5a0b885442ace.jpg
d7914ee5571d6ee8e330531a5ef063ef
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
Thomas Cook Collection
Alternative Title
Cook Collection
Subject
Orlando (Fla.)
Orange County (Fla.)
Longwood (Fla.)
Cape Canaveral (Fla.)
Lake Wales (Fla.)
Silver Springs (Fla.)
Weeki Wachee (Fla.)
Winter Haven (Fla.)
Osceola County (Fla.)
Winter Park (Fla.)
Description
Collection of digital images, postcards, documents, and other records from the private collection of Thomas Cook. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
Contributor
Cook, Thomas
Language
eng
Type
Collection
Coverage
Cape Canaveral, Florida
Lake Wales, Florida
Longwood, Florida
Orange County, Florida
Orlando, Florida
Osceola County, Florida
Winter Haven, Florida
Winter Park, Florida
Rights Holder
All items in the <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank">Thomas Cook Collection</a> are provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<p><a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a></p>
Source Repository
Private Collection of Thomas Cook
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/103" target="_blank">Postcard Collection</a>, Thomas Cook Collection, RICHES of Central Florida.
External Reference
<span>Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank"><em>Lost Orlando</em></a></span><span> Charleston, S.C.: Arcadia Pub, 2012.</span>
"<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.
<span>Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank"><em>A Guide to Historic Orlando</em></a></span><span>. Charleston, SC: History Press, 2006.</span>
<span>Osborne, Ray. <a href="http://www.worldcat.org/oclc/253374549" target="_blank"><em>Cape Canaveral</em></a></span><span>. Charleston, SC: Arcadia Pub, 2008.</span>
<span>Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank"><em>The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</em></a></span><span>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002.</span>
<span>Pelland, Maryan, and Dan Pelland. </span><a href="http://www.worldcat.org/oclc/67516850" target="_blank"><em>Weeki Wachee Springs</em></a><span>. Charleston, SC: Arcadia, 2005.</span>
<span>Flekke, Mary M., Sarah E. MacDonald, and Randall M. MacDonald. <a href="http://www.worldcat.org/oclc/85451307" target="_blank"><em>Cypress Gardens</em></a></span><span>. Charleston, SC: Arcadia, 2006.</span>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
3 color digital images
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
Elijah Hand Building
Alternative Title
Elijah Hand Building
Subject
Orlando (Fla.)
Buildings--Florida
Furniture industry and trade--Southern States
Funeral homes--United States
Funeral industry
Description
The Elijah Hand Building, located at 13-25 West Pine Street in Downtown Orlando, Florida, in 2002. The site, formerly occupied by the Magnolia Hotel, was purchased by Elijah Hand in 1905. Hand migrated to Orlando from Shelbyville, Indiana, in 1885 and is the first funeral director in the Orlando area to use embalming.<br /><br />The twentieth century-style, brick building was constructed as a warehouse for Hand's furniture and funeral businesses. In 1928, the site was occupied by the Mather-Wiley Furniture Company, who replaced the W. I. Miller Furniture Store. The building was renovated in 1982, which included the replacement of the original curved metal awning that ran the length of the building.<br /><br />Lado International Schools, an international college that teaches English as a second language, purchased the building from G. A. Giordano and Company in December of 1994 for $900,0000. The Lado International College of Orlando was scheduled to open on February 1, 1995. At the time that the photograph was taken in 2002, the building appeared to be occupied by the Blue Room.
Creator
Cook, Thomas
Source
Original color digital image by Thomas Cook, 2002: Private Collection of Thomas Cook.
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Date Created
2002
Format
image/jpeg
Extent
302 KB
166 KB
127 KB
Medium
3 color digital images
Language
eng
Type
Still Image
Coverage
Elijah Hand Building, Downtown Orlando, Florida
W. I. Miller Furniture Store, Downtown Orlando, Florida
Mather-Wiley Furniture Company, Downtown Orlando, Florida
Lado International College of Orlando, Downtown Orlando, Florida
Blue Room, Downtown Orlando, Florida
Accrual Method
Donation
Mediator
History Teacher
Economics Teacher
Geography Teacher
Provenance
Originally created by Thomas Cook and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
Copyright to this resource is held by Thomas Cook and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a>
External Reference
<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.
Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank"><em> Guide to Historic Orlando</em></a>. Charleston, SC: History Press, 2006.
Transcript
Blue Room
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank">Thomas Cook Collection</a>, RICHES of Central Florida.
Source Repository
Private Collection of Thomas Cook
Blue Room
college
Cook, Thomas
Downtown Orlando
Elijah Hand Building
funeral
funeral home
funeral industry
furniture industry
furtniture
G. A. Giordano and Company
G.A. Giordano and Company
Hand, Elijah
Lado International College of Orlando
Lado International Schools
Magnolia Hotel
Mather-Wiley Furniture Company
orlando
Pine Street
W. I. Miller Furniture Store
warehouse
-
https://richesmi.cah.ucf.edu/omeka/files/original/fe28d0fdbae7dc8db91aa2531b5262d9.jpg
228235024971a657243b4456c109c097
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
Thomas Cook Collection
Alternative Title
Cook Collection
Subject
Orlando (Fla.)
Orange County (Fla.)
Longwood (Fla.)
Cape Canaveral (Fla.)
Lake Wales (Fla.)
Silver Springs (Fla.)
Weeki Wachee (Fla.)
Winter Haven (Fla.)
Osceola County (Fla.)
Winter Park (Fla.)
Description
Collection of digital images, postcards, documents, and other records from the private collection of Thomas Cook. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
Contributor
Cook, Thomas
Language
eng
Type
Collection
Coverage
Cape Canaveral, Florida
Lake Wales, Florida
Longwood, Florida
Orange County, Florida
Orlando, Florida
Osceola County, Florida
Winter Haven, Florida
Winter Park, Florida
Rights Holder
All items in the <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank">Thomas Cook Collection</a> are provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<p><a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a></p>
Source Repository
Private Collection of Thomas Cook
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/103" target="_blank">Postcard Collection</a>, Thomas Cook Collection, RICHES of Central Florida.
External Reference
<span>Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank"><em>Lost Orlando</em></a></span><span> Charleston, S.C.: Arcadia Pub, 2012.</span>
"<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.
<span>Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank"><em>A Guide to Historic Orlando</em></a></span><span>. Charleston, SC: History Press, 2006.</span>
<span>Osborne, Ray. <a href="http://www.worldcat.org/oclc/253374549" target="_blank"><em>Cape Canaveral</em></a></span><span>. Charleston, SC: Arcadia Pub, 2008.</span>
<span>Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank"><em>The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</em></a></span><span>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002.</span>
<span>Pelland, Maryan, and Dan Pelland. </span><a href="http://www.worldcat.org/oclc/67516850" target="_blank"><em>Weeki Wachee Springs</em></a><span>. Charleston, SC: Arcadia, 2005.</span>
<span>Flekke, Mary M., Sarah E. MacDonald, and Randall M. MacDonald. <a href="http://www.worldcat.org/oclc/85451307" target="_blank"><em>Cypress Gardens</em></a></span><span>. Charleston, SC: Arcadia, 2006.</span>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
Born digital image
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
Former State Bank and Trust Company Building, 2002
Alternative Title
State Bank and Trust Company
Subject
Orlando (Fla.)
Buildings--Florida
Banks and banking--Florida
Orange County (Fla.)
Sheriffs--Florida
Florida Agricultural and Mechanical University. College of Law
Universities and colleges--Florida
Description
The former site of the State Bank of Orlando, located at 1 North Orange Avenue in Downtown Orlando, Florida, in 2002. The bank was formed in 1893 with Louis Massey as president. In 1919, the State Bank converted into the State Bank and Trust Company and also acquired the northeast corner of Orange Avenue and Central Boulevard that year. A. G. Bentley constructed a ten-story building on that lot, designed by W.L. Stoddart in the 20th Century Commercial style with Neo-Classical elements. The building was used by the bank until it closed in 1929. In 1933, the Florida Bank at Orlando acquired the property.<br /><br />In 1927, the building was acquired by Orange County and served as governmental offices, including the Sheriff's Office and Supervisor of Elections. In 2002, it housed the temporary home of Florida Agricultural and Mechanical University's College of Law.
Creator
Cook, Thomas
Source
Original color digital image by Thomas Cook, 2002: Private Collection of Thomas Cook.
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Date Created
2002
Format
image/jpg
Extent
119 KB
Medium
1 color digital image
Language
eng
Type
Still Image
Coverage
State Bank and Trust Company, Downtown Orlando, Florida
Florida Bank at Orlando, Downtown Orlando, Florida
Orange County Sheriff's Office, Downtown Orlando, Florida
Orange County Supervisor of Elections, Downtown Orlando, Florida
Florida Agricultural and Mechanical University College of Law, Downtown Orlando, Florida
Accrual Method
Donation
Mediator
History Teacher
Economics Teacher
Geography Teacher
Humanities Teacher
Visual Arts Teacher
Provenance
Originally created by Thomas Cook and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
Copyright to this resource is held by Thomas Cook and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a>
External Reference
Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank"><em>A Guide to Historic Orlando</em></a>. Charleston, SC: History Press, 2006.
Transcript
FLORIDA AGRICULTURAL & MECHANICAL UNIVERSITY
COLLGE OF LAW
ESTABLISHED 1949
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank">Thomas Cook Collection</a>, RICHES of Central Florida.
Source Repository
Private Collection of Thomas Cook
20th Century Commercial architecture
bank
Bentley, A. G.
Central Boulevard
college
Cook, Thomas
Downtown Orlando
FAMU
Florida Agricultural and Mechanical University
Florida Agricultural and Mechanical University College of Law
Florida Bank
Massey, Louis
Neo-Classical architecture
Orange Avenue
orange county
Orange County Sheriff's Office
Orange County Supervisor of Elections
orlando
State Bank
State Bank and Trust Company
State Bank of Orlando
Stoddart, W. L.
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/516d23ab7e129b90ff9b851683d7470c.mp3
b6d04d93f68aa3e7bb03fd00f77601c0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
20 minutes and 48 seconds
Bit Rate/Frequency
128kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries, Episode 22: Hannibal Square
Alternative Title
Hannibal Square Podcast
Subject
Podcasts
Documentaries
Winter Park (Fla.)
Labor--Florida
African Americans--Florida--Winter Park
Description
Episode 22 of RICHES Podcast Documentaries: Hannibal Square. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 22 explores Hannibal Square, or the westside of Winter Park, which was populated primarily by African Americans. Winter Park was established in the 1860s around the railroad tracks, which served commerce and travel in order to establish a vacation town for wealthy white visitors. Hannibal Square was officially founded in the 1801 to provide a source for African-American labor to build and serve the vacation destination. While deeply segregated for years, railroad jobs and domestic service positions led to higher levels of education, business and home ownership, and relative prosperity for black residents. This podcast includes interviews with Dr. Julian C. Chambliss and Fairolyn Livingston.
Abstract
Winter Park was strategically built in the 1860s around the railroad which served commerce and travel in order to establish a vacation town for wealthy white visitors. Hannibal Square, or the “west side,” was officially founded twenty years later, providing a source of African-American labor to build and serve the vacation destination. While deeply segregated for years, railroad jobs and domestic service positions led to higher levels of education, business and home ownership, and relative prosperity for black residents. Dr. Julian C. Chambliss and Fairolyn Livingston explore the ways in which members of the community have fought to preserve the heritage of this important piece of Central Florida history.
Source
Original 20-minute and 48-second podcast by Geoffrey Cravero, January 12, 2012: "RICHES Podcast Documentaries, Episode 22: Hannibal Square." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Hannibal Square, Winter Park, Florida
Winter Park, Florida
Rollins College, Winter Park, Florida
Creator
Cravero, Geoffrey
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Chambliss, Julian C.
Livingston, Fairolyn
Date Created
ca. 2012-01-12
Format
audio/mp3
Extent
19.3 MB
Medium
20-minute and 48-second podcast
Language
eng
Mediator
History Teacher
Economics Teacher
Geography Teacher
Provenance
Originally created by Geoffrey Cravero and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2474" target="_blank">RICHES Podcast Documentaries, Episode 22: Hannibal Square</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2474.
Frazier, Amanda E. <a href="http://www.worldcat.org/oclc/47806651" target="_blank"><em>On the Other Side of the Tracks: Redevelopment in West Winter Park</em></a>. Thesis (A.B. Honoris)--Rollins College, 2001, 2001.
Livingston, Fairolyn. <a href="http://www.worldcat.org/oclc/68757928" target="_blank"><em>A Window on Hannibal Square: A View of Life in Early Westside Winter Park and a Portrait of the Lives and Careers of Walter B. Simpson and Frank R. Israel, the Only Black Men to Every Hold Office in the City of Winter Park, Florida</em></a>. 1997.
"<a href="http://www.hannibalsquareheritagecenter.org/aboutus.html" target="_blank">Welcome</a>." Hannibal Square Heritage Center. http://www.hannibalsquareheritagecenter.org/aboutus.html.
"<a href="http://www.hannibalsquare.com/" target="_blank">Welcome to the Hannibal Square Association</a>." Hannibal Square Association. http://www.hannibalsquare.com/.
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/516d23ab7e129b90ff9b851683d7470c.mp3" target="_blank">RICHES Podcast Documentaries, Episode 22: Hannibal Square</a>
Date Copyrighted
2012-01-12
Date Issued
2012-01-12
African American
African American community
African American neighborhood
Chambliss, Julian C.
Chapman, Oliver
Chase, Loring A.
citrus
citrus grove
citrus industry
City of Winter Park
college
cracker
Cravero, Geoffrey
Democrat
Democratic Party
documentary
Eatonville
Fountain of Youth
gentrification
GOP
Grand Old Party
Hannibal Square
Hannibal Square Heritage Center
Henderson, Gus C.
Hungerford Vocational High School
Hurston, Zora Neale
incorporation
Jacksonville
labor
Lake Monroe
liberal arts college
Livingston, Fairolyn
Maitland
Miami
orange
orange grove
orange industry
Özoğlu, Hakan
podcast
race relations
railroad
Republican
Republican Party
RICHES Podcast Documentaries
Rollins College
Sanford
segregation
Seminole Hotel
snowbird
St. Johns River
Town Council
Town of Winter Park
upper class
voter
voting
Winter Garden
Winter Haven
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/10ad8d64665145ed851fd25a9c2cdf5e.jpg
00b4fbb15fd44b0a442a66de14af6e50
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
Marie Jones Francis Collection
Alternative Title
Francis Collection
Subject
Midwives, African American
Midwives--Florida
Midwifery--United States
Georgetown (Sanford, Fla.)
Sanford (Fla.)
African Americans--Florida--Sanford
Description
Collection of digital images, documents, and other records depicting the life and work of Marie Jones Francis. Francis, the "midwife of Sanford," lived at 621 East Sixth Street in Sanford, Florida. Francis, the "midwife of Sanford," left behind a successful hotel and restaurant she owned in Sarasota in 1942 to return to Sanford and become a midwife. World War II caused a shortage in doctors and nurses, so Florida's Children's Bureau sent Francis to Florida A & M to acquire her practical nursing license in 1945. She specialized in premature babies and returned to Sanford to aid her mother, Carrie Jones, at Fernald-Laughton Memorial Hospital before they opened the ward in their home. "When her health starting failing," she recollects in a newspaper article, "I took over." Francis converted her house at 621 East Sixth Street to also serve as a maternity ward, where she delivered over 40,000 babies over her 32 year career. She became a midwife in the same vein as her mother, Carrie Jones, and together they ran the Jones-Francis Maternity Hall in Georgetown.<br /><br /> Francis served her community in several ways. She delivered babies for both white and black families from Seminole County, primarily patrons who either preferred natural births or could not afford deliveries at a hospital. In the 1950s, it cost $70 to stay nine days where soon-to-be mothers were taken care of. Francis was assisted by her sister, Annie Walker, who did the cooking. The house and ward also served as a school, where Marie Francis taught nurses the art of midwifery. Nurses would come from across the state to learn how to delivery infants naturally. A heavy burden on a single working mother, Marie Francis had three daughters, Cassandra Clayton, Daphne Humphrey, and Barbara Torre. Clayton and Humphrey became school teachers and Torre became a purchaser at Seminole Memorial Hospital.
Contributor
Firpo, Julio R.
Humphrey, Daphne Francis
Language
eng
Type
Collection
Coverage
Georgetown, Sanford, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a>
Curator
Cepero, Laura
Firpo, Julio R.
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Dickinson, Joy Wallace. "<a href="http://www.tmcnet.com/usubmit/2008/02/24/3287685.htm" target="_blank">A Very Rich Trail: Florida’s Black Heritage is Celebrated in an Updated and Expanded State Publication</a>." <em>The Orlando Sentinel</em>, February 24, 2008, page J1. http://www.tmcnet.com/usubmit/2008/02/24/3287685.htm.
Moore, Stacy. "<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2922" target="_blank">Midwife on Job Here 32 Years</a>." <em>The Little Sentinel</em>, April 4, 1979, page 26.
Jeria, Michelle. "<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2933" target="_blank">Sanford's Birth Place: Marie Jones Francis Delivered More than 40,000 Babies in Her Sixth Street Home</a>." <em>The Sanford Herald</em>, Feb 16, 2003, page 1C.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2944" target="_blank">Midwives Supply Needed Service Community</a>." <em>The Sanford Herald</em><span>, July 24, 1964, page 3.</span>
Flewellyn, Valada Parker, and the Sanford Historical Society. <a href="http://www.worldcat.org/oclc/320804616" target="_blank"><em>African Americans of Sanford</em></a>. Charleston, South Carolina: Arcadia Publishing, 2009.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Original Format
1-page typewritten letter on Valencia Community College letterhead
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
Letter from Hazel Skjersaa to Marie Jones Francis (June 13, 1975)
Alternative Title
Letter from Skjersaa to Francis (June 13, 1975)
Subject
African Americans--Florida--Sanford
Sanford (Fla.)
Georgetown (Sanford, Fla.)
Midwives--United States
Maternity homes--United States
Education--Florida
Description
Letter from Hazel Skjersaa, the Maternity Nursing Coordinator at Valencia Community College, to Marie Jones Francis, a midwife in Sanford, Florida. In the letter, Skjersaa thanks Francis for a series of lectures she gave students in her home during April and May of 1975.<br /><br />Francis, the "midwife of Sanford," left behind a successful hotel and restaurant she owned in Sarasota in 1942 to return to Sanford and become a midwife. World War II caused a shortage in doctors and nurses, so Florida's Children's Bureau sent Francis to Florida A & M to acquire her practical nursing license in 1945. She specialized in premature babies and returned to Sanford to aid her mother, Carrie Jones, at Fernald-Laughton Memorial Hospital before they opened the ward in their home. "When her health starting failing," she recollects in a newspaper article, "I took over." Francis converted her house at 621 East Sixth Street to also serve as a maternity ward, where she delivered over 40,000 babies over her 32 year career. She became a midwife in the same vein as her mother, Carrie Jones, and together they ran the Jones-Francis Maternity Hall in Georgetown.<br /><br /> Francis served her community in several ways. She delivered babies for both white and black families from Seminole County, primarily patrons who either preferred natural births or could not afford deliveries at a hospital. In the 1950s, it cost $70 to stay nine days where soon-to-be mothers were taken care of. Francis was assisted by her sister, Annie Walker, who did the cooking. The house and ward also served as a school, where Marie Francis taught nurses the art of midwifery. Nurses would come from across the state to learn how to delivery infants naturally. A heavy burden on a single working mother, Marie Francis had three daughters, Cassandra Clayton, Daphne Humphrey, and Barbara Torre. Clayton and Humphrey became school teachers and Torre became a purchaser at Seminole Memorial Hospital.
Type
Text
Source
Original letter from Hazel Skjersaa to Marie Jones Francis, June 13, 1975: Private Collection of Daphne F. Humphrey.
Is Format Of
Digital reproduction of original letter from Hazel Skjersaa to Marie Jones Francis, June 13, 1975.
Coverage
Valencia Community College, Orlando, Florida
Jones-Francis Maternity Hall, Georgetown, Sanford, Florida
Creator
Firpo, Julio R.
Date Created
1975-06-13
Format
image/jpg
Extent
130 KB
Medium
1-page typewritten letter on Valencia Community College letterhead
Language
eng
Mediator
History Teacher
Economics Teacher
Provenance
Originally created by Hazel Skjersaa and owned by Marie Jones Francis.
Inherited by Daphne F. Humphrey.
Rights Holder
Copyright to the resource is held by Marie Jones Francis 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://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a>
Curator
Firpo, Julio R.
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
Dickinson, Joy Wallace. “<a href="http://www.tmcnet.com/usubmit/2008/02/24/3287685.htm" target="_blank">A Very Rich Trail: Florida’s Black Heritage is Celebrated in an Updated and Expanded State Publication</a>." <em>The Orlando Sentinel</em>, February 24, 2008, J1. http://www.tmcnet.com/usubmit/2008/02/24/3287685.htm.
Moore, Stacy. "<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2922" target="_blank">Midwife on Job Here 32 Years</a>." <em>The Little Sentinel</em>, April 4, 1979, 26.
Jeria, Michelle. "<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2933" target="_blank">Sanford'S Birth Place: Marie Jones Francis Delivered More than 40,000 Babies in Her Sixth Street Home</a>." <em>The Sanford Herald</em>, Feb 16, 2003, 1C.
Flewellyn, Valada Parker, and the Sanford Historical Society. <a href="http://www.worldcat.org/oclc/320804616" target="_blank"><em>African Americans of Sanford</em></a>. Charleston, South Carolina: Arcadia Publishing, 2009.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/3309" target="_blank">Oral History of Daphne F. Humphrey</a>." Interview by Julio R. Firpo. Home of Daphne F. Humphrey. April 8, 2011. Audio record available. RICHES of Central Florida.
Transcript
VALENCIA COMMUNITY COLLEGE
P.O. BOX 3028 ORLANDO, FLORIDA 32802
June 13, 1975
Ms. Marie Francis
621 East 6th Street
Sanford, FL 32771
Dear Ms. Francis:
Thank you for the memorable learning experience you gave our nursing students during visits to your home in April and May. I received the picture from the April visit and I thank you for that, too.
The enclosed picture was made by the professional photographer who accompanied us in May. The rest of the pictures were slides, but I will have some prints made and send them to you.
Next year another instructor will plan this course, but I will still be teaching and certainly want to keep in touch with you. You are, indeed, an inspiration.
Sincerely,
Hazel Skjersaa, RN
Maternity Nursing Coordinator
Home phone: (305) 855-9021
Hs/dk
Contributor
Humphrey, Daphne F.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie Jones Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
Source Repository
Private Collection of Daphne F. Humphrey
6th Street
college
education
educator
Francis, Marie J.
Georgetown
Humphrey, Daphne F.
Maternity Nursing Coordinator
maternity ward
midwife
Sanford
school
Sixth Street
Skjersaa, Hazel
student
teacher
university
Valencia Community College
VCC
-
https://richesmi.cah.ucf.edu/omeka/files/original/628788766e24e93f7383b9a5edee00f0.mp3
8180464787fb2eacf5400459a2c010bd
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
Goldsboro Collection
Alternative Title
Goldsboro Collection
Subject
Sanford (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of Goldsboro, an historic African-American community in Sanford, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
On December 1, 1891, William Clark, an African-American store owner and businessman, organized 19 other black registered voters to incorporate the town of Goldsboro, which was the second African-American city to be incorporated in Florida. Goldsboro's early economy was driven by rail yards, fields, groves, ice houses, and produce houses. A year after its incorporation, Goldsboro opened a school led by Katie Stubbins.
Goldsboro, which is located near Sanford, prevented that city from expanding further west. Instead, the City of Sanford passed a resolution to absorb Goldsboro, despite opposition from the latter town's officials. Nonetheless, the Florida State Legislated revoked Goldsboro's incorporation to allow its absorption into Sanford on April 6, 1911. The identity of Goldsboro began to erode as the City of Sanford renamed several of its historical streets. In 2007, Goldsboro was included in plans for Sanford's revitalization efforts. In 2011, the Goldsboro Historical Museum was opened in the town at the site of its original post office.
Contributor
Firpo, Julio R.
<a title="Sanford Museum" href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>
Language
eng
Type
Collection
Coverage
Goldsboro, Sanford, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.goldsboromuseum.com/The-History-of-Goldsboro.html" target="_blank">The Rich History of Goldsboro</a>." Goldsboro Historical Museum. http://www.goldsboromuseum.com/The-History-of-Goldsboro.html.
Robison, Jim. "<a href="http://articles.orlandosentinel.com/1991-09-01/news/9108310447_1_sanford-goldsboro-hurston" target="_blank">Political Sham - The Rise and Fall of Goldsboro</a>." <em>The Orlando Sentinel</em>, September 1, 1991. http://articles.orlandosentinel.com/1991-09-01/news/9108310447_1_sanford-goldsboro-hurston.
Robison, Jim. "<a href="http://articles.orlandosentinel.com/1991-09-01/news/9108310447_1_sanford-goldsboro-hurston" target="_blank">Political Sham - The Rise and Fall of Goldsboro</a>." <em>The Orlando Sentinel</em>, September 20, 1992. http://articles.orlandosentinel.com/1992-09-20/news/9209180388_1_sanford-railroads-goldsboro.
Imperiale, Nancy. "<a href="http://www.greenwood-cemetery.net/history.htm" target="_blank">Discovering A Lost City Historian Finds Surprising Past Of The Goldsboro Community</a>." <em>The Orlando Sentinel</em>, May 20, 1990. http://articles.orlandosentinel.com/1990-05-20/news/9005190395_1_sanford-goldsboro-elliott.
González, Eloísa Ruano. "<a href="http://articles.orlandosentinel.com/2011-11-12/news/os-goldsboro-history-museum-20111112_1_goldsboro-avenue-novelist-zora-neale-hurston-museum-documents" target="_blank">New Goldsboro history museum preserves town's forgotten lore</a>." <em>The Orlando Sentinel</em>, November 12, 2011. http://articles.orlandosentinel.com/2011-11-12/news/os-goldsboro-history-museum-20111112_1_goldsboro-avenue-novelist-zora-neale-hurston-museum-documents.
Flewellyn, Valada S. <a href="http://www.worldcat.org/oclc/4497409" target="_blank"><em>African Americans of Sanford</em></a>. Charleston, SC: Arcadia Pub, 2009.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
Firpo, Julio R.
Interviewee
Wright, Stephen Caldwell
Location
Sanford, Florida
Original Format
1 audio recording
Duration
2 hours, 2 minutes, and 17 seconds
Bit Rate/Frequency
1411 kbps
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 Dr. Stephen Caldwell Wright
Alternative Title
Oral History, Wright
Subject
Sanford (Fla.)
Georgetown (Sanford, Fla.)
Lakeland (Fla.)
Daytona (Fla.)
St. Petersburg (Fla.)
Boca Raton (Fla.)
Miami (Fla.)
Atlanta (Ga.)
Indiana (Pa.)
African Americans--Florida--Sanford
Segregation--Florida
Integration
Description
Dr. Stephen Caldwell Wright was born and raised in Goldsboro, an historic African-American community in Sanford, Florida. He lived in Sanford for most of his early life, except for one year in Lakeland for ninth grade. He attended Goldsboro Elementary School and Crooms High School, where he graduated in 1964. For his college education, Dr. Wright attended Volusia County Community College (now Daytona State College) in Daytona for one semester, Gibbs College (now merged with St. Petersburg College) in St. Petersburg for the first part of his Bachelor of Arts degree in English, Florida Atlantic University in Boca Raton for the second part of his B.A. in English, Atlanta University for his Master of Arts degree in English, and Indiana University of Pennsylvania in for his Ph.D. in Linguistics and Rhetoric.
Table Of Contents
00:00:00 Introduction<br />00:00:31 RECORDING CUTS OFF<br />00:00:32 Introduction<br />00:01:16 Education<br />00:02:45 Growing up in Goldsboro<br />00:04:40 Wright family<br />00:07:00 The community's role in Wright's upbringing<br />00:07:50 J. R. White<br />00:11:20 Crooms High School and segregation<br />00:15:46 Teachers and teaching black history<br />00:16:29 Comparing Crooms to high school in Lakeland<br />00:18:24 Working while in school<br />00:22:49 Decline of Sanford Avenue's commercial district<br />00:25:27 Comparing Goldsboro to the white part of Downtown Sanford<br />00:26:51 Interaction between Goldsboro and Georgetown<br />00:29:47 Crooms High School<br />00:31:48 Volusia County Community College<br />00:33:35 Integration<br />00:36:55 Comparing communities in Daytona, St. Petersburg, and Boca Raton<br />00:41:23 Florida Atlantic University<br />00:48:14 Interactions with Cubans, Hispanics, and whites in Boca Raton<br />00:55:13 Atlanta University<br />00:59:11 Miami and its poetry scene<br />01:01:11 Comparing Miami and Atlanta<br />01:02:02 Experience in Indiana, Pennsylvania<br />01:13:35 Teaching at Crooms High School<br />01:20:09 Teaching high school and teaching community college<br />01:22:24 How Sanford changed over time<br />01:24:59 Race relations in Sanford<br />01:27:03 How Goldsboro changed over time<br />01:29:11 Naval Air Station Sanford<br />01:31:37 Vietnam War<br />01:36:24 Sanford during the 1980s, the 1990s, and today<br />01:47:57 How students changed over time<br />01:53:10 Sanford's aging population<br />01:57:20 Closing remarks
Abstract
Oral history interview of Stephen Caldwell Wright. Interview conducted by Julio R. Firpo at the home of Dr. Stephen Caldwell Wright in Sanford, Florida.
Type
Sound
Source
Wright, Stephen Caldwell. Interview by Julio R. Firpo. Home of Dr. Stephen Caldwell Wright. March 27, 2011. Audio record available. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
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/79" target="_blank"> Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida.
Coverage
Goldsboro, Sanford, Florida
Georgetown, Sanford, Florida
Crooms High School, Goldsboro, Sanford, Florida
Lakeland, Florida
Volusia County Community College, Daytona Beach, Florida
Gibbs College, St. Petersburg, Florida
Florida Atlantic University, Boca Raton, Florida
Atlanta University, Atlanta, Georgia
Indiana University of Pennsylvania, Indiana, Pennsylvania
Creator
Firpo, Julio R.
Wright, Stephen Caldwell
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Date Created
2011-03-27
Date Modified
2014-03-18
Format
audio/mp3
Extent
1.2 GB
Medium
2-hour, 2-minute, 17-second audio recording
Language
eng
Mediator
History Teacher
Geography Teacher
Provenance
Originally created by Julio R. Firpo and Stephen Caldwell Wright and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a>
Curator
Firpo, Julio R.
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
Flewellyn, Valada S. <a href="http://www.worldcat.org/oclc/4497409" target="_blank"><em>African Americans of Sanford</em></a>. Charleston, SC: Arcadia Pub, 2009.
"<a href="http://croomsaoit.org/#about" target="_blank">About Crooms Academy</a>." Crooms Academy of Information Technology, Seminole County Public Schools. http://croomsaoit.org/#about.
Postal, Leslie. "<a href="http://articles.orlandosentinel.com/2001-11-23/news/0111230278_1_crooms-academy-seminole-sanford" target="_blank">Historic Crooms Academy Embraces A High-tech Future</a>." <em>The Orlando Sentinel</em>, November 23, 2001. http://articles.orlandosentinel.com/2001-11-23/news/0111230278_1_crooms-academy-seminole-sanford.
"<a href="http://www.scps.k12.fl.us/studentmuseum/InsidetheMuseum/Crooms.aspx" target="_blank">The Crooms Academy High School Exhibit</a>." Seminole County Public Schools. http://www.scps.k12.fl.us/studentmuseum/InsidetheMuseum/Crooms.aspx.
Robison, Jim. "<a href="http://articles.orlandosentinel.com/1991-08-04/news/9108030386_1_crooms-academy-sanford-hopper" target="_blank">Professor's Legacy Lives On In Seminole School History</a>." <em>The Orlando Sentinel</em>, August 4, 1991. http://articles.orlandosentinel.com/1991-08-04/news/9108030386_1_crooms-academy-sanford-hopper.
"<a href="http://www.goldsboromuseum.com/The-Education-In-Goldsboro.html" target="_blank">Education In Goldsboro & Sanford</a>." Goldsboro Historical Museum. http://www.goldsboromuseum.com/The-Education-In-Goldsboro.html.
"<a href="http://www.goldsboromuseum.com/The-History-of-Goldsboro.html" target="_blank">The Rich History of Goldsboro</a>." Goldsboro Historical Museum. http://www.goldsboromuseum.com/The-History-of-Goldsboro.html.
Robison, Jim. "<a href="http://articles.orlandosentinel.com/1991-09-01/news/9108310447_1_sanford-goldsboro-hurston" target="_blank">Political Sham - The Rise and Fall of Goldsboro</a>" <em>The Orlando Sentinel</em>, September 1, 1991. http://articles.orlandosentinel.com/1991-09-01/news/9108310447_1_sanford-goldsboro-hurston.
Robison, Jim. "<a href="http://articles.orlandosentinel.com/1992-09-20/news/9209180388_1_sanford-railroads-goldsboro" target="_blank">A Tale Of 2 Cities In Sanford's Past: Goldsboro And Georgetown Get Credit For Creating A Hub</a>." <em>The Orlando Sentinel</em>, September 20, 1992. http://articles.orlandosentinel.com/1992-09-20/news/9209180388_1_sanford-railroads-goldsboro.
Imperiale, Nancy. "<a href="http://www.greenwood-cemetery.net/history.htm" target="_blank">Discovering A Lost City Historian Finds Surprising Past Of The Goldsboro Community</a>." <em>The Orlando Sentinel</em>, May 20, 1990. http://articles.orlandosentinel.com/1990-05-20/news/9005190395_1_sanford-goldsboro-elliott.
"<a href="http://www.goldsboro.scps.k12.fl.us/Home/QuickLinks/OurHistory.aspx" target="_blank">Our History</a>." Goldsboro Elementary School. http://www.goldsboro.scps.k12.fl.us/Home/QuickLinks/OurHistory.aspx.
"<a href="http://www.daytonastate.edu/catalog/facts/history.html" target="_blank">History of Daytona State College</a>." Daytona State College. http://www.daytonastate.edu/catalog/facts/history.html.
"<a href="http://www.spcollege.edu/pages/dynamic.aspx?id=2147484171" target="_blank">History of SPC</a>." St. Petersburg College. http://www.spcollege.edu/page/dynamic.aspx?id=2147484171.
Homan, Lynn M., and Thomas Reilly. <a href="http://www.worldcat.org/oclc/48885718" target="_blank"><em>Lakeland</em></a>. Charleston, SC: Arcadia, 2001.
Atwell, Cheryl, and Vincent Clarida. <a href="http://www.worldcat.org/oclc/41649394" target="_blank"><em>Daytona Beach and the Halifax River Area</em></a>. Charleston, SC: Arcadia, 1998.
Rooks, Sandra W. <a href="http://www.worldcat.org/oclc/53003501" target="_blank"><em>St. Petersburg Florida</em></a>. Charleston, S.C.: Arcadia, 2003.
"<a href="http://www.fau.edu/explore/history.php" target="_blank">History of Florida Atlantic University</a>." Florida Atlantic University. http://www.fau.edu/explore/history.php.
Curl, Donald Walter. <a href="http://www.worldcat.org/oclc/45710790" target="_blank"><em>Florida Atlantic University</em></a>. Charleston, SC: Arcadia, 2000.
Thuma, Cynthia. <em><a href="http://www.worldcat.org/oclc/53621963" target="_blank">Boca Raton</a>. Charleston, SC: Arcadia, 2003.</em>
Bramson, Seth. <a href="http://www.worldcat.org/oclc/85822162" target="_blank"><em>Miami: The Magic City</em></a> Charleston, SC: Arcadia, 2007.
Cohen, Rodney T. <a href="http://www.worldcat.org/oclc/46367480" target="_blank"><em>The Black Colleges of Atlanta</em></a>. Charleston, S.C.: Arcadia Pub, 2000.
"<a href="http://www.aucconsortium.org/history/" target="_blank">The AUC Consortium's Rich History and Legacy</a>." Atlantic University Center Consortium. http://www.aucconsortium.org/history/.
"<a href="http://www.iup.edu/upper.aspx?id=2067" target="_blank">Brief History</a>" Indiana University of Pennsylvania. http://www.iup.edu/upper.aspx?id=2067.
Wood, Karen, and Doug MacGregor. <a href="http://www.worldcat.org/oclc/50678367" target="_blank"><em>Indiana, Pennsylvania</em></a>. Charleston, SC: Arcadia, 2002.
Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank"><em>Sanford</em></a>. Charleston, SC: Arcadia, 2003.
External Reference Title
African American
Atlanta University
Atlanta, Georgia
AU
Boca Raton
CHS
college
color barrier
Crooms High School
Cuban
Daytona
Daytona State College
desegregation
Downtown Sanford
DSC
education
elementary school
enlistment
FAU
Florida Atlantic University
Georgetown
Gibbs College
Goldsboro
Goldsboro Elementary School
high school
higher education
Hispanic
Indiana University of Pennsylvania
Indiana, Pennsylvania
integration
IUP
J. R. White
Lakeland
Miami
NAS
NAS Sanford
Naval Air Station
Naval Air Station Sanford
prejudice
race
racism
Sanford
school
segregation
skin color
St. Petersburg
St. Petersburg College
university
VCCC
Vietnam War
Volusia County Community College
Wright, Stephen Caldwell
-
https://richesmi.cah.ucf.edu/omeka/files/original/96ef7c2cbd663cfba7044fdc015e951d.pdf
3ce052d3842e4f16e2ff28def70d7638
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Vietnam War Collection
Alternative Title
Vietnam Collection
Subject
Vietnam War, 1961-1975
Veterans--Florida
Description
The Vietnam War was a Cold War Era "military conflict." The war was originally waged between Cambodia, Vietnam, and Laos. The United States became involved as a preventive measure to combat communism. The date of the war has been disputed, but a study in 1998 by the Department of Defense definitively put the start of the Vietnam War as November 1, 1955.
The first combat military troops 9th Marine Expeditionary Brigade didn't arrive until 1965. With the arrival of the combat troops came the first traditional battles of combat fighting in the war. During the Vietnam War, not only did American military go into battle with and for South Vietnam, the military also trained members of South Vietnam to fight alongside during the war. Peace talks were attempted, with France moderating, beginning on May 10, 1968. These talks were unsuccessful and lasted over three years.
The longest battle of the Vietnam War began on January 21, 1968 and didn't end until the U.S. reclaimed Route 9 on April 8, 1968, 77 days later. While the military conflict ended in April of 1975, it was a long process towards reunification and redevelopment as a country. The conflict left Vietnam in both political and economical ruins.
Contributor
<a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Vietnam
Contributing Project
<a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>
Curator
Cepero, Laura
Digital Collection
<a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a><span>, UCF Digital Collections, University of Central Florida</span>
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a><span>, UCF Digital Collections, University of Central Florida</span>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a><span>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/.</span>
Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank"><em>America's Longest War: The United States and Vietnam, 1950-1975</em></a>. New York: Wiley, 1979.
"<a title="American Experience" href="http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html" target="_blank">American Experience</a>." Public Broadcasting Company. http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
Hanke, Gabrielle
Interviewee
Blank, William "Bill"
Location
Orlando, Florida
Original Format
Digital (DAT)
Duration
45 minutes and 8 seconds
Bit Rate/Frequency
157kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Oral History of Dr. William "Bill" Blank
Alternative Title
Oral History, Blank
Subject
Veterans--Florida
Army
Persian Gulf War, 1991
Cold War
Global War on Terror, 2001-2009
Yom Kippur War, 1973
Iraq War, 2003-2011
World War II--United States
Description
An oral history of Dr. William Blank, who served in the U.S. Army (USA) from 1971 until 1974. Dr. Blank ultimately reached the rank of Specialist 4 and was stationed in Mannheim, Germany. Now the Director of Career Development at the University of Central Florida (UCF), Dr. Blank discusses his experiences during and after his military service. Some of the topics include the Yom Kippur War and the 1972 Summer Olympics in Munich, benefits of being in the military, personal experiences in Europe, the evolution of the military and public opinion of veterans, working with international students, and opinions of the military today and modern conflicts.
Table Of Contents
0:00:01 Introduction
0:00:32 Entering the Military
0:03:32 Training and assignment
0:04:59 Feelings on the Vietnam War
0:07:17 First experience in Germany
0:08:41 1972 Summer Olympics
0:10:28 The Yom Kippur War
0:12:42 Personal benefits of being in the military
0:14:06 Post-military experiences
0:17:13 Preparation and thought process in the Army
0:18:52 Personal time in Germany
0:20:58 Destruction of the Berlin Wall
0:22:17 Evolution of the military and public opinion of veterans
0:26:09 Issues with government
0:27:43 Homecoming
0:28:22 Family feelings on enlistment and war
0:29:07 Feelings on assignment
0:29:47 Relationships in the Army
0:31:39 Fun in the Army
0:33:00 Travel experiences and relationship with host family
0:34:43 Working with international students
0:35:12 Summary of international experience
0:35:32 Stand-out memories
0:37:13 Opinion of entering military today
0:41:16 Opinion of recent wars
0:43:37 Admiration for evolution of military and public opinion
Abstract
Oral history interview of Dr. William Blank. Interview conducted by Gabrielle Hanke.
Type
Moving Image
Source
<a href="http://stars.library.ucf.edu/veteransoralhistories/264/" target="_blank">Blank, Bill</a>. Interviewed by Gabrielle Hank. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, RICHES of Central Florida, University of Central Florida, Orlando, Florida.
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
<a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a>
Is Part Of
<a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, RICHES of Central Florida, University of Central Florida, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/92" target="_blank">Vietnam War Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida.
Has Format
Digital transcript of original 45-minute and 8-second oral history: <a href="http://stars.library.ucf.edu/veteransoralhistories/264/" target="_blank">Blank, Bill</a>. Interviewed by Gabrielle Hanke. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, RICHES of Central Florida, University of Central Florida, Orlando, Florida.
Conforms To
Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress.
Coverage
Mannheim, Germany
University of Central Florida, Orlando, Florida
Kent State University, Kent, Ohio
Munich, Germany
Francis E. Warren Air Force Base, Cheyenne, Wyoming
Marine Corps Base Quantico, Triangle, Virginia
Vietnam
Watergate Office Complex, Washington, D.C.
Bad Tölz, Germany
Bastogne, Belgium
Kehlsteinhaus, Germany
Palace of Versailles, Versailles, France
Creator
Hanke, Gabrielle
Blank, William
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Date Created
2014-11-21
Date Copyrighted
2014-11-21
Format
video/mp4
application/pdf
Medium
45-minute and 8-second oral history
21-page digital transcript
Language
eng
Mediator
History Teacher
Civics/Government Teacher
Geography Teacher
Provenance
Originally created by Gabrielle Hanke and William Blank and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>
Curator
Cravero, Geoffrey
Digital Collection
<a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html" target="_blank">American Experience</a>." Public Broadcasting Company. http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html.
Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank"><em>America's Longest War: The United States and Vietnam, 1950-1975</em></a>. New York: Wiley, 1979.
Rottman, Gordon L., and Duncan Anderson. <a href="http://www.worldcat.org/oclc/190967872" target="_blank"><em>The US Army in the Vietnam War 1965-73</em></a>. Oxford: Osprey, 2008.
Rabinovich, Abraham. <a href="http://www.worldcat.org/oclc/52464595" target="_blank"><em>The Yom Kippur War: The Epic Encounter That Transformed the Middle East</em></a>. New York: Schocken Books, 2004.
<span>Herzog, Chaim. </span><a href="http://www.worldcat.org/oclc/1500167" target="_blank"><em>The War of Atonement: October, 1973</em></a><span>. Boston: Little, Brown, 1975.</span>
Transcript
<p><strong>Hanke<br /></strong>Okay. Today is the 21<sup>st</sup> of November, 2014. My name is Gabrielle Hanke and I am here interviewing Dr. William "Bill" Blank. He served in the Army from 1971 until 1974. He ultimately reached the rank of Specialist 4 and was stationed in Mannheim, [Baden-Württemberg,] Germany. I am interviewing him as part of the University of Central Florida’s [Community] Veterans History Project and this interview is being conducted in Orlando, Florida. Alright, so let’s start off with your early years.</p>
<p><strong>Blank<br /></strong>Okay. Um, well as with most military vets, I would guess they would say a couple of words that might define their experience would be “conflict” and “adventure.” I think, you know, traditionally, that the military definitely offered both of those, and when I think of the conflict, I actually think of conflict here at home rather than abroad. Um, that was a—a pretty tumultuous time, um, in our society regarding world events, world affairs, and the military’s involvement in those events, um, specifically looking at the Vietnam War. And uh—it—it really began after I had already begun college.</p>
<p>I was a—a college student. I’d been going to school for several months and, uh, back in 1971. In the fall of 1971, they had the lottery, and it’s not like you think of the lottery today where you can win a million dollars, but rather, the lottery was determining who was going to be getting a draft notice. And, uh, my number happened to be 31. And up until about 100, those individuals could be expecting to get a draft notice. And so, uh, we—we had a—an opportunity—I guess I’m going to call it, uh—if you knew you that you were going to be getting a draft notice, you had several months typically to enlist as a—a prelude to getting that draft notice or—or in lieu of getting that draft notice. What were the advantages of that? One was that we—we had—we were actually kind of transitioning into what they called the “all-volunteer Army,” which began a year later. So this was really a year to sort of field test some of the constructs of that all-volunteer Army. And by enlisting prior to getting the draft notice, we were able to go in under something they called the “buddy system.”</p>
<p>And so my best friend from high school—who was coincidentally my college roommate—who also had a very low number for that lottery, we decided together to go ahead and enlist in the Army and that would give us the opportunity of going in under the buddy system. And what that really meant is that we were able to go through basic training together. And if you can imagine a couple of kids from a small industrial town, uh, in North Central Wisconsin, who had not previously ventured far from their backyard, were going to be going somewhere around the world, um, experiencing this major adventure. And so by at least starting off by having that kind of security blanket, that—that familiar face going through basic was really important and, um—and it actually meant a lot, I think, to many people, um, who had that opportunity.</p>
<p> So we went in, we volunteered, uh—enlisted. Uh, we—we went to basic training together. And then the second benefit of enlisting rather than actually getting the draft notice was we had the ability to have input in terms of what we would be doing in the military. And since I had taken electronics classes in high school, uh, they had determined to send me to a—a communications technician program—electronics training basically—which worked well for me.</p>
<p>And then the third benefit of enlisting was that—although it was not a guarantee—it—it really came down to the demand of the military at that time, but, um, you could at least give preferences for where you wanted to be stationed. um, and one of mine was to—to be able to go to Germany and, uh—actually, when we finished our training, I—I started off with orders for Vietnam, but because they were starting to pull back on the numbers of people they were sending to Vietnam, uh—they backed down on the Vietnam, uh, orders and transitioned them to Germany, and so I did get to go to Germany for three years. So I thought that was going to be a pretty positive experience for me.</p>
<p>And—and, um, to—to maybe give just a little bit more background, it was—it was a really difficult time actually, um, for young men primarily—although there were some women that were also going in—but men were the ones that were getting drafted, because of the societal views on the Vietnam War.</p>
<p>It was not a righteous war. Um, America had not been threatened. Our interests abroad had not been threatened. And so for many people in the country, um, there was resistance to the war and—and that was especially evident, um, on college campuses. Uh, having been a college student, you know, we all—we all had kind of a common perception of the war and, um, and that probably peaked in 1970, when at Kent State [University], the [Ohio] National Guard killed—I believe it was four or five students and then many others were injured as well, when the Ohio National Guard opened up on—on a group of protesters at that institution.</p>
<p>Um, and so, going into the military, going from student to—to soldier literally in a couple of short months created, I guess, a great deal of, um, cognitive dissonance, or at least it made me really question my values and philosophies about living and learning versus, um, you know, doing my duty and, um, you know, agreeing to uh, protect, and pr—um, protect society, uh, which—which was something that, um—in my family, you know—it was pretty conservative. That was kind of a—a passed down value, um, or—or philosophy, I guess, on life.</p>
<p>You do what you’re told to do by the authorities and—and you do it gladly. And uh, my grandfather had been in World War I and I—I remembered talking to him frequently and seeing all of his photographs. And so there was kind of that sense that, um, I need to pick up the torch in my family system and—and do my job for the military. So, two—two conflicting, um, life views really. Um—and—and I was not alone. That was pretty common I think for many young people at that time.</p>
<p>But nevertheless, I ended up going to Germany. And, um, one of my very first experiences in Germany, ironically, was being the point person, um, in a riot squad. When you think of a riot squad as a “V” and—and they ask for somebody, or they told somebody, “You’re going to be the point person.” And that was developed because of some of the international protests to the Vietnam War. Uh, [President Richard Milhous] Nixon had been doing quite a lot of carpet-bombing, where he would just saturate the country with explosives and—and so European students were protesting, as well. So I’m a student one day and a few months later, I’m actually wearing a uniform with an M-16, with a bayonet on it, and I’m the point person with students from Germany, um, attempting to infiltrate our base or—or surge our fences—and—and that put me in a really awkward position as well. Fortunately, um, nothing happened to the extent that we had to make contact with them, um, but—but nevertheless, it—it really made me question what I was doing and—and whether or not it was a valid, um, experience. Uh, so—so that was my introduction to Germany.</p>
<p>And then, um, just about a year later, I was actually going to teletype school, which was just outside of Munich[, Bavaria, Germany] in a small town called Bad Tölz [, Bavaria, Germany]. Teletype was sort of the prelude or the precursor to, um, e-mail. And, uh, just a—a few weeks into that training, uh, there was an attack at Olympic Village.<a title="">[1]</a> the—the 1972 Summer Olympics were going in Munich, by, um, a group of, um—uh, I guess for a lack of a better word, I would call them “terrorists”—the Black September [Organization] group—the—they were known as, attacked Israeli athletes and ended up—they kidnapped them initially in exchange for, um, over 200 prisoners that were in Israeli jails, uh—Arab prisoners. And, um, when Israel did not negotiate with them, they—they actually ended up killing all of the athletes, along with a German police officer. And, being in Munich at that time, all of the American soldiers were put on alert and, um, it was a pretty tense few days not knowing if that terror would—would, um, transition into some of the American facilities. Um, Mark Spitz was a—a—like a five—I think he won five golds that year for swimming. Uh, they—they rushed him out of Germany and—and flew him back to the United States being a—a Jewish athlete. So again, political, um, unrest and violence across the world, um, was starting to really boil. I think that was probably a, uh, maybe a—an omen of what was to come for America up the road, um, with the Middle East.</p>
<p>And—and we got through it and things seemed to settle down a bit and then, literally a year later, um, my armor unit, we had about 30 to 40 tanks in—in the unit that I was stationed with in Germany, um—80-ton tanks—60-ton tanks, I guess they were. And each year, we would go up to Northern Germany to qualify those tank crews on the firing ranges. And in 1973—in the fall of ‘73—we were up there doing just that, when, um, a number of Arab countries, um, attacked Israel, um, and—and that that was led, um, primarily by, um, let me see. I need to—to—to kind of just refresh my memory. The coalition of Arab states<a title="">[2]</a> was led by Syria. Egypt and Syria were the two countries that were really kind of spearheading that attack. Um, they were trying to win back, uh, land that was lost years earlier in the Three Day War. This was called the Yom Kippur Wer[sic]—Wer[sic]—War, because it was occurring during that holiday—that Jewish holiday<a title="">[3]</a>—um, and also the Arab<a title="">[4]</a> holiday of Ramadan. And so, um, it was kind of ironic that we’re celebrating these two religious holidays, and in the midst of them, they—they create another war.</p>
<p>At any rate, um, literally overnight, all of our tanks were, um, repainted in desert camouflage to—to make us ready to, um, be transported to the Middle East to intervene. Both Russia and the U.S., uh, really mustered their forces in terms of supplies and armament to their respective allies in the Middle East. And—and—and we came this close to, um, a world war with Russia at this point—the two superpowers colliding. Um, fortunately after three weeks, a—a ceasefire though occurred and, uh, that was, uh, the beginning of, um, a series of peace talks that helped to create a little bit more harmony in the Middle East.</p>
<p>Uh, so at any rate, I—I had a number of conflicts that were right on the edge of reality, in terms of drawing my unit into all of them. And so, probably not unlike with most soldiers, there’s always that, um, impeding war or that impending, um, “police action”—as Vietnam and Korea were called—uh, on the cusp of—of every morning.</p>
<p>Um, but—but in spite of all of that, I would say that I—I got a great deal out of the experience that I had in the military. I think when—when I look at, um, what that did for me, in terms of just the confidence and the self-responsibility, um, just the—the, um, I—I think ability to—to live my life more independently and autonomously. Um, the military was truly responsible for that. I think, in addition to that, there were relationships that were forged while in the military that were like no other relationships since, in terms of being very authentic and—and really, um, having that sense of cohesion that common bond or shared reality with other soldiers. Um, those relationships really truly turned out to be lifelong relationships.</p>
<p>And then, in addition to, um, being able to benefit from the GI Bill [Servicemen’s Readjustment Act of 1944], as a first generation college student, I was able to—to get my education—undergraduate and graduate education—um, at least partially funded by the military. um, gave me the opportunity to really get back to the, uh, goal of—of living and learning life, helping other people, uh, develop academically as a—an educational counselor and—and educational teacher. I think ultimately, all of that cumulatively allowed me to give back to the military in that, after getting my—my graduate degree in counseling, I was able to, um, develop a course for chronically unemployed Vietnam vet[eran]s, and—and, um, administer that six-week course throughout the state of Wisconsin, resulting in a national award with an over 80 percent placement rate at the end of that year for—for these, uh, participants.</p>
<p>And then, beyond that at other institutions, um, at Warren Air Force Base in Cheyenne[, Wyoming], I—I taught ongoing workshops for military, who are retiring after 20 or 30 years, to help them more easily transition into civilian life and the civilian workforce. And then even here at—at UCF [University of Central Florida], I have the opportunity to work closely with veterans.</p>
<p>When we had the war with Iraq, and many of our UCF students were called out who were National Guard or Reservists, I actually created a—a long distance career counseling service for those veterans and extended it to all of their cohorts. um, and—and helped them to really, um, evaluate their life experiences in—in the face of being a warrior and how that was influencing changing career goals and helping them to adjust their academic programs, and then also to help assist them with the transition once they came back to college. Um, so, and—and then more recently, with the—the veterans academic resource grant that we got, I’m one of the committee members for that grant, and I’ve been able to really help infuse some professional development programing for veterans with job fairs and things of that nature.</p>
<p>So ultimately, you know, I—I can go back 40 years and I can see how the military really shaped me and—and how that military thread has consistently woven through my life, um, to, you know, my—my early 60s, where I am now, and—and how that’s been such a—a, I guess a pivotal experience in my life. It shaped me truly more than any other experience I’ve had thus far. So, that’s—that’s the summary of my story and, um, I stand by it.</p>
<p><strong>Hanke<br /></strong>Well, that was very good. Um, if we could go into some more details such as, uh, how were you trained during this time of there was conflict, but then there wasn’t almost. Like, it was a very iffy time. Could you tell me a little more about that?</p>
<p><strong>Blank<br /></strong>Well, I—I think with—with anyone in the military at any time, you’re—you’re on constant alert and you’re involved in continuous training and we were always prepared for the worst. Um, we were ready to be mobilized as with, uh, the war, uh, in the Middle East. Literally in a few days, our entire, uh, battalion would be ready to transition over to the Middle East from Germany. Um, constant training. And I think, uh, there was also, um, quite a lot of educational programming, um, helping us to—I—I think, understand where we fit with all of the world events that were going on. Um, I don’t think we were discouraged from challenging ideas and beliefs, but I think because we were the military, there was always that, um, underlying focus on it’s our job to—to go in the event that we’re called out and do what we’ve been trained to do. It was our duty—our responsibility. So no matter where one might have been, um, in terms of their political ideologies, they were ready to do their job. And I am absolutely confident that—that we all would have done what we would have been asked to do as—as were soldiers in every war before ours.</p>
<p><strong>Hanke</strong>Okay. And then, um, I know there was, um, the issue of the Warsaw Pact<a title="">[5]</a> coming around. Um, what was it like uh—I mean like the air? The aura almost of being in Germany—being so close?</p>
<p><strong>Blank<br /></strong>Well I—I did, because I was in Germany and—and because I so much enjoy and appreciate history, I did spend a—a great deal of my personal time while there learning about the history of, um, all of the events of World War II and how Europe had transformed as a result of the war.</p>
<p>And then with the Berlin Wall going up around, um, the time of my birth, uh, it was interesting to learn more about that and—and experience what it was like behind the Curtain—the Iron Curtain. And while I was there, I spent all of my—my vacation time, uh, travelling throughout Europe, um, going actually to Southern Europe to, um, the—the Third Reich headquarters, um, and Bavaria[, Germany], and seeing some of the—the facilities—the Eagle’s Nest<a title="">[6]</a> that [Martin] Bormann had built for [Adolf] Hitler.</p>
<p>And, um, and then also going to some of the countries that had been, um, uh, freed as a result of American intervention in the war. Um, France, and going up to Belgium, Holland, Luxembourg, seeing where the Battle of the Bulge occurred in Bastogne[, Belgium]. Um, and talking to people up there and actually living with a German family for the three years. I was there and hearing their stories. They were terrified of the Nazis,<a title="">[7]</a> I think, as any European may have been at that time. Um, it—it was really interesting to get that personal perspective from people and—and talk to people who had actually been there during those wars—during that war—and, uh, hearing their, um, personal life histories.</p>
<p><strong>Hanke<br /></strong>Yeah. That’s very interesting. And then, um, let’s see. How did you feel—I know you weren’t there at the time—but when the Berlin Wall finally came down?</p>
<p><strong>Blank<br /></strong>Um, it—it was amazing to me. and—and I—I guess what—what I guess the personal connection for me—it went up the year I was born and it was torn down the year my sons were born.<a title="">[8]</a> And—and so I look at, within that lifetime, what a dramatic change. And that was certainly an indication of, uh, what was to come with some of the, um, eastern countries, and now the Middle Eastern countries as well, um, as far as that goes—in terms of democracy and in terms of people having freedom of choice.</p>
<p>So when I thought about that, it helped to legitimize my involvement during the Vietnam period, again which was pretty tumultuous, um, politically- and society-wise, um, especially as a—an 18 year old not very knowledgeable about much in life at that point. Um, every experience I had, uh, was sort of a first time exposure for me. I didn’t have the—I guess the cognitive ability to—to maybe put it all in perspective early on, it really evolved over time.</p>
<p><strong>Hanke<br /></strong>And then, um—how do you feel? Has the military changed in its attitudes? As you were saying, um, your generation—you did your duty. Do you feel that that has carried over to this generation?</p>
<p><strong>Blank<br /> </strong>It—it—it has, um, to my amazement and to my pleasure. I have seen amazing, amazing, changes. Colonel [Richard] Toliver talked about that even from, uh, pre-Vietnam era and World War II era—how things have changed. And I think for veterans, in particular—during the Vietnam era, we were either openly discriminated against, um, chastised, or we were politely tolerated at best, but we were never, never celebrated. I can honestly say that in 40 years, not one person ever even acknowledged my time in the service, much less thank me for it, until a couple years ago, um, here at UCF when—when the veterans’ memorial was—was opened up, about two years ago, I guess it was.</p>
<p>And now, it’s totally amazing, is that anytime people realize that—that I had been a veteran, if I have my—my flag on or if I go to a—a veteran program here, um, they all say “Bill, thank you for your service.” I came into work on Veterans’ Day and—and there was a—a card taped to my door and all my staff had signed it, uh, thanking me for my service. And that’s like something I never ever would have expected to happen. I mean, you can’t imagine, unless you lived through it, um, you know, returning war veterans being spit upon and—and criticized and—and yelled at—to—to being thanked. I mean, that is a true, positive transition. I think it speaks volumes about how the American military is viewed in this country, at least today. Um, I had an opportunity to go to the, um, the Marine officer training school in [Marine Corps Base] Quantico[, Triangle, Virginia], and, uh, it was amazing how—how they were so excited about the opportunity to—to put themselves in harm’s way to protect their country. Um, a real different attitude, not just by society, but by soldiers as well.</p>
<p><strong>Hanke<br /></strong>Do you have an opinion on what caused this?</p>
<p><strong>Blank<br /></strong>Well, you know the concept of nationalism. During World War II, there was this wave of nationalism. We were attacked and we were going to defend our country. We were going to do what we needed to—to protect our families and our way of life. And, um, now again, with the attack on the World Trade Centers[sic] and—and the terrorist attacks coming from the Middle East, we have been threatened. And, um, our—our interests abroad have been threatened. Um, our—our homeland has been threatened and, indeed, attacked. And so, that’s what it requires, I think, for that wave of nationalism to occur.</p>
<p>During Vietnam, again as—as I said earlier, none of that was threatened, and there were so many questions about why are we there, what we were doing. Um, are we causing more harm than good? And so, when—when the war’s not a righteous war, you’re not going to get that support. When the war is righteous, that support with be there. Hopefully, um, our s—our government, our politicians, you know, learn something from that and they—they won’t be too eager to go to war un—unless there’s just cause.</p>
<p><strong>Hanke<br /></strong>Yeah, and, um, speaking of politicians, I know it was around the Vietnam War where things were really—people were starting to question it and especially with Watergate [Scandal] —what do you remember of that?</p>
<p><strong>Blank<br /></strong>Yeah. Watergate actually happened when I was still in Germany, but I remember coming back and, um, you know—how that—that was the—I guess you could call it the—the straw that broke the camel’s back, so to speak for Nixon. Um, as early as the—the late 60s, he was—Nixon was—was being viewed as the person who was escalating the Vietnam War. Um, I think already there was a—a tide of resistance about him and then Watergate pretty much cinched it for him.</p>
<p>Um, but it—it—it didn’t help to sort of regain confidence in government. I think it helped to further, um, support the concept that the government doesn’t always make good decisions and—and they’re not always, um, principled and ethical people who are running government. And so I think for—for Vietnam era veterans, you know, it—it sort of justified the views that they may have held about government. And—and we were separating military from government. A lot of people in the military didn’t necessarily support what heads of government—heads of state were—were doing and—and the kinds of decisions that they were making.</p>
<p><strong>Hanke<br /></strong>And then, um, what was your homecoming like? Did people distinguish between you were in Vietnam or you were in Germany? Or did they…</p>
<p><strong>Blank<br /></strong>No. If you had a uniform on, you weren’t seen in in a positive light. And so veterans quickly learned to not present themselves as returning veterans. Um, as soon as we got back, um, I can vividly recall my duffel bag with all my uniforms and gear went into a Goodwill bin. Um, the first thing I did was grow my hair out so I wouldn’t look like a veteran. Um, I didn’t want to be, um, targeted and—and truly they—they were. We were.</p>
<p><strong>Hanke<br /></strong>And, um, how did your family feel about you going into the military at this time and…</p>
<p><strong>Blank<br /></strong>They didn’t really want me to, quite honestly. But again with—with the draft, there wasn’t really an option. I—I think they were probably ambivalent about the war as well. and when literally every single night for a—at least a full hour on the national news, we were seeing clips of Vietnam with—with people’s sons and husbands and fathers being killed left and right and in large numbers. Um, there—there wasn’t a lot of support from family members for their sons to go into that situation.</p>
<p><strong>Hanke<br /></strong>So, now you said you were initially, um, listed as going to Vietnam, correct? How did…</p>
<p><strong>Blank</strong>Right. Right.</p>
<p><strong>Hanke<br /></strong>How did you feel about that?</p>
<p><strong>Blank<br /></strong>I—I was concerned about it, but, you know, if—if that’s where they needed me to be, uh—just like every other individual who went through basic training or advanced individual training, you went where they told you to go. The military was very effective at, um, kind of creating that—that cohesion and that common bond where you go and support your fellow veteran—your fellow, um, soldiers, rather.</p>
<p><strong>Hanke<br /></strong>And then, um, you said uh, it was thr—through the military you made these very unique relationships. Do you still keep in contact with people?</p>
<p><strong>Blank<br /></strong>Um, not—not so much anymore at this point in in my life, um, but for the first decade or so after getting out, um, there—there was ongoing contact. Unfortunately, um, probably of the—the two or three people that I really bonded tightly with in my unit, uh, one of them was killed, um, in Germany, um, through—through an accident. And, uh, the other one relocated back to Pennsylvania, which was on the other side of the country as me. I was, um, in Wisconsin and then ultimately Colorado. So we—we sort of lost touch as well.</p>
<p>But, um, one of my coworkers picked up grandparents the other day from the airport, and took them to Lakeland, where her grandfather was reconnecting with a—a military cohort from his time during World War II. And she was sharing with me how rewarding it was when she saw them, um, connect, um, for the first time. and—and they embraced each other and literally, uh, began crying because, I—I think when—when you see those people after so many years, it’s that whole flood of emotions that that come to the surface. Colonel [Richard] Toliver talked about that when he wrote his book,<a title="">[9]</a> um—how it’s a bit difficult, because so many of the emotions from wartime resurface. But—but I think they can be positive emotions too. It’s not just all negative memory. It’s—it’s the relationships that were so crucial, I think, to that lifelong, I guess, association with the military.</p>
<p><strong>Hanke<br /></strong>And, um, I know it was a very serious time, but what did you guys do for fun?</p>
<p><strong>Blank<br /></strong>Well, that’s the, uh, the other side I talked about, you know, for everybody going in the military. It’s conflict and adventure. And—and it’s kind of a strange combination, because sometimes they may be one and the same. But, um, being in an armored unit, um, as an 18 year old kid and we have these 60-ton tanks, uh, it was pretty amazing to be able to play with them. We—we had some areas where we would practice, um, driving them. And—and Americans would discard cars in that area that they couldn’t take back to the States, because they didn’t have seatbelts, safety glass, all of that. So imagine a Volkswagen with—with 60-ton tanks driving over it, one after another. Um, those—that was the kind of activity that made it pretty exciting.</p>
<p>But then beyond what we did in the military, um, uh, you know, beyond when—when we’d go on maneuvers, I would be driving our operations major, scouting a place to camp out with—with you know 30 tanks and all the crews and support peoples. So I had a four-wheel drive Jeep and we’d—we would be going through the hillsides and having quite an adventure of it.</p>
<p>But, in addition to all of that, when I wasn’t working, um, I traveled a lot. I got my international driver’s license as soon as I could, bought a car, and every single weekend I was gone. I was visiting all parts of Western Europe. In a weekend, you could go just about anywhere, because Europe is such a small landmass. Took all my vacations over there. Um, my parents came over, um, for a couple weeks to—to visit, and we traveled all over Western Europe to—to help them experience it, as well.</p>
<p>Um, and then the German family I lived with, they—they sort of adopted me as a—a[sic] international, um, son—I guess for lack of a better term. And they—they took me everywhere with them when they would go off on weekends. They helped me to really experience the culture and the diversity of Germany and really learn to appreciate what Germany is today. And I think as a result of that, um, you know, knowing what it felt like to be a stranger in a foreign land and then to have people befriend me and kind of help me. Whether it was, you know, teaching me how to, um—say “vergaser,” which is German for carburetor, which I needed to know when I went to the auto-mechanic to tell him I needed a—a “neu vergaser.” Um, to—to, you know, teaching me how they celebrated, um, the holidays and—and what Christmas meant to them, taking me to church with them on Christmas Eve. Uh, all of that was really eye opening.</p>
<p>As a result of that, I became an international student mentor here, um, for our international students, where each year I take one on and, um, have that mentor-mentee relationship to help them adapt and adjust to the United States and to UCF, and just guide them through the everyday issues that—that one faces when—when one is in a foreign land.</p>
<p><strong>Hanke<br /></strong>That’s very good.</p>
<p><strong>Blank <br /></strong>So a lot of adventure, um, and—and again, I think it’s that combination of coming into adulthood and experiencing, um, all of those new challenges and—and adventures that, um, people in the military never ever, ever forget.</p>
<p><strong>Hanke<br /></strong>Is there, uh, any specific moments that stand out to you? That you can still see?</p>
<p><strong>Blank <br /></strong>Um, well, one time, when—when we were on a maneuver—in terms of a memorable experience—the German forests are pretty dense and—and pretty rugged still. They have wild boars which—which have large, razor-like teeth, and—and—and, um, horns, and they can be literally deadly, if you’re caught out in the open with them—if they do attack you. And I recall one night—this may seem a bit bizarre—but having to relieve myself, I left the safety of the 60-ton tank and walked out into the woods, and I heard something snorting. And it didn’t take me but about two and a half seconds to get back on top of that tank. And sure enough, a herd of razorback came running by me, and, um, I felt fortunate I wasn’t out there.</p>
<p>Um, and—and then—and then maybe, um, another time I—I guess I remember well—was actually a trip to Paris[, France] to do some sight-seeing. And—and I was able to really experience Paris and [the Palace of] Versailles and all the history, and—and I didn’t fully appreciate what I was witness to until I got back to the States and began college. And I was in a world history class where the professor was talking about the French Revolution, and, um, Queen [Marie] Antoinette, and—and the guil—guillotines, and Versailles and—and all the other students had kind of a blank look on their face. And I’m thinking <em>Oh, yeah, I—I know that, I was actually there.</em> When he talked about the Hall of Mirrors in the Palace of Versailles, I was there.</p>
<p>Um, when they got into the World War II history and—and talked about some of the early meetings between, um, the different diplomats at, uh, the Eagle’s Nest, or Hitler’s tea house, I was there. Um, everything that was being discussed, I had actually been there in person and had experienced personally. Um, and so, it, I think it made me fully, at that point, understand what a treasure that was for me to have had that opportunity for travel and just seeing parts of the world unknown that I never would have been able to experience had I not been in the military.</p>
<p><strong>Hanke<br /></strong>So, what would you say to someone who is considering enlisting in the military today?</p>
<p><strong>Blank<br /></strong>It—it’s a—it’s a dangerous time to go in the military right now, uh, but I would never discourage it. Um, I actually teach a course—a graduate career counseling course—for, uh, graduate students who are preparing to go into school counseling. And every semester, I bring in, uh, representatives from the military to teach them about opportunities in the military, so that they at least are aware of them when they work with their high school students up the road. And—and I share with them, you know—it’s a personal decision for individuals, but we need to be letting young people know this is an opportunity.</p>
<p>Um, war—war can certainly be dangerous, but there are so many benefits in the military and—and especially in terms of helping to, um, complete one’s education. The military is so supportive of that financially and otherwise. Um, and so, I wouldn’t discourage anyone. um, it—it’s awkward though, because I—I know there’s a good chance today that people could absolutely be, um, in a combat situation and, um, knowing what can happen in combat it—it creates a bit of dissonance with me. But I—I regret that young people today don’t have the same opportunity I did. They—they—young men, in particular—we—we needed that kind of safe haven to—to mature and develop.</p>
<p> At 18, most young men are not ready for college and they’re not ready for life. And so to have that three year period where they—they have the protection of the military. Someone to feed and clothe and house you, but yet challenge you to mature and become responsible. I—I regret that young men don’t have that today. I regret that my own sons, who are 25, have never had that experience.</p>
<p>Ironically, I’ve got a 29 year old, young man who works for me now—a new staff member—and, um, he’s never ironed his shirt. And in the military, we learn to press and starch all of our uniforms to great precision. And, um, this is probably my experience of the year—for me this year. He brought his ironing board, his iron, and a can of starch along with a shirt and a pair of pants and he asked me to teach him how to iron based on my knowledge of how to do that from the military. We—we took pride in our appearance and we were called on it if we weren’t attentive to it. And I—I try to encourage young men today to do the same. One—one of many, many, um, benefits or—or attributes to being in the military.</p>
<p><strong>Hanke </strong>Yeah. Um, uh, speaking of the recent conflicts in the Middle East, you said the conflicts that you experienced personally—you feel they were ominous almost?</p>
<p><strong>Blank </strong>Absolutely.</p>
<p><strong>Hanke </strong>So, um, how did you feel about first [Operation] Desert Storm<a title="">[10]</a> and then the recent [Iraq] War?<a title="">[11]</a></p>
<p><strong>Blank </strong>Supportive of it, because their sovereign country had been attacked—Kuwait had been attacked. And—and, uh, I—I—I think, as—as, I believe, every past veteran would have seen, that was a—a just action.</p>
<p>And, um, I think the difference though there versus in Vietnam, um—they put the full military behind it. In Vietnam, uh, there—there were so many restrictions about how that war was approached. And—and as a result of that, it went on. It actually started in in 1954 with [President Dwight David] Eisenhower, when—when he showed political and financial support for South Vietnam.<a title="">[12]</a> Um, but then, as it continued, uh, into the 60s—with the advisors and over war, and then escalated numbers of U.S. soldiers going there, um, it was never looked at as, “Here’s a war. Let’s put the full force of the military behind it.” But it was rather a trickle of U.S. soldiers going, um, for an extended period of time, not getting the kind of support that that they needed to—to do it right. And—and I was proud—proud of—of the military for the way they handled the first Iraq War.</p>
<p><strong>Hanke<br /></strong>Now with, um, these most recent wars, they’ve been going on for quite a while.</p>
<p><strong>Blank<br /></strong>Yeah, the—the face of war has really changed. Starting with Vietnam, you didn’t know who your enemy was and—and same today with terrorism. But, because terrorism directly threatens the United States and all of us who live here, um, it has to be addressed. You know, I—I don’t see other options than to continue to be involved in in what we’re doing.</p>
<p><strong>Hanke <br /></strong>And then, um—I think you’ve answered almost everything. Um, so, is there anything else you’d like to talk about?</p>
<p><strong>Blank <br /></strong>Um, I—I think just my—my delight at how things have changed with the military. Um, when we—we saw, um—we hosted the film <em>Red Tails</em> in our office. The Tuskegee Airmen, and—and it was during [National] Veterans [Awareness] Week. Um, it was really amazing to see the pioneers for, um, bringing equality into the military, which, in my era, then continued with women coming into the military.</p>
<p>And then I think the second major thing that I’m really pleased to see is that not only has the military, um, really come to a point where they honor diversity and recruit for diversity, but I think they—they also now are being valued more. All—all veterans of every war are being so much more highly valued than was ever the case, from my perspective. And that brings me great joy to—to just know, even after having waited four decades to—to see that, finally, you know, people are supportive. The—the general public is supportive of what the military is doing and—and honoring those past veterans as well.</p>
<p><strong>Hanke<br /></strong>We’re good? Time is good? Okay. Alright. Well, that concludes the interview, and I would like to personally thank you for both your time and your service.</p>
<p><strong>Blank<br /></strong>You’re welcome.</p>
<p><strong>Hanke <br /></strong>Thank you very much.</p>
<p><strong>Blank<br /></strong>Thank you.</p>
<div><br /><div>
<p><a title="">[1]</a> Munich Massacre.</p>
</div>
<div>
<p><a title="">[2]</a> The coalition also included Iraq, Jordan, Algeria, Morocco, and Tunisia, as well as Cuba.</p>
</div>
<div>
<p><a title="">[3]</a> Yom Kippur.</p>
</div>
<div>
<p><a title="">[4]</a> Correction: Muslim holiday.</p>
</div>
<div>
<p><a title="">[5]</a> Treaty of Friendship, Co-operation, and Mutual Assistance.</p>
</div>
<div>
<p><a title="">[6]</a> Kehlsteinhaus.</p>
</div>
<div>
<p><a title="">[7]</a> National Socialist German Workers' Party (NSDAP).</p>
</div>
<div>
<p><a title="">[8]</a> 1961.</p>
</div>
<div>
<p><a title="">[9]</a> <em>An Uncaged Eagle: True Freedom</em>.</p>
</div>
<div>
<p><a title="">[10]</a> There is only one Operation Desert Storm.</p>
</div>
<div>
<p><a title="">[11]</a> Operation Iraqi Freedom.</p>
</div>
<div>
<p><a title="">[12]</a> Republic of Vietnam.</p>
</div>
</div>
Click to View (Movie, Podcast, or Website)
<a href="http://stars.library.ucf.edu/veteransoralhistories/264/" target="_blank">Blank, Bill</a>
Date Issued
2015-01
Extent
387 MB
203 KB
1972 Summer Olympics
9/11 Attacks
Adolf Hitler
all-volunteer military
An Uncaged Eagle: True Freedom
anti-war protest
anti-war protests
Arab-Israeli War of 1973
Bad Tölz, Germany
basic training
Bastogne, Belgium
Battle of the Bulge
Bavaria, Germany
Berlin Wall
Bill Blank
Black September Organization
BSO
buddy system
carpet bombing
carpet bombs
Cheyenne, Wyoming
Christmas
civilian
civilians
cognitive dissonance
cold war
college
colleges
conscription
Desert Shield
Desert Storm
diversity
draft lotteries
draft lottery
draft notices
drafting
Dwight D. Eisenhower
Dwight David Eisenhower
Eagle's Nest
educator
educators
Egypt
enlistment
Europe
Francis E. Warren AFB
Francis E. Warren Air Force Base
French Revolution
Gabrielle Hanke
Games of the XX Olympiad
gender segregation
Germans
Germany
GI Bill
Global War on Terror
guidance counseling
GWOT
Hall of Mirrors
Halloween Massacre
homecoming
Ike Eisenhower
international students
Iraq
Iraq War
Iron Curtain
Israel
Israeli-Palestinian Conflict
Kehlsteinhaus
Kent State Massacre
Kent State Shooting
Kent State University
KSU
Kuwait
Mannheim, Germany
Maria Antonia Josepha Johanna von Habsburg-Lothringen
Marie Antoinette
Marine Corps Base Quantico
Mark Spitz
Martin Bormann
May 4 Massacre
MCB Quantico
mentors
Middle East
military
military assignments
military drafts
military training
Munich Massacre
Munich, Germany
National Guard
National Socialist German Workers' Party
National Veterans Awareness Week
nationalism
Nazi Germany
Nazi Party
Nazis
Nixon, Richard, Milhous
North Central Wisconsin
NSDAP
October War
Ohio National Guard
Olympic Village
Olympics
Operation Desert Shield
Operation Desert Storm
Operation Iraqi Freedom
Operation Wrath of God
Palestine
Persian Gulf War
police actions
protesters
Ramadan
Ramadan War
razorbacks
Red Tails
Republic of Vietnam
Richard Milhous Nixon
Richard Nixon
Richard Toliver
riot squads
riots
Russia
segregation
September 11 Attacks
Servicemen's Readjustment Act of 1944
South Vietnam
student protests
Summer Olympics
Syria
tanks
teachers
terrorism
terrorists
Third Reich
Three Day War
Treaty of Friendship, co-operation, and Mutual Assistance
Tuskegee Airmen
U.S. Army
UCF
universities
university
University of Central Florida
veterans
Veterans' Day
Vietnam
Vietnam War
volunteer military
volunteers
war protests
WarPac
Warren AFB
Warren Air Force Base
Warsaw Pact
Watergate
Watergate Scandal
wild boars
William Blank
Wisconsin
woman
women
World Trade Center
World War II
WWII
Yom Kippur
Yom Kippur War
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A History of Central Florida Collection
Alternative Title
History of Central Florida Collection
Subject
Podcasts
Documentaries
Description
A History of Central Florida Podcast series explores Central Florida's history through the artifacts found in local area museums and historical societies.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Altoona, Florida
Astor, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa Beach, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Fort King, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Jacksonville, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Miami, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Tavares, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES</a>
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
"<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
1 podcast
Duration
16 minutes and 2 seconds
Compression
134kbps
Producer
Cassanello, Robert
Director
Hazen, Kendra
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A History of Central Florida, Episode 45: Diploma Plate
Alternative Title
Diploma Plate Podcast
Subject
Podcasts
Documentaries
University of Central Florida
Education--Florida
Orlando (Fla.)
Description
Episode 45 of A History of Central Florida podcasts: Diploma Plate. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.<br /><br />Episode 45 features a discussion about the charter class and first graduating class of Florida Technological University (present-day University of Central Florida), as well as a diploma plate displayed at the University of Central Florida Libraries in Orlando, Florida. This podcast also includes interviews with Dr. Christopher Loss of Vanderbilt University, Retha Riley Underwood, Dr. Robert Bledsoe of the University of Central Florida, Joyce Hart Perkins, Mike Canavan, and Richard King.
Creator
Hazen, Kendra
Source
Original 16-minute and 2-second podcast by Kendra Hazen, 2015: RICHES Podcast Documentaries, Orlando, Florida. <a href="https://youtu.be/jAX3sVD8NuE" target="_blank">https://youtu.be/jAX3sVD8NuE</a>.
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES</a>
Date Created
ca. 2015-03-30
Date Copyrighted
2015-03-30
Contributor
Loss, Christopher
Underwood, Retha Riley
Bledsoe, Robert
Perkins, Joyce Hart
Canavan, Mike
King, Richard
Cassanello, Robert
Dickens, Bethany
Clarke, Bob
Ford, Chip
Gibson, Ella
Kelley, Katie
Velásquez, Daniel
<a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida Special Collections and University Archives</a>
<a href="http://www.floridamemory.com/" target="_blank">Florida Memory Project</a>
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank"><br /></a>
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Requires
<a href="http://get.adobe.com/flashplayer/" target="_blank"> Adobe Flash Player</a>
<a href="http://java.com/en/download/index.jsp" target="_blank"> Java</a>
Format
application/website
Extent
209 MB
Medium
16-minute and 2-second podcast
Language
eng
Type
Moving Image
Coverage
Florida Technological University, Orlando, Florida
University of Central Florida, Orlando, Florida
University of Central Florida Libraries, University of Central Florida, Orlando, Florida
Accrual Method
Item Creation
Mediator
History Teacher
Civics/Government Teacher
Geography Teacher
Provenance
Originally created by Kendra Hazen and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES</a>
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
"<a href="http://www.ucf.edu/50/history/" target="_blank">History</a>." University of Central Florida. http://www.ucf.edu/50/history/.
Holic, Nathan. <a href="http://www.worldcat.org/oclc/424558752" target="_blank"><em>University of Central Florid</em></a>. Charleston, SC: Arcadia Pub, 2009.
Click to View (Movie, Podcast, or Website)
<a href="https://youtu.be/jAX3sVD8NuE" target="_blank">A History of Central Florida, Episode 45: Diploma Plate</a>
A History of Central Florida
activism
anti-war
Army
astronaut
BJC
Bledsoe, Robert
Boca Raton
Bradenton
Brevard Junior College
Canavan, Mike
Cental Florida Junior College
CFJC
Chipola Junior College
CJC
Clarke, Bob
Cocoa
cold war
college
commencement
construction
Davis, Henry
Daytona Beach
Daytona Beach Junior College
DBJC
demonstration
diploma
East Central University
ECU
Edison Junior College
education
educator
EJC
FAMU
FAU
female
Florida A&M University
Florida Agricultural and Mechanical University
Florida Atlantic Unviersity
Florida Institute for Continuing University Studies
Florida Legislature
Florida Technological University
Ford, Chip
Fort Lauderdale
Fort Myers
FTU
Gainesville
GCJC
GI Bill
Gibbs Junior College
Gibson, Ella
GJCl St. Petersburg
Goff, Tom
Gougleman, Paul
government assistance
graduation
Grant
Gray, Ben
Gulf Coast Junior College
Hampton Junior College
Hazen, Kendra
HEA
higher education
Higher Education Act of 1965
Hill, Hank
HJC
homemaker
honors convocation
housing
Indian River Junior College
IRJC
Jackson Junior College
JCBC
JJC
Johnson Junior College
junior college
Junior College of Broward County
Kelley, Katie
Kent State University
Kent State University Shootings
Key West
King, Richard
KSU
Lake City
Lake City Junior College
Lake Worth
Lake-Sumter Junior College
LCJC
Leesburg
legislative branch
legislature
Lenfest, Gene
Lincoln Junior College
LJC
loan
Loss, Christopher
LSJC
Madison
Manatee Junior College
Marianna
MDJC
Men's Residence Association
Miami- Dade County
Miami-Dade Junior College
Millican, Charles Norman
MJC
Monroe Junior College
MRA
Municipal Auditorium
NASA
National Aeronautics and Astronautics Administration
National Defense Education Act
NDEA
NFJC
North Florida Junior College
Ocala
OCRHC
Okaloose-Walton Junior College
Orange County Regional History Center
orlando
OWJC
Palatka
Palm Beach Junior College
Panama City
PBJC
peace
peace movement
Pegasus Drive
Pensacola
Pensacola Junior College
Perkins, Joyce Hart
PJC
podcast
political activism
professor
protest
public college
public junior college
public state university
public university
Richard, Hank
RICHES
RJC
Robert Cassanello
Roosevelt Junior College
Rosenwald Junior College
Rowley, Ken
school
Sebastian, Dave
self-determination
Servicemen's Readjustment Act of 1944
SJRJC
space program
SPJC
SRJC
St. Johns River Junior College
St. Petersburg Junior College
strike
student
student government
student grant
student housing
student loan
Sun Belt
Suwannee River Junior College
Tallahassee
Tampa
teacher
U.S. Army
UCF
UF
Underwood, Retha Riley
Univerity of Florida
university
University of Central Florida
University of Central Florida Libraries
University of South Florida
University of West Florida
USF
UWF
Valparaiso Junior College
Vanderbilt University
VCJC
Velásquez, Daniel
veteran
Vietnam War
Volusia County Junior College
VU
Washington Junior College
West Palm Beach Junior College
Wetherington, Mike
Wightman, Ed
WJC
woman
Woods, Pauk
work-study program
yearbrook
Young, John W.
-
https://richesmi.cah.ucf.edu/omeka/files/original/f52cf65543f26288ff05171942f4c3fd.jpg
bedcbdf820ea04f2bd2e3336360f16bb
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
Art Legends of Orange County Collection
Alternative Title
Art Legends Collection
Subject
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Gallery</a>
<a href="http://www.orlandoslice.com/group/cityartsfactory" target="_blank">CityArts Factory</a>
<a href="http://artandhistory.org/" target="_blank">Art & History Museums - Maitland</a>
<a href="http://www.rollins.edu/cornell-fine-arts-museum/" target="_blank">Cornell Fine Arts Museum</a>
<a href="http://www.crealde.org/" target="_blank">Crealdé School of Art</a>
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
<a href="http://gallery.cah.ucf.edu/">University of Central Florida Art Gallery</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Eldora, Florida
Gainesville, Florida
Lake Wales, Florida
Maitland, Florida
Orlando, Florida
Sanford, Florida
Winter Park, Florida
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>." Art Legends of Orange County. http://www.artlegendsoc.org/.
Description
<p>Although visual art had been explored in Central Florida, Orange County’s visual arts community truly came alive during the years of 1932-1982, thanks to the vision of 20 distinguished artists and arts leaders. Their influence not only helped build a solid foundation for the local art community but some of Orange County’s local Art Legends significantly influenced modern American Art.<br /><br />To recognize the leadership and celebrate the accomplishments of these arts visionaries, arts administrators from 11 Orange County museums and galleries joined forces and shared collections to create the <em>Art Legends of Orange County</em> initiative.<br /><br />This community-wide collaboration runs throughout the 2015-2016 arts season and includes more than 15 exhibitions and events. <em>Art Legends of Orange County</em> celebrates 20 distinguished artists and patrons who helped build Orange County’s vibrant cultural landscape.</p>
<p><br /><em>Art Legends of Orange County</em> full exhibition schedule and link to virtual exhibition available at <a href="http://www.ArtLegendsOC.org" target="_blank">www.ArtLegendsOC.org</a>.</p>
<p>Visit RICHES™ of Central Florida at <a href="https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends">https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends</a> for virtual exhibition.</p>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 color photograph
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
Steve Lotz, 2005
Alternative Title
Steve Lotz
Subject
Lotz, Steve
Artists--Florida
Art--Southern States
Painters--Southern States
Painting--Florida
Educators--Florida
Teachers--Florida
Florida Technological University
University of Central Florida
Orlando (Fla.)
Description
A self portrait of Steve Lotz in 2005. Lotz received his Bachelor of Fine Arts from the University of California, Los Angeles and his Master of Fine Arts from the University of Florida in Gainesville, Florida. Lotz became an instructor of art at the Florida Technological University (present-day University of Central Florida) in Orlando in 1968, and served as the chairman of the Art Department for its first 10 years. He retired as a Professor Emeritus in 2003. As head of the department, Lotz was integral in establishing the success of the University's visual arts programs. <br /><br />Steve Lotz is an internationally-recognized artist with solo exhibitions of his work held throughout the U.S., Europe, and the Caribbean, and he is represented in numerous public and private collections. His best known work in Central Florida is the monumental triptych, Florida Dream, which has been on view in the main terminal of the Orlando International Airport since it was commissioned in 1981.
Type
Still Image
Source
Original color photograph by Steve Lotz: <a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>, Orlando, Florida.
Is Part Of
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/155" target="_blank">Art Legends of Orange County Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original color photograph by Steve Lotz.
Coverage
Florida Technological University, Orlando, Florida
University of Central Florida, Orlando, Florida
Creator
Lotz, Steve
Date Created
2005
Format
image/jpg
Extent
331 KB
Medium
1 color photograph
Language
eng
Mediator
History Teacher
Provenance
Originally created by Steve Lotz.
Rights Holder
Copyright to this resource is held by Steve Lotz 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://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
External Reference
Mathers, Sandra. "<a href="http://articles.orlandosentinel.com/1999-05-02/news/9904300881_1_lotz-gretchen-surreal-paintings" target="_blank">A Couple Of Artists Share Their Journey Through Life: The Two Are Familiar Figures In The Cultural Community. They Recently Exhibited Their Work At The University</a>." <em>The Orlando Sentinel</em>, May 2, 1999. http://articles.orlandosentinel.com/1999-05-02/news/9904300881_1_lotz-gretchen-surreal-paintings.
art
artist
college
education
educator
Florida Technological University
FTU
painter
painting
professor
school
Steve Lotz
teacher
UCF
university
University of Central Florida
-
https://richesmi.cah.ucf.edu/omeka/files/original/bbb0ae842ad6e72de73c9276c0dd813b.mp3
b866855cd9352138590d10fae92c3caa
https://richesmi.cah.ucf.edu/omeka/files/original/8f38523892d260024f1c6b52fb61cb8e.pdf
28d06349d57059dc0679914dc7d67591
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
Albin Polasek Museum & Sculpture Gardens Collection
Alternative Title
Polasek Collection
Subject
Albin Polasek Museum & Sculpture Gardens
Winter Park (Fla.)
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/34" target="_blank">Winter Park Collection</a>, Orange County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida
Accrual Method
Donation
Rights Holder
Copyright to these resources is held by the <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
External Reference
"<a href="http://www.polasek.org/about/" target="_blank">ABOUT</a>." Albin Polasek Museum & Sculpture Gardens. http://www.polasek.org/about/.
Description
The Albin Polasek Museum and Sculpture Gardens, located at 633 Osceola Avenue in Winter Park, Florida. Albin Polasek, known internationally for his sculptures, retired to Lake Osceola in Winter Park in 1950. The same year that he had moved to Florida, Polasek suffered from a stroke, which paralyzed the right side of his body. Seven months later, he married one of his former students, Ruth Sherwood, who died just two years later. Despite being confined to a wheelchair, Polasek was able to create 18 major works in his later years. In 1961, he married Emily Muska Kubat and the set up the Albin Polasek Foundation, opening up the Albin Polasek Museum & Sculpture Gardens, located in parts of Polasek's home and studio, which featured his personal galleries, chapel, and gardens. On May 19, 1965, Polasek passed away and was buried beside his first wife at Palm Cemetery.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
Parke, Erin
Interviewee
McIntosh, Hal
Original Format
1 audio recording
Duration
1 hour, 6 minutes, and 42 seconds
Bit Rate/Frequency
128kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Art Legends of Orange County: The Art of Hal McIntosh
Alternative Title
Oral History, McIntosh
Subject
Oral history--United States
Winter Park (Fla.)
Albin Polasek Museum & Sculpture Gardens
Art--Southern States
Artists--Florida
Painters--Southern States
Painting--Florida
Hopper, Edward, 1882-1967
Education--Florida
Teachers--Florida
Educators--Florida
Polasek, Albin, 1879-1965
Naples (Fla.)
Maitland (Fla.)
Description
Oral history of Hal McIntosh, conducted by Erin Parke on March 16, 2015. McIntosh is a nationally renowned artist who currently resides in Winter Park, Florida. Born in 1927, Hal McIntosh began his formal studies at the Detroit Art Institute in Detroit, Michigan, and the Toledo Museum of Art in Toledo, Ohio. At age 18, the Art Research Studio (present-day Maitland Art Center) in Maitland, Florida, selected him as the institution’s youngest-ever artist in residence. His talent later earned him the Directorship of the Academy of Fine Arts in Lynchburg, Virginia, where he served as a museum director and teacher for five years. As a resident of Central Florida, McIntosh taught at the Loch Haven Art Center in Orlando and even ran his own institution known as the McIntosh School in Winter Park for 30 years. McIntosh splits his time between his Cape Cod, Massachusetts, and Winter Park studios. <br /><br />With an artistic career lasting over 60 years, Hal McIntosh’s influence on our community is profound. His bold abstractions, tranquil waterscapes, and stirring portraiture, all masterfully painted with a touch of McIntosh’s signature Orientalism, have been widely exhibited in the area and are part of numerous regional collections, both private and public. Deep connections with the people and places of Orange County have allowed McIntosh to join the ranks as one of the greats and to be remembered eternally as an Art Legend. <br /><br />In this oral history interview, McIntosh discusses his early life and education, his teaching philosophy, and where he gets the inspiration and influence for his art. He also mentions his relationship with Albin Polasek and Emily Muska Kubat Polasek. Eric Varty, a close friend of Hal, also contributes briefly to the conversation.
Table Of Contents
0:00:00 Introduction<br />0:03:01 Life as an artist<br />0:09:16 Galleries in Winter Park<br />0:14:35 Galleries in Naples<br />0:22:58 Galleries in Cape Cod, Massachusetts<br />0:25:30 Edward Hopper<br />0:29:11 Teaching philosophy<br />0:38:12 Audience perception<br />0:41:03 Inspiration<br />0:47:12 Winter Park Arts Festival and commission<br />0:54:27 Albin Polasek and Emily Muska Kubat Polasek<br />1:03:54 Maitland Research Studio and Jules Andre Smith<br />1:06:29 Closing remarks
Creator
McIntosh, Hal
Parke, Erin
Source
Original 1-hour, 6-minute, and 42-second oral history: McIntosh, Hal. Interviewed by Erin Parke on March 16, 2015. <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.
Date Created
2015-03-16
Date Copyrighted
2015-03-16
Date Modified
2015-06-09
Has Format
50-page digital transcript of original 1-hour, 6-minute, and 42-second oral history: McIntosh, Hal. Interviewed by Erin Parke on March 16, 2015. <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.
Is Part Of
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.<a href="https://richesmi.cah.ucf.edu/omeka2/admin/collections/show/id/152" target="_blank"><br /></a>
<a href="https://richesmi.cah.ucf.edu/omeka2/admin/collections/show/id/152" target="_blank">Albin Polasek Museum & Sculpture Gardens Collection</a>, Winter Park Collection, Orange County Collection, RICHES of Central Florida.
Requires
<a href="http://get.adobe.com/flashplayer/" target="_blank"> Adobe Flash Player</a>
<a href="http://java.com/en/download/index.jsp" target="_blank">Java</a>
<a href="http://www.adobe.com/products/reader.html" target="_blank">Adobe Acrobat Reader</a>
Format
audio/mp3
application/pdf
Extent
61 MB
288 KB
Medium
1-hour, 6-minute, and 42-second audio recording
50-page digital transcript
Language
eng
Type
Sound
Coverage
Provincetown, Cape Cod, Massachusetts
Winter Park, Florida
Naples, Florida
Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida
Research Studio, Maitland, Florida
Accrual Method
Donation
Mediator
History Teacher
Geography Teacher
Humanities Teacher
Visual Arts Teacher
Provenance
Originally created by Hal McIntosh and Erin Parke.
Rights Holder
Copyright to this resource is held by the <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
External Reference
"<a href="http://www.paintingsbymcintosh.com/mbr_bio.php" target="_blank">Paintings By McIntosh: CV/Bio</a>." Paintings By McIntosh. http://www.paintingsbymcintosh.com/mbr_bio.php.
Bishop, Philip E. "<a href="http://articles.orlandosentinel.com/2005-02-15/news/0502140273_1_mcintosh-koi-painting" target="_blank">Winter Park Artist Mcintosh Spices Life With Variety</a>." <em>The Orlando Sentinel</em>, February 15, 2005. http://articles.orlandosentinel.com/2005-02-15/news/0502140273_1_mcintosh-koi-painting.
Hummel, Terry. "<a href="http://articles.orlandosentinel.com/2011-11-03/entertainment/os-hummel-art-events-orlando-20111103_1_area-artists-artists-share-art-galleries" target="_blank">A must-see show in Eustis: Lake Eustis Museum of Art shows works by Hal McIntosh, Maury Hurt, Bill Orr</a>." <em>The Orlando Sentinel</em>, November 3, 2011. http://articles.orlandosentinel.com/2011-11-03/entertainment/os-hummel-art-events-orlando-20111103_1_area-artists-artists-share-art-galleries.
Transcript
<p><strong>Parke<br /></strong>Alright. Good morning. Um, my name is Erin Parke and today I will be interviewing Mr. Hal McIntosh. Today is, uh, March 16<sup>th</sup>, 2015, and—alright. Um, Hal, can you tell me a little bit about like your early life? Where you grew up, um, if you had brothers and sisters, anything like that?</p>
<p><strong>McIntosh<br /></strong>Well, I grew up in—in Detroit, Michigan, and, uh, I had, uh, uh, older brother—two older brothers and an older sister. I was the…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Baby of the...</p>
<p><strong>Parke<br /></strong>Baby.</p>
<p><strong>McIntosh<br /></strong>Family, and, uh, apparently, my art interest started very early.</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh<br /></strong>My, uh, mother said that, when I was five, I was doing caricatures</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Of my little friends.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>She could recognize who they were.</p>
<p><strong>Parke<br /></strong>Oh, that’s amazing.</p>
<p><strong>McIntosh<br /></strong>I was five years old, and as the years went by—my early years—really early years—my parents didn’t try to rush me into…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Arts, uh, teachers…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Or anything like that. They just saw that I had any materials that I needed, but, uh, they never tried to force me to study, you know, when I was young.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>They just let me alone because that was the only thing I wanted to do…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>As a kid.</p>
<p><strong>Parke<br /></strong>[<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh—so, uh, I was fortunate, in that respect. A lot of the parents that I’ve talked to in later years that had, uh, children that are…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Artistic, and they say, “Oh, what am I going to do? I’ve gotta…”</p>
<p><strong>Parke<br /></strong>Yep.</p>
<p><strong>McIntosh<br /></strong>“Send them somewhere to study.” I said…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“Well,” you know, “Don’t rush them into—don’t overdo your…”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“You’re pushing them, because that’ll turn them right off., uh, just be—do what you can.”</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>“Cooperate, but don’t make a big deal out of it.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And if they’re really gonna do something in their lifetime—what—whatever…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Kind of, uh, occ—occupation…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>They might end up, sometimes those interests—interests start when kids are very young.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Sometimes you don’t—you might have a…</p>
<p><strong>Parke<br /></strong>Find out later on…</p>
<p><strong>McIntosh<br /></strong>[inaudible] degree in engineering, and—and you end up, uh, doing something…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Totally different [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I was, uh, fortunate enough to know all my life what I wanted to do.</p>
<p><strong>Parke<br /></strong>That’s amazing, and it’s nice that your family was so supportive. That’s great.</p>
<p><strong>McIntosh<br /></strong>Well…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>They were supportive by not…</p>
<p><strong>Parke<br /></strong>By not pushing you.</p>
<p><strong>McIntosh<br /></strong>Pushing.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh,these hysterical mothers that…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I’d seen in the past, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>That, you know, come to me for advice, because their[sic] child is doing some drawings, and—“What’ll I do? What’ll I do?”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Leave ‘em alone [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Yeah, so you’ve been able to make your living as an artist, uh, essentially your whole life, and that’s extremely amazing and very significant. Um, how has that been for you?</p>
<p><strong>McIntosh<br /></strong>Well, it’s a very difficult, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Situation. When you’re an artist, there’s—there’s not a lot of jobs sitting around waiting for you.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, I was very fortunate, uh, in the years that I was at Rollins [College], uh, as a temporary student…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Years ago, of course, and, uh, the brother of one of this[sic] Rollins students was an artist that[sic] I met who lived in Silver Springs[, Florida].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, I was, at that point—later on—had a master’s degree from the University of Michigan—teaching there.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And what do you do…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know? You don’t walk out with those credentials…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And walk into a job. Nobody’s awaiting for you.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And, uh, this friend had some really nice portraits of—that he had stacked on the floor…</p>
<p><strong>Parke<br /></strong>Hm.</p>
<p><strong>McIntosh<br /></strong>Against the wall. He was a landscape painter, and I said, “I didn’t know you did portraits,” and he said, “Well, I started with Jerry Farnsworth on Cape Cod[, Massachusetts].” He’s quite a prominent…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>American portrait painter, and he said—he said, “Why don’t you, uh, write Jerry Farnsworth and see if you can get a job as his assistant.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“Learn how to do really commercial portraits, and, uh, that way you might be able to make a living…”</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>“To start out with,” and I did so, and…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, was accepted with my credentials.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, didn’t even have a car…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>At that time [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I got off the bus in North Truro, Massachusetts, and was directed how to walk to the professor’s house, and, uh, Jerry Farnsworth and Helen Sawyer were, uh, uh, married, and she was a well-known, uh, artist.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And taught in the school, and, uh, this was basically, uh, a school, uh—portraiture school.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Minor landscape work—‘cause she taught and he taught the, uh—the, uh, portrait work. I was with him for five years.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>He had another school in Sarasota[, Florida].</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Uh, and, uh, Siesta Key[, Florida] [inaudible].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, uh, I was down there during the winter.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I worked in a hotel.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I was busboy, waiter…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Several other jobs—a hotel on the beach—and went to school and taught with him in—in mornings, and that exposure, uh, through five years…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>With him really…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Got me so I was able to make some money doing portraits.</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh<br /></strong>And I had, uh—uh, this hotel I was working in part-time, after the morning school sessions, someone saw my work there and recommended me—unknown to myself, uh…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>To the board of directors of, uh, an art museum…</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>Up in Virginia.</p>
<p><strong>Parke<br /></strong>Mmhmm [<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>And later on, I was accepted, became director of the museum there for five years, but, uh, those accidental things that happen.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know? You meet someone…</p>
<p><strong>Parke<br /></strong>Yep.</p>
<p><strong>McIntosh<br /></strong>Who’s done portraits, and, uh—for three years, I did portraits, uh, in Provincetown, Massachusetts…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, on the street…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Let’s say, uh, I had a studio…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In a building that was on—right on the Commercial Street there, but at night, I had a display outside and people would book portrait[sic] for their children and stuff.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Pastel portraits, uh, done for $10…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, in a matte and in a bag in 45 minutes. Uh…</p>
<p><strong>Parke<br /></strong>That’s so quick [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[inaudible]. It was—it was a shock to get—to have to start that kind of a routine…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>But I got used to it, and…</p>
<p><strong>Parke<br /></strong>[<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>Uh,I did six to eight portraits a day…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For the whole summer, ‘cause I had summers off, uh, from teaching, and, uh, that led—all those portraits I did—hundreds of them…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Literally, I, uh—for three years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Eight—eight days a week—seven days a week.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, so I had a—a record of lots of portraits in my…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Career. Now, those $10 [<em>laughs</em>] portraits…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Would be $60 [<em>laughs</em>] portraits.</p>
<p><strong>Parke<br /></strong>Yeah, exactly.</p>
<p><strong>McIntosh<br /></strong>[inaudible] at the time, but believe it or not, I bought my beach house on Cape Cod…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>With the money from—just from those…</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>$10 portraits.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>And, uh, as I was saving all that money…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In cash, uh, in a safe deposit box to go to Japan.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And this house came up for sale on Cape Cod on the beach, and I opted to buy this house…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>With that money, and I got to Japan later on in years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, had a wonderful experience in Japan, which is another story.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] So I know that you have a true love for Cape Cod. Um, what drew you here to Winter Park[, Florida]?</p>
<p><strong>McIntosh<br /></strong>Uh, my, uh—that’s a story that starts in Sanford[, Florida]. My sister and her husband were stationed—he was stationed in Sanford at the…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Navy base there, at that time.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And, uh, I came down for part of my high school and lived with them in Sanford. Uh, they had an old house on the lake, right opposite the airport…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>So the planes were taking off…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Over the house, and, uh, uh, they decided, after, uh, he left the Navy, uh, to stay</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, in Florida, because their son was, uh, a young son…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And was doing better health-wise in Florida…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>For some reason. I don’t know what…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But they decided to stay here.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And, uh, he, uh—they had a house and[?]—rented a house, right on the highway in[?]—across from Lily Lake…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>In, uh—in Winter Park.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Anyhow, uh, families tend to…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Follow families.</p>
<p><strong>Parke<br /></strong>Yes, they do.</p>
<p><strong>McIntosh<br /></strong>And, eventually, my parents…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh</strong><br />Moved down to Florida, because…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>My sister and her husband were…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Settled there, and, uh, later on, my brother—older brother—moved to Florida, and, uh, my other brother moved to Florida.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>So it was just gradual process.</p>
<p><strong>McIntosh<br /></strong>Uh, so that’s a story that people in Florida that[sic] are Yankees basically, uh, “wash ashore,” as they used to call it…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>On Cape Cod [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, they follow one another, you know?</p>
<p><strong>Parke<br /></strong>Mmhmm, yeah.</p>
<p><strong>McIntosh<br /></strong>It just happened at different time periods.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I’d go back and forth when—when I was in college…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>To, uh, my parents’ house, and, uh—so we all ended up here [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>]. And I stayed at it, and—oh, Winter Park has been very good to me.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I had wonderful exposure on Park Avenue for many, many years</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Which a lot of artists didn’t have that, uh—that lot that the, uh, uh, wonderful, old Golden Cricket Shop had a gallery…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Right in front of the shop that was all mine…</p>
<p><strong>Parke<br /></strong>Oh, wow.</p>
<p><strong>McIntosh<br /></strong>For years.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So I had like 10 paintings</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In the gallery, and a painting in the window, but it was a gift shop…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>That I had that exposure to the sidewalk with—with one major painting</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And people would come in and buy…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Or see paintings there for a number of years, and, uh, right after that, I was with Center Street Gallery, who actually, uh—uh, I think they owned the property that the Cricket…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Was—the Golden Cricket was on, and Hugh McCain and Je—Jeanette Genius [McKean] were friends, and—and Mr. McCain was one of my part-time professors at Rollins.</p>
<p><strong>Parke<br /></strong>Oh, nice.</p>
<p><strong>McIntosh<br /></strong>How they ever let me in…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Rollins? I don’t…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I don’t know, but, uh, I was only doing art…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Art there, but then, I had exposure at the Center Street Gallery, which was actually ended up right next door…</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh <br /></strong>To the Golden Cricket.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And an almost [inaudible]—almost war situation.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Between the two of them, and, uh, after long years at Center Street Gallery and a number of shows there, uh, I went with, uh, Solarte, which was a—a shop down the avenue, uh, owned by a French gentleman and his family, and had my—I had a big show there…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And had my work on display there for several years, uh, which was another exposure on Park…</p>
<p><strong>Parke<br /></strong>Mmhmm, yeah.</p>
<p><strong>McIntosh<br /></strong>Avenue, and I—I lucked into things like that, but, uh…</p>
<p><strong>Varty<br /></strong>Miller Gallery.</p>
<p><strong>McIntosh<br /></strong>Oh, well, Miller Gallery.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I was with them, but they weren’t getting the kind of support from the community</p>
<p><strong>Parke<br /></strong>Hm.</p>
<p><strong>McIntosh<br /></strong>Winter Park was—and maybe still is—a little difficult in—for a gallery.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Really, I don’t know why, because Winter Park people have plenty of money…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh, Miller Gallery stayed only for a year or so.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>They just weren’t…</p>
<p><strong>Parke<br /></strong>It just wasn’t making it.</p>
<p><strong>McIntosh<br /></strong>Making the sales.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And they left, so I don’t consider, you know, that a long association with them.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh…</p>
<p><strong>Varty<br /></strong>Naples[, Florida].</p>
<p><strong>McIntosh<br /></strong>Well, Naples, [<em>laughs</em>] yes.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>Varty<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I had careers [<em>laughs</em>] in this—I don’t know whether this leads directly into Naples, but, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Friends of mine, uh, on Cape Cod had a gallery, where my work was exhibited, and they were both professors, uh, in Boston[, Massachusetts].</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>At, uh, universities there and such[?], and, uh, they did the gallery work in the summertime, and had a beautiful gallery—one of prettiest ones on that end…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Of Cape Cod, and after a few years of success in that gallery, I had several shows there. Uh, they decided to, uh, give up the teaching, made a decision…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And the gallery was doing so well, they decided to have a second gallery in Florida, and, uh, I met them in Florida, and they were in Sarasota, at that time, and they were looking there, and they—both close friends of mine, as well as handling my work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, they kept—when[?] we were in Sarasota, they kept talking about Naples, and I said, “We’re sitting in Sarasota and you’re talking about Naples. Let’s go to Naples.”</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] It’s not far from there [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And they wanted my advice and stuff.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And so we all went to Naples, and they ended up renting, uh, uh, space in the nicest part of Naples downtown…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, it was only a couple of years. They were so successful. Basically, the only really good gallery in Naples, at that time.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Now there are probably a hundred galleries…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In Naples [<em>laughs</em>], uh, but as the years—few years—went by, they, uh, built a gallery on, uh, Fifth[?] Street—I don’t know what. The Naples Art Gallery—elegant, gorgeous, gallery.</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh<br /></strong>Big gallery.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, shows, uh, really top artists.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntos<br /></strong>And, uh, it was the—probably one of the prettiest galleries in the country.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>From outside and from inside.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It had mostly paintings, but they also—part of the gallery was elegant gifts, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And antique, uh—oriental antiques…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In a—just a side gallery, uh, but they were there for years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And most successful.</p>
<p><strong>Parke<br /></strong>That’s nice.</p>
<p><strong>McIntosh<br /></strong>And I had 24 one-man shows there.</p>
<p><strong>Parke<br /></strong>Just there? How many have you had in total again?</p>
<p><strong>McIntosh<br /></strong>35 [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>That’s awesome [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, but, uh, these shows were, uh, something else.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>They—actually, a one-man show only ran for a week…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Which is unusual.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, people were allowed to watch them hang the show on Saturday.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And they didn’t—people did come. They wanted to see what was coming up, and whether they wanted to go to the opening on Sunday [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And they weren’t allowed to buy anything…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh </strong>Uh, which is unusual.</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, they wouldn’t let somebody buy something that was supposed to go in the show that would not be in the show.</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>So Sunday night—are—are we getting close to the end here? You’re looking at…</p>
<p><strong>Parke<br /></strong>I’m trying—I’m just making sure that it’s picking everything up.</p>
<p><strong>McIntosh<br /></strong>Oh.</p>
<p><strong>Parke<br /></strong>Sorry [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Yeah, so the openings were Sunday night and this is a…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>This is a riot. Naples is very elegant. I had special clothes to wear when I had my openings, because, you know, you don’t wear pink sport coats in…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In Winter Park. Naples is very formal, but very…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Resort-y and very rich.</p>
<p><strong>Varty<br /></strong>Bizarre [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>What? [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>He—he can’t stop talking.</p>
<p><strong>Parke </strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh…</p>
<p><strong>Varty</strong> <br />Sorry.</p>
<p><strong>McIntosh<br /></strong>The, uh—on Sunday night, people, at six o’clock…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Would line up to come into the gallery, and the doors would not open till six, and here we go again.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>As they came in—sometimes in formal clothes, because they were going out separate[?].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, as they came in, they were not allowed to buy a painting.</p>
<p><strong>Parke<br /></strong>Hm.</p>
<p><strong>McIntosh<br /></strong>They could look for a half an hour, and, uh, at the end of a half an hour, they could make a bid on the painting and…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>So the wife—they—they would come in and they’d quickly [inaudible].</p>
<p><strong>Parke<br /></strong>They’d find one that they loved.</p>
<p><strong>McIntosh<br /></strong>Yeah.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>They’d see. Then on Saturday…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So they already knew there was one they loved[?]. So the wife would park her husband…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In front of the painting, and he would just stand in front of the painting with his arms folded blocking the painting.</p>
<p><strong>Parke<br /></strong>Oh, my goodness.</p>
<p><strong>McIntosh<br /></strong>So that the other Naples folks knew that they…</p>
<p><strong>Parke<br /></strong>That that was taken.</p>
<p><strong>McIntosh<br /></strong>So at 6:35, they would[?]—[inaudible] this—the—the wife would say, “We have that one.”</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And—but they didn’t want, uh, people to presell from seeing the work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>The day before or whatever—week before—and, uh, they wanted everybody that[sic] was coming to the show basically to…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>To be able to buy a painting.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, so consequently, uh, the sales were almost always right in the first couple of days…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>For the opening night, and, uh, rest of the week some of them would be out on their yachts…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And stuff, so they didn’t want to miss these shows…</p>
<p><strong>Parke </strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>If they looked important, and so I basically made my living, uh, in—in, uh, one week out of the year.</p>
<p><strong>Parke<br /></strong>That[sic] amazing.</p>
<p><strong>McIntosh<br /></strong>At a Naples show.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, and if it rained on the opening night, uh, that—that put a damper on sales.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh, it worked out 24 times</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] So…</p>
<p><strong>Parke<br /></strong>That’s great.</p>
<p><strong>McIntosh<br /></strong>And, uh, the gallery truly—well, it just—you’ll see the picture of it.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>It was, uh, probably one of the prettiest galleries…</p>
<p><strong>Parke<br /></strong>Extravagant.</p>
<p><strong>McIntosh<br /></strong>In the country. Very, very beautiful.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>These guys had good taste.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, they handled [inaudible] Glass[?].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Um, a lot of well-known painters from California and other parts of the country.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And[?], uh, I actually—I’ve always been interested in antiques. I bought antiques in Winter Park for them to put in their gallery.</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>In their sales gallery—antique area there, and, uh, they didn’t have time…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>To scout antiques.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>I loved scouting antiques [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>That’s nice.</p>
<p><strong>McIntosh<br /></strong>So I would buy stuff for them, and—and they would se—sell it at the gallery…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For 10 times what I got.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>I was getting good bargains…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>From dealers here in Winter Park and elsewhere. Uh…</p>
<p><strong>Varty<br /></strong>Don’t forget the Blue Heron Gallery and the Cove Gallery.</p>
<p><strong>McIntosh<br /></strong>Well, I know those were galleries on Cape Cod. I’m not going to forget them, but, uh, I exhibited at the Blue Heron Gallery and another top gallery on Cape Cod…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For many years. Before that, the Cove Gallery., uh, so I had those two galleries on Cape Cod.</p>
<p><strong>Parke<br /></strong>So you’ve been all over [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well, you’ve gotta—when you’re painting every day…</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, you know, you need the exposure, and, um, just ended up being on Cape Cod, for, today, it’s six months of the year.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>At Cape Cod., uh, when I was teaching, we had shorter summers, but, uh, now, it’s half here half on Cape Cod.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Cape Cod is a fabulous place for artists.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, the light is gorgeous there for painting, and the portrait studio there, on a gray day, the light was absolutely…</p>
<p><strong>Parke<br /></strong>Oh.</p>
<p><strong>McIntosh<br /></strong>Gorgeous on—on the models on a gray day.</p>
<p><strong>Park<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, uh, very cool light.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Florida has that hot light.</p>
<p><strong>Parke<br /></strong>Yes [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[inaudible].</p>
<p><strong>Parke<br /></strong>It does.</p>
<p><strong>McIntosh<br /></strong>Well, [inaudible] it’s not just the heat it’s a harsher light…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For a painter than Cape Cod. That’s why Cape Cod has many, many artists.</p>
<p><strong>Parke<br /></strong>Okay. That’s interesting.</p>
<p><strong>McIntosh<br /></strong>It’s in[?] the, uh—the, uh, most famous American painter today. Eric? [<em>laughs</em>].</p>
<p><strong>Varty<br /></strong>Yes. Edward Hopper?</p>
<p><strong>McIntosh<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>Varty</strong> <br />[inaudible]?</p>
<p><strong>McIntosh<br /></strong>Uh…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Not…</p>
<p><strong>Varty<br /></strong>Uh, [inaudible]?</p>
<p><strong>McIntosh<br /></strong>Not Miligrove[?]. Probably the most famous…</p>
<p><strong>Varty<br /></strong>Uh…</p>
<p><strong>McIntosh<br /></strong>Uh, American painter…</p>
<p><strong>Varty<br /></strong>[inaudible]?</p>
<p><strong>McIntosh<br /></strong>Of—of all time…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Is, uh, Robert, uh [<em>laughs</em>]—Eric?</p>
<p><strong>Varty<br /></strong>Who?</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Who’s the person you—what was the first name?</p>
<p><strong>Varty<br /></strong>Oh, Edward Hopper.</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I’m talking and I’m forgetting as fast as I can[?].</p>
<p><strong>Varty<br /></strong>You could see Edward Hopper’s house…</p>
<p><strong>McIntosh<br /></strong>Yeah.</p>
<p><strong>Varty<br /></strong>From Hal’s house on the Cape.</p>
<p><strong>Parke<br /></strong>Oh, wow.</p>
<p><strong>McIntosh<br /></strong>Yeah</p>
<p><strong>Parke<br /></strong>That’s awesome [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And I knew Edward Hopper through the Farnsworth’s [inaudible] school.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I went to, uh, cocktail parties with him.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And one time Jerry Farnsworth said that, “We’re going to this party and Edward Hopper will be there, but, uh, you’ll—I’ll introduce you to him, but don’t expect him to say much…”</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>“Because he doesn’t—isn’t a big talker,” and, uh, I did meet him that night, and, uh, he was a very polite listener and wonderful. Very imposing…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Tall gentleman, but I could see their house from…</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>Down the beach on the cliff from my house, and anyhow, uh, I wasn’t a close friend of Edward Hopper’s, but we were close enough. Uh, we sat in a Christian Union Church, when they had these flea market sales of clothes and china…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And stuff, and his wife<a title="">[1]</a> and Mrs. Farnsworth were trying on…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Cheap clothing, blouses and suits…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And coats, and…</p>
<p><strong>Varty<br /></strong>Uh…</p>
<p><strong>McIntosh<br /></strong>Step, uh…</p>
<p><strong>Varty<br /></strong>[inaudible].</p>
<p><strong>McIntosh<br /></strong>No [<em>laughs</em>]. They would—we would…</p>
<p><strong>Varty<br /></strong>Mrs. Farnsworth was Helen Sawyer.</p>
<p><strong>McIntosh<br /></strong>I’ve already made that clear.</p>
<p><strong>Varty<br /></strong>Oh, okay. Reference her at the Morse Museum of American Art.</p>
<p><strong>McIntosh<br /></strong>Okay. Uh, Helen Sawyer is Mrs. Farnsworth.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And is recognized in major museums…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>As well as Farnsworth was. Both of those, uh, couples—Farnsworth and Hopper—were both, uh, active during the [Great] Depression.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh</strong> And they were frugal.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Farnsworth had a garden where they grew their own vegetables, so they wouldn’t go to the grocery store except to buy meat</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But they grew everything else, and they were used to—during the Depression, Jerry Farnsworth, a famous portrait painter, would make clothes out of old, uh, bags</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Flour bags that they used to have patterns on the big bags of—of flour for his wife</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And very frugal [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And that’s why those two wives were trying on cheap clothes at the church …</p>
<p><strong>Parke<br /></strong>‘Cause that’s what they always knew.</p>
<p><strong>McIntosh<br /></strong>Sale. Well, they just, you know, uh—they weren’t shoppers. [inaudible] [<em>laughs</em>]. Eh, uh, Eric and I would say, uh, [<em>laughs</em>] he—Hopper—Edward and I sat there and he would just shake his head</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Every time they came out in one of these outfits. You know, outfits for two dollars [<em>laughs</em>].</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But here’s—at that time, he was a well-known painter.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, extremely well-known.Now he’s considered one of the top American painters</p>
<p><strong>Parke<br /></strong>Mmhmm, yeah.</p>
<p><strong>McIntosh<br /></strong>Period. Uh, [<em>clears throat</em>] a wonderful, wonderful man.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>His—his wife did all the talking.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] Always.</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I find[?] out—found out why he’s so quiet, because…</p>
<p><strong>Parke<br /></strong>‘Cause he has a wife to make up for it [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>She—she talked all the time [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>That’s probably why Edward was fairly silent, but, uh—a big tall man.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Very imposing man, and, uh his work is—is fabulous.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Fabulous. Really [inaudible].</p>
<p><strong>Parke<br /></strong>It’s beautiful.<strong> </strong>Um, can you tell me a little about your teaching philosophy? I know teaching was a big part of your life.</p>
<p><strong>McIntosh<br /></strong>Oh, absolutely. I’ve taught for over 40—40 years [<em>clears throat</em>], and, uh, I think my philosophy is—basically, in teaching—is how to teach the students how to see</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, people don’t see like artists, and, uh, it takes a long time to get them to that point. I also wanted them, uh, to end, uh, up being taught and being brought out as individual painter, not as a [inaudible].</p>
<p><strong>Parke<br /></strong>As a cookie-cutter…</p>
<p><strong>McIntosh<br /></strong>Well…</p>
<p><strong>Parke<br /></strong>Standard.</p>
<p><strong>McIntosh<br /></strong>Not—not the [inaudible]—cookie-cutter. So many students and many of my early students wanted to study with me, because they wanted to paint like me, and I went through two schools with Farnsworth. Later on, Bassford School, where they taught only their style, and the students were painting as much as they could like the teacher.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>My philosophy was that I would expose my students to different techniques. Every couple of weeks, they would have a new project. This week we’re, uh—do an abstract. Uh, next week we’re gonna do this and this, uh, but it—it shocked them, because they</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know, they had to start thinking differently</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Because these were specific, uh, instructions that we’re gonna go in this direction…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Art-wise, uh, and I would find [<em>clears throat</em>] after a long time—I had students for years. Some of them by being exposed to different techniques and presentations of art, I would find one person, suddenly, would just glow when they—you know, because they…</p>
<p><strong>Parke<br /></strong>They found what they were supposed to do [<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>Found what they loved</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And I would say, “Okay, Mrs. so-and-so or Mr. so-and-so, you’re gonna stay…”</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /> </strong>“With this technique as long as you can.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“Forever, if possible.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“We’re going to keep trying stuff,” and as—as I kept students for a long time. They—they loved my classes, and in spite of the fact they were in shock when I had to expose them to different…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Techniques, but eventually, all ended up with their own…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Style, and that’s the biggest service you can do to a student—is find them and what’s in them.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Teach them how to see.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I had—students would come to me, practically in tears…</p>
<p><strong>Parke<br /></strong>Oh.</p>
<p><strong>McIntosh<br /></strong>After a couple years studying. They’d say, “I—finally, I know what you meant when you said, ‘You’ve gotta learn to see.’ I see things so much differently.” uh, I’m visual.</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>All my life, I’ve been visual. Uh, I could turn my head and see subject matter around me anywhere or in the gutter.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know, I would—I’d tell them, “Look down,” you know, “Look at the cement. There might be something there…”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“That’s beautiful. Uh, look—look at that garbage can.” You know, there’s beauty everywhere.</p>
<p><strong>Parke<br /></strong>That’s a remarkable skill to have [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well—but I had severe exposure in the portrait school…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>To the particular style, uh, that I was learning, uh, because he taught only his style. After that, you’re—in time, you go to your own style.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>There’s a long delay, if you have been with one teacher the long time. You’re only doing…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>His style work, and a lot of artists do the same, uh, basic work[?] their whole lifetime. People don’t recognize work—my work sometimes, ‘cause one day I’ll do an abstract and the next day I’ll do a floral, uh…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know, I love changing from one to another.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I don’t consider, uh, abstracts any different than…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Realistic paintings. Uh, every painting starts out as an abstraction, and, uh, they’re—you know, a painting’s a painting.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, the art world has expanded so much now that it’s gone way beyond painting. It’s in constructions and light shows and huge presentations and…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Sculptures and other things, you know? It’s very complex now, but, uh, as far as the painting world goes, uh, I was just—get energy from doing different things.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>It energizes me, and, uh, uh, I have ideas now, you know, that I could never get to…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I’m sure [<em>laughs</em>], but I’m still clipping things out of magazines that I like and, uh, just keeping stuff for…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>You know, paintings that I’m exposed to—to, uh, [inaudible] that I admire.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Um, but, um, you should talk to some of my old students that[sic]…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>They’re old like I am [<em>laughs</em>], you know, uh, and they’re having big shows.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Lot of my students, uh, went right on professional work, and work—are making prices higher—higher than mine [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, they all had their own look, eventually. That’s why I kept students so long…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Because, uh, they just wanted that assurance, and they—still got exposed to a lot of, uh, unusual approaches, but, uh, a core of about 30 students stayed with me for years.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>And, uh, I’ve done portraits with a number of my students…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In the past. I had been commissioned to do portrait, a really lovely lady from, uh, Tavares area up there, and, uh, uh, she had me over to do a—to talk about a portrait, and she said, uh—I realized right away there was something, uh—she had a problem. She’d had a stroke, and she didn’t like the photographs that were being taken of her to present to friends and family and all that stuff. She was getting on and she was very concerned about facial, uh, problems, and, uh, she was still a beautiful lady</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But you could tell she couldn’t sit for a portrait for a long period of time, but, uh, I took some photographs of her, we had lunch a couple times and talked ,and I did a large major portrait of her, uh, that nobody would recognize</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>That there was a distortion in her face [<em>laughs</em>]. She loved it.</p>
<p><strong>Parke<br /></strong>Aw.</p>
<p><strong>McIntosh<br /></strong>And, uh, her family loved it. She wanted to leave a heritage [inaudible].</p>
<p><strong>Parke<br /></strong>Of course.</p>
<p><strong>McIntosh<br /></strong>Uh, and it was a challenge for her, because she didn’t want to be photographed, and, uh, she had dedicated caretakers and stuff—wanted a picture of her and stuff, but, uh, it happened to be quite a nice portrait</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>But I knew her for so many years…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>That I knew how to eliminate those problems, and I know her, but you don’t often get challenges like that.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It was a major challenge for me, but in every portrait is a major challenge, because you, uh—you really want to get the essence of the person, as well as the outward visual quality of them, and, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You have to get something a little deeper than…</p>
<p><strong>Parke<br /></strong>Yeah, is that kinda what you want people to get when they look at your art? That there is something—like, what do you want people to take away from your art, would you say?</p>
<p><strong>McIntosh<br /></strong>Uh, whatever they want.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Uh, I’ve been—I’ve been pleased to have, uh, letters from people that[sic] hated abstract art, and, uh, they see some of my abstracts, and they—they thank me for…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>This is possibly through my nephew, and his dental office has a number of my paintings, and…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, abstracts and realistic ones.</p>
<p><strong>Parke<br /></strong>[<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>And they spend time there and they see abstract there[?]. Uh, they finally say, “Well, I guess that’s alright stuff.”</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, there’s a lot of people—just close their minds to abstract and other radical approaches to art, and it’s all the same. It’s, you know—I minored in sculpture. I would just be happy as ever to go back to sculpture …</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And do nothing else, but, uh, it’s a little hard to combine the two, uh, careers, because, uh, [inaudible] sculpture is messy.</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] It’s messier than painting, and, uh, my sculpture—I had my sculpture from Michigan, uh—minored in sculpture at the University of Michigan—and, uh, my work there—the pieces went into a gallery, uh, out of town.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And the gallery owner skipped the country, sold the work, kept all the money and never paid his artists, so I [<em>laughs</em>] never got my…</p>
<p><strong>Parke<br /></strong>Oh.</p>
<p><strong>McIntosh<br /></strong>Sculpture back, and I never…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Got any money from ‘em[?], but that was a wild, uh, [<em>laughs</em>] chase there.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Uh, I’ve done murals. I did a mural at the University of Michigan that was about 60 feet long.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>And I’ve done major mu—murals. I did a major mural in a restaurant, and, you know…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Shoe store [<em>laughs</em>] or…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[inaudible], shoe store. Uh, did—I did some window display of[?] back[?], piddled in a lot of minor…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Careers. Stuff like that, uh, but, uh, it’s all tied up with art…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know, but, uh…</p>
<p><strong>Parke<br /></strong>What do you think inspires you to create?</p>
<p><strong>McIntosh<br /></strong>What inspired me?</p>
<p><strong>Parke<br /></strong>Mmhmm, sounds like a lot of different things [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well, my vision, I guess.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, I’m inspired by a lot of artists.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, each—each for a different reason.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh </strong>Uh, I can’t minimize that</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, I just see stuff and, uh, it excites me. I say, <em>It would be wonderful to paint that.</em></p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I still have that, uh—I’m not able to paint eight hours a day, and never did.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /> </strong>But I paint mostly in the afternoons, most of my life. Uh, do the laundry in the morning [<em>laughs</em>]…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, in my teaching career I had to teach and paint also. So, uh, when my students were finished for the week, I got my studio back…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>’Cause we both had the same studio, but, um, I—I get excited to be sitting where we are here, uh, seeing birds and animals and trees and flowers and all that stuff. Uh, I just—I just see things, and I’m, uh, fortunate in, uh—if I have photographs of things…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I can’t see again. Uh, I painted outside for years. Uh, as I got—you know, later on in my career, I did everything in the studio and worked from, uh, reference material.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, tons of reference material. Like an illustrator…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Has tons of…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Material to work from, but, uh, my paintings got large, and if you’re painting outside in the wind…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And the—you know, the painting is flopping…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In the wind, and, uh, also, uh, I find that painting outside quite often, uh—when you get the painting inside you see that the colors are difficult to…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Being out in the hot sun.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, transferring that, uh, you know—it’s not as good when you get it inside…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So—and, uh—but I think you have to paint from life outside, and from portraits, you have to paint from life to learn how to paint without the sitter or without being in front of the subject.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Because your, uh, inventiveness comes out when you’re isolated in your studio.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>You may have started something out. I’m working on an abstract now, and, uh, just as a joke I’m—when it gets in the show, I’m gonna call it <em>Two Horses</em>, and it’s an abstract painting.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But if you’ll look—I mean, before you leave there [<em>coughs</em>]—two Chinese, wooden horses in my apartment here.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I was painting them on Cape Cod. [inaudible] was painting of both of those horses, and I just got, eh—I wasn’t getting the way I wanted to. so I started scribbling them out with other colors, and underneath is the[?] abstraction—or[?] is the painting of these two horses, but, uh, when it doesn’t work, you know it, and you say, <em>Well, I gotta go on</em>, and to paint the canvas white—to get rid of the two horses—is a shame, because there’s color there…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And there’s[sic] shapes there, and do your new painting into that, leaving some of the—you can’t recognize anything about…</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The horses, but, uh, that’s where the painting start out.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>If it were ever, uh, X-rayed [<em>coughs</em>]—my voice is so weak from my breathing problems, uh, but I’m sure it comes out…</p>
<p><strong>Parke<br /></strong>Oh, yeah.</p>
<p><strong>McIntosh<br /></strong>In your machine.</p>
<p><strong>Parke<br /></strong>It’ll show up well.</p>
<p><strong>McIntosh<br /></strong>But, uh, [<em>clears throat</em>], uh, if they ever X-rayed [<em>laughs</em>] that painting…</p>
<p><strong>Parke<br /></strong>Then you would…</p>
<p><strong>McIntosh<br /></strong>You would see…</p>
<p><strong>Parke<br /></strong>See it [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The horses there, and, uh—but other abstracts just paint themselves.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh, once you get something down on a canvas—I don’t care what it is—just a splash of blue out—out of the blue—the—the rest of the work you’re painting into that piece—it’s a—it’s a piece of the puzzle.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It may have nothing to do with…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The final painting but, uh, you know, there’s a lot more in a painting than people know.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Because they don’t see the progression of it.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And that’s why, uh, it, uh—I men—wanna mention these TV shows with artists, because most artists don’t consider those people…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Artists [<em>laughs</em>]. I don’t[?]—cancel that…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Uh, but anyhow, it’s—it’s—it’s a wonderful career.</p>
<p><strong>Parke<br /></strong>Good.</p>
<p><strong>McIntosh<br /></strong>nd the—you saw some of my acting photographs there? [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>That was wonderful [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well, done a little bit of that, but, uh…</p>
<p><strong>Varty <br /></strong>Winter Park Arts Festival also.</p>
<p><strong>Parke<br /></strong>Yeah, um, the Winter Park Arts Festival—you were kind of a founding member of that. That’s a big deal.</p>
<p><strong>McIntosh<br /></strong>Yes.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And I lived just down the street from the festival. Uh, I lived across the street from the Langford Hotel…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Which is gone now, Uh, and—and I mentioned that was my Japanese house, which was quite a—a notable thing in Winter Park, because there weren’t any Japanese houses here, and I had been to Japan, and, uh, had a house fire, and remodeled the whole place in Japanese style…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>After my visit to Japan. Anyhow, during the Art Festival years, I was walking all my materials down to the Park Avenue, and, uh, setting up in front of my…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Golden Cricket Gallery, and, uh, after two years, I realized that I’m on the street…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Trying to sell paintings, and [<em>laughs</em>] my studio is—or my gallery—was right behind me…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And they make a commission on—on the sale of paintings, so that’s why I only did the Art Festival for…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I don’t know—four or five years</p>
<p><strong>Parke<br /></strong>A few years?</p>
<p><strong>McIntosh<br /></strong>Uh, ‘cause I had gallery connections…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>On the Avenue, and you don’t do that. You…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Your gallery,back then, was taking 33 and a third percent.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Nowadays, [<em>clears throat</em>] it’s 50 percent, and in New York, some galleries taking[sic] 75 percent.</p>
<p><strong>Parke<br /></strong>Wow, wow.</p>
<p><strong>McIntosh<br /></strong>So the art—people don’t realize that artists that[sic] work in galleries are—are paying…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Quite a commission to galleries, especially if you get the kind of exposure that New York…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Major galleries give you, uh, but, uh, I—I—I opted out of the Art Festival, because, you know, it just was—I was competing…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>With myself [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, it was fun back in those years.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know, because it was pretty much local, and, uh, it grew and grew and grew and grew, and now, many[?] artists go—they paint and sculpt and do their craft part of the year, and the rest of the year, they travel…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>With a show—street shows—and they have their tents and all that stuff, and that’s half of their exposures…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Possibly happen because they don’t have to pay the galleries…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know? Uh, that’s not the only reason it’s good exposure, but, um, it’s a wonderful learning experience to…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>To have your work shown anywhere.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, you—you get comments, you get criticisms, and, uh, you get to see your own work.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>My paintings generally don’t hang around. I think I told you this before.</p>
<p><strong>Parke <br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, when I finish a painting—and through the years having gallery associations—when I think the painting’s finished, I frame it and get it to the gallery…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I forget them, because I’m thinking of the one I’m working on.</p>
<p><strong>Parke<br /></strong>The next one [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Yeah.</p>
<p><strong>Parke<br /></strong>The upcoming one [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The next one.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, I’ve only hung one painting, uh, of my own…</p>
<p><strong>Parke<br /></strong>Yeah, that’s what you had told me before.</p>
<p><strong>McIntosh<br /></strong>In my apartment and, uh, my house in Winter Park. Uh, it’s a very large, abstract painting, and you won’t believe this, but I don’t—I’ve never hung my own paintings.</p>
<p><strong>Parke<br /></strong>What’s the reason behind that? Do you have a reason?</p>
<p><strong>McIntosh<br /></strong>Uh, I—I wanted them to—to go to the gallery and sell.</p>
<p><strong>Parke </strong>Mmhmm.</p>
<p><strong>McIntosh </strong>And I—I’m interested in a new one. I don’t wanna…</p>
<p><strong>McIntosh </strong>Yeah.</p>
<p><strong>Parke </strong>If I kept that painting sitting around—you…</p>
<p><strong>McIntosh<br /></strong>I’d see something…</p>
<p><strong>Parke<br /></strong>You keep moving forward.</p>
<p><strong>McIntosh<br /></strong>And change either[?] this or what[?], but, uh, I just got rid of it, so I could get on with the next…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>One, and, uh, I produced a lot of work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Over the years, but that particular painting, uh, sold to my friend’s<a title="">[2]</a> mother, and hangs in the Mayflower.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>She’s got it in her apartment. It’ll be in the show.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And just ran across a letter from Maury Hurt, who I told you is…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Part of the best artists in…</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In Winter Park and Orlando. Uh, there was a very nice, sensitive letter from him from a show that I had, uh—and that painting, he mentions specifically. [inaudible] I think I’ll have that framed…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And put it next to the painting in the show, because people know who Maury Hurt is here, and his word, uh…</p>
<p><strong>Parke<br /></strong>Is important.</p>
<p><strong>McIntosh<br /></strong>It was a compliment. It was an extreme compliment</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But the way he worded it, it’s like an artist…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Words something. Not like a—just a casual visitor. It’s a sensitive…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Approach that he put in this letter to me. So you’ll see that letter. Here you can read it if you want, but, uh, I would be happy to keep painting…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>For the rest of my days, for the next 20 years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, I remember seeing pictures of, uh, artists, [inaudible] not [inaudible], but, uh—I’m losing it now for a minute—but I was bedridden—he was bedridden anyhow. I can’t think of his name, and they made eight-foot brushes for him.</p>
<p><strong>Parke<br /></strong>So he could reach?</p>
<p><strong>McIntosh<br /></strong>So he could reach the canvas. That’s how artists—some artists are [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, I—I could paint hundreds more pictures.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh <br /></strong>But [<em>laughs</em>], uh, [inaudible] wheel me around pretty soon.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Um, it’s been, uh, interesting talking to you, and, uh, I hope some of this stuff…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You understand.</p>
<p><strong>Parke<br /></strong>Oh…</p>
<p><strong>McIntosh<br /></strong>[inaudible].</p>
<p><strong>Parke<br /></strong>This is wonderful.</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Sorta different than other teachers.</p>
<p><strong>Parke<br /></strong>It’s been great talking to you.</p>
<p><strong>McIntosh<br /></strong>Especially…</p>
<p><strong>Parke<br /></strong>I feel like I’ve learned a lot.</p>
<p><strong>McIntosh<br /></strong>Good. Well…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>So you can paint now.</p>
<p><strong>Parke<br /></strong>I can.</p>
<p><strong>McIntosh<br /></strong>Yep.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Anybody can paint.</p>
<p><strong>Parke<br /></strong>Um, can I ask you one last question?</p>
<p><strong>McIntosh<br /></strong>Sure.</p>
<p><strong>Parke<br /></strong>Um, I know that you worked at the [Albín] Polasek Museum [& Sculpture Gardens]. Did you know Albín [Polasek] and his wife, Emily [Muska Kubat Polasek]? And…</p>
<p><strong>McIntosh<br /></strong>Yes.</p>
<p><strong>Parke<br /></strong>How was that for you? How were they?</p>
<p><strong>McIntosh<br /></strong>Uh, Albín, I didn’t know that well.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, saw him just on different occasions and talked, but Emily, I knew and sat with her. Uh, she made cookies for me…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] And cookies that are from her home country<a title="">[3]</a>—very complex little cookies—and she even gave me the equipment to make them myself.</p>
<p><strong>Parke<br /></strong>Wow [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, I—knowing Albín and being a—a sculptor myself part-time, uh—and also, my [<em>coughs</em>]—my brother-in-law, Ken Wacker, along with, uh, Rever Haines, the lawyer, were very influential in the early Polasek years.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And keeping the estate, and running the—the home [inaudible].</p>
<p><strong>Parke </strong>The institution, yeah.</p>
<p><strong>McIntosh </strong>And—and working on its future…</p>
<p><strong>Parke </strong>Mmhmm.</p>
<p><strong>McIntosh </strong>Uh, through Albín when he was alive, and then very, very kindly through Emily, because, uh, she was left, but they—they were extremely influential in the early years, and, uh, I was Artistic Consultant for the museum for five years.</p>
<p><strong>Parke </strong>Wow.</p>
<p><strong>McIntosh<br /></strong>nd, uh, I actually climbed up on the huge painting of the <em>Man Carving His Own Destiny</em>…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And I was cleaning that and doing that[?]. I also knew, uh, so much about what Albín would—would have liked.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, and that’s a, uh, very sensitive thing, because, uh, you’re put with responsibility when an artist is gone, and, uh, he specifically had feelings—different feelings—about his work that I could see.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, I restored things, uh, that I discovered that he had done.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, and I realized how, uh, religious a man he was.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Totally dedicated to his religion,<a title="">[4]</a> and then my partner and I, uh, designed, uh, the wall in front of the museum and the gates that…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Go in, and, uh, Eric Varty, uh, did the chapel—over the ceiling of the chapel—uh, and I had, uh the paintings of the Stations of the Cross framed and redone, because they were actually rotting out in…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>That damp studio, and, uh, I did a patina—a painted patina—on all of the—the Stations of the Cross were do—done in plaster.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And they were white, and I first saw them stacked somewhere, and I convinced my brother-in-law…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>That they should be put on a wall, and they built this wall and installed these plasters on the wall—life-size from the original. I painted them and painted a patina, which is done to age the…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>o, uh, fake the age of a—of a bronze piece.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I did that, uh, on all the statues.</p>
<p><strong>Parke<br /></strong>That’s amazing.</p>
<p><strong>McIntosh<br /></strong>Uh, those stations, and, uh, they were later, uh, reproduced by another artist for a client, and they came down, and now they’re having some of them cast</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Some of them are still plaster, but, uh, it just, uh—that portrait of, uh, Albín [<em>clears throat</em>] that hangs in the museum was done, uh, by Charles Hawthorne.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>A beautiful portrait was over the mantle. I don’t know where it is now, uh, but Charles Hawthorne was a Cape Cod painter</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And my teacher, Jerry Farnsworth, and his wife, Helen Sawyer—both famous painters—studied with Hawthorne.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So, uh, coincidence to…</p>
<p><strong>Parke<br /></strong>I was going to say that…</p>
<p><strong>McIntosh<br /></strong>To…</p>
<p><strong>Parke<br /></strong>That’s a huge coincidence.</p>
<p><strong>McIntosh<br /></strong>I didn’t know Hawthorne, but, uh, Hawthorne’s a fabulous, fabulous…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, painter of figure—of the figure. Uh, Cape Cod has—museum has wonderful work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Of his in Provincetown, but he taught in Provincetown, uh, in the open air, had models out by the beach.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>There are old photographs of my teachers at their easel…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>With him teaching with, uh, Provincetown…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Harbor in the background, and[?]…</p>
<p><strong>Parke<br /></strong>And he just so happened—just so happened to paint Albín too.</p>
<p><strong>McIntosh<br /></strong>Well, I just—I don’t know how they commissioned it—how they found this fabulous painter to do Albín—but Albín must have known his work…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, because that is a great portrait.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, but it’s a small world, you know?</p>
<p><strong>Parke<br /></strong>That’s crazy.</p>
<p><strong>McIntosh<br /></strong>Uh, and late in years that I, you know—way back, when I [inaudible] knew Albín briefly, uh, I met another sculptor—a major sculptor—Mahonri [Macintosh] Young, the grandson of Brigham Young. I was in his studio and I forgot where it was…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But I was invited somehow to get into his studio.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And there was this huge portrait of a seated gentleman, and it was like about 25 feet tall, you know, in his studio in—in clay.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It was going to be cast, and, uh, as a young student and learner, [<em>laughs</em>] I was so impressed seeing the scale of that work, uh, and, uh, he said, “Oh,” uh, you know, “this is gonna be cast.” He said, “I’m sorry you weren’t here when I was working on the 80 foot—180 foot tall piece,” in…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In back[?]—it was—took a whole train…</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>To take this sculpture…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>To, uh, the—where the [inaudible]—Mormons in—in, uh—where—where are all the Mormons at?</p>
<p><strong>Parke<br /></strong>In Utah.</p>
<p><strong>McIntosh<br /></strong>In Utah.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And it’s a gigantic, uh, statue with dozens of figures on it. Uh, I had no idea the height of it, but it’s a major…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Piece, and, uh, uh, to see stuff in the studio that’s going to go to the foundry, you know, eventually, and just—I’ve been very lucky to have those visits.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I had private visits with one of the top American architects, uh, Philip [Cortelyou] Johnson. The famous Glass House<a title="">[5]</a> in—in [New Canaan,] Connecticut…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, was a famous American, uh, accomplishment for—he’s—he’s passed away now, but I was—had private visit with him with, uh, another architect friend of mine to see this Glass House in person…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And to meet him, and, uh, I’ve just been very lucky to have exposure to…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Some very great people, and anyone who knows architecture knows—knows, you know, Phillip Johnson, right up there with the top architects in—in the world, but, uh, his house was fabulous.</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>It’s in the woods, basically, and it has no light fixtures…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In the house at all. The, uh—all the walls are glass all the way around, and the house is lighted by lights outside in the trees that you can’t see.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And on a rheostat[?], those lights can be turned on, so you can read in the house, and you never see a lamp or anything.</p>
<p><strong>Parke<br /></strong>That’s amazing.</p>
<p><strong>McIntosh<br /></strong>It’s an amazing house. You’ll…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>You’ll see it…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In a book, uh, and…</p>
<p><strong>Varty<br /></strong>There’s also your involvement with, uh, Maitland Art Center and [Jules] Andre Smith.</p>
<p><strong>McIntosh<br /></strong>Well, I can’t talk forever.</p>
<p><strong>Varty<br /></strong>That’s a good story.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] She’s gonna run out of juice [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] I was going to say, I can come back another day…</p>
<p><strong>McIntosh<br /></strong>Oh.</p>
<p><strong>Parke <br /></strong>And we can talk about a lot more stuff too.</p>
<p><strong>McIntosh<br /></strong>Well, that’s a—quite a good story for you—my association with, uh, [J.] Andre Smith.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>At the Maitland Art Center.</p>
<p><strong>Parke<br /></strong>That’s kinda where you got your, like—kinda your main start here, right? In Florida? Is that where you kinda began?</p>
<p><strong>McIntosh<br /></strong>Uh, well, I began…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] Many years before…</p>
<p><strong>McIntosh<br /></strong>Many years before.</p>
<p><strong>Parke<br /></strong>But [<em>laughs</em>]…</p>
<p><strong>Varty<br /></strong>High school.</p>
<p><strong>McIntosh<br /></strong>But the, uh—my association with Andre Smith is worth a—another little time…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>And you’ve got plenty of…</p>
<p><strong>Parke<br /></strong>Got a lot of stuff.</p>
<p><strong>McIntosh<br /></strong>Yeah, but, uh, I was very close to Andre Smith, and I happened to be the only living, uh, Bok Fellow.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, I was, uh, at—invited to live there, and I had my own studio there three different years.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>Different times…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Before I went in the service and came out of the service, and I was very close to Andre Smith. It was called the [Maitland] Research Studio…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Then, and the—the artists that[sic] were invited there, uh, found and all financed by Mary [Louise] Curtis Bok<a title="">[6]</a>…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Of Bok Tower [Gardens]<a title="">[7]</a>…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>In [Lake Wales,] Florida. They were all older artists, and I was the only—I was 18.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know?</p>
<p><strong>Parke<br /></strong>You were a baby still.</p>
<p><strong>McIntosh<br /></strong>Well, yeah, I was, ‘cause[?] compared to them, they were all well-known</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, uh, I became very friendly with, uh, the brother of Maurice [Brazil] Prendergast who’s…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>A famous, well-known painter—American, uh—well, landscapes, figures…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, but the brother—brother was at the, uh, Research Studio, at that time [<em>clears throat</em>]—Charles, uh, Prendergast—and, uh—well, that’s another story.</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I’m getting [inaudible]. My voice is wearing.</p>
<p><strong>Parke <br /></strong>Yeah—no.</p>
<p><strong>McIntosh<br /></strong>Uh…</p>
<p><strong>Parke<br /></strong>We’ve got a lot of stuff, so thank you so much for talking with me.</p>
<p><strong>McIntosh<br /></strong>Oh, it was my pleasure.</p>
<p><strong>Parke<br /></strong>And I know—I’m sure we’ll talk again soon.</p>
<p><strong>McIntosh<br /></strong>Yeah…</p>
<p><strong>Parke<br /></strong>Thank you.</p>
<p><strong>McIntosh<br /></strong>And I—I gotta show you those two horses inside [<em>laughs</em>].</p>
<p><strong>Parke <br /></strong>Oh, I’m very excited about it [<em>laughs</em>].</p>
<div><br /><div>
<p><a title="">[1]</a> Josephine “Jo” Verstille Nivision Hopper.</p>
</div>
<div>
<p><a title="">[2]</a> Eric Varty.</p>
</div>
<div>
<p><a title="">[3]</a> Kubat was born in Prague, Czechoslovakia (present-day Czech Republic).</p>
</div>
<div>
<p><a title="">[4]</a> Roman Catholicism.</p>
</div>
<div>
<p><a title="">[5]</a> Also known as the Johnson House.</p>
</div>
<div>
<p><a title="">[6]</a> Later known as Mary Louise Curtis Bok Zimbalist.</p>
</div>
<div>
<p><a title="">[7]</a> Also known as Bok Mountain Lake Sanctuary and Singing Tower.</p>
</div>
</div>
5th Street
abstract art
Albin Polasek
Albin Polasek Museum & Sculpture Gardens
antique
architect
architecture
art
art school
art show
artist
Artistic Consultant
Bassford School
Blue Heron Gallery
Bok Fellow
Bok Mountain Lake Sanctuary and Singing Tower
Bok Tower Gardens
Brigham Young
Cape Cod, Massachusetts
Catholicism
Center Street Gallery
chapel
Charles Hawthorne
Charles Prendergast
church
college
Commercial Street
commission
Cove Gallery
education
educator
Emily Muska Kubat
Emily Muska Kubat Polasek
Erin Parke
exhibition
Farnsworth, Jerry
festival
Fifth Street
gallery
Genius, Jeanette
Glass House
Golden Cricket Shop
Great Depression
Hal McIntosh
Hopper, Edward
Hopper, Jo
Hopper, Josephine “Jo” Verstille Nivision
Japan
Japanese
Johnson House
Jules André Smith
Kent Wacker
Lake Wales
Lily Lake
Mahonri Macintosh Young
Maitland Art Center
Maitland Research Studio
Man Carving His Own Destiny
Mary Louise Curtis
Mary Louise Curtis Bok
Mary Louise Curtis Bok Zimbalist
Maurice Brazil Prendergast
Maury Hurt
McCain, Hugh
McKean, Jeanette Genius
Miller Gallery
museum
Naples
Nivision, Jo
Nivision, Josephine “Jo” Verstille
painter
painting
Park Avenue
Philip Cortelyou Johnson
portrait
portraiture school
Provincetown, Massachusetts
religion
restoration
Rever Haines
Rollins College
Roman Catholic
Sanford
Sarasota
Sawyer, Helen
school
sculpting
sculptor
sculpture
Solarte
Stations of the Cross
student
teacher
The Way
Two Horses
university
Via Crucis
Via Dolorosa
Virginia
Way of Sorrows
Way of the Cross
Winter Park Arts Festival
-
https://richesmi.cah.ucf.edu/omeka/files/original/9167e533f33c6603b1352ecd684894ce.mp3
094550f76d62dcb5ea540d4d751579fc
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
15 minutes and 28 seconds
Bit Rate/Frequency
192kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries, Episode 41: Oviedo, with Dr. Richard Adicks
Alternative Title
Oviedo Podcast
Subject
Podcasts
Documentaries
Oviedo (Fla.)
Description
Episode 41 of RICHES Podcast Documentaries: Oviedo, with Dr. Richard Adicks. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 41 examines the history of Oviedo, Florida, a rapidly growing town situated on the outskirts or Orlando, and includes an interview with Dr. Richard Adicks.
Abstract
Oviedo is a rapidly growing town in Central Florida, situated on the outskirts of Orlando. However, this town has seen a fraction of the historical attention that Orlando has seen. Josh Petitt sits down with Dr. Richard Adicks, author of the only history of the town to date, to speak about Oviedo, writing a local history, and the importance of recording the stories of Central Florida.
Type
Sound/Podcast
Source
Original 15-minute and 28-second podcast by Josh Petitt, October 29, 2012: "RICHES Podcast Documentaries, Episode 41: Oviedo, with Dr. Richard Adicks." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Oviedo, Florida
Creator
Petitt, Josh
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Adicks, Richard
Date Created
ca. 2012-10-29
Format
audio/mp3
Extent
21.3 MB
Medium
15-minute and 28-second podcast
Language
eng
Mediator
History Teacher
Economics Teacher
Geography Teacher
Provenance
Originally created by Josh Petitt and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2494" target="_blank">RICHES Podcast Documentaries, Episode 41: Oviedo, with Dr. Richard Adicks</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2494.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2478" target="_blank">RICHES Podcast Documentaries, Episode 26: The Oviedo Chickens</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2478.
Adicks, Richard, and Donna M. Neely. <a href="http://www.worldcat.org/oclc/5890131" target="_blank"><em>Oviedo, Biography of a Town</em>.</a> S.l: s.n.], 1979.
Robison, Jim. <a href="http://www.worldcat.org/oclc/796757419" target="_blank"><em>Around Oviedo</em></a>. 2012.
"<a href="http://www.cityofoviedo.net/node/68" target="_blank">History</a>." City of Oviedo, Florida. http://www.cityofoviedo.net/node/68.
External Reference Title
"<a href="http://deimos.apple.com/WebObjects/Core.woa/Browse/ucf.edu.2577623765.02577623773.19615450569?i=1225099644" target="_blank">Episode 41: Oviedo, with Dr. Richard Adicks</a>"
"<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>"
<a href="http://www.worldcat.org/oclc/5890131" target="_blank"><em>Oviedo, Biography of a Town</em></a>
"<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>"
<a href="http://www.worldcat.org/oclc/796757419" target="_blank"><em>Around Oviedo</em></a>
"<a href="http://www.cityofoviedo.net/node/68" target="_blank">History</a>"
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/9167e533f33c6603b1352ecd684894ce.mp3" target="_blank">RICHES Podcast Documentaries, Episode 41: Oviedo, with Dr. Richard Adicks</a>
Date Copyrighted
2012-10-29
Date Issued
2012-10-29
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Is Referenced By
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2477" target="_blank">RICHES Podcast Documentaries, Episode 1: Preview</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2477.
Adicks, Richard
Africa University
African American
Cedar Key
celery
celery industry
college
documentary
fire department
Florence, Tuscany, Italy
Florida Technical University
Foster, Amy
FTU
Fulbright Program
Georgia Institute of Technology
Georgia Tech
GT
historical society
King Street
King, J. W.
Lake Charm
Lake City
Lake City Fire Department
Lake Jesup
Lake Jesup Community
Lawton House
Lawton, T. W.
Lee, Charles S.
local history
Memorial Building
Mutare, Zimbabwe
National Endowment for the Humanities
National Endowment for the Humanities grant
Neely, Donna M.
NEH
NEH grant
Nelson and Company
Nelson, Steve
OHS
oral history
Oviedo
Oviedo Fire Station
Oviedo High School
Oviedo Historical Society
Pauli, Bruce D.
Petitt, Josh
pioneer
podcast
race relations
RICHES
RICHES Podcast Documentaries
State Library Of Florida
The Orlando Evening Star
The Orlando Sentinel
The Sanford Herald
TU
Tulane University
UCF
UF
univerisity
University of Central Florida
University of Florida
Wheeler, Ben
-
https://richesmi.cah.ucf.edu/omeka/files/original/568a371c7d9a15e61420e9cc47801acb.pdf
91becf0a983b24e5f0ec57c4729e3381
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Lone Sailor Navy Memorial History Project Collection
Alternative Title
Lone Sailor Collection
Subject
Veterans--Florida
Orlando (Fla.)
United States. Navy
Navy
Sailors--United States
Description
Collection of digital images and oral histories related to the former Recruit Training Center Orlando (RTC Orlando) for the United States Navy. The training center transformed raw recruits into highly effective sailors. This process took place over an intensive eight-week training period, commonly referred to as "boot camp." RTC Orlando occupied roughly one half of the former Naval Training Center Orlando (NTC Orlando), which was located at present day Baldwin Park, Orlando, Florida. Between 1968 and 1994, over 650,000 men and women graduated from RTC Orlando.
Contributor
<a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a>
<a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Naval Training Center, Orlando, Florida
Contributing Project
<a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a>
<a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/.
"<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/
"<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/.
<a href="http://www.lonesailorfl.com/" target="_blank"><em>A Guide to Historic Orlando</em></a>. Charleston, SC: History Press, 2006.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
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 William Reuter
Alternative Title
Oral History, Reuter
Subject
Veterans--Florida
Navy
Orlando (Fla.)
Simulation
Description
An oral history interview of William Reuter (b. 1961), who served in the U.S. Navy from 1979 until 2012. Reuter was born in Camden, New Jersey on April 21, 1961. He served in Libya during the Action in the Gulf of Sidra and in the fjords of Norway. Reuter achieved the rank of Captain, earned a Legion of Merit, and served as Executive Officer (XO) at the Naval Air Warfare Center Training Systems Division (NAWCTSD) at Naval Training Center (NTC) Orlando.<br /><br />This oral history interview was conducted by Daniel Bradfield on March 10, 2014. Interview topics include Reuter's experiences as XO at NAWCTSD, the simulation industry, Recruit Training Center (RTC) Orlando, the Lone Sailor Memorial Project, and applying to the National Aeronautics and Space Administration (NASA).
Table Of Contents
0:00:00 Introduction<br />0:00:38 Background<br />0:01:40 Joining the Navy and active duty in warzones<br />0:05:20 Executive Officer at Naval Air Warfare Center Training Systems Division<br />0:09:35 Simulation industry<br />0:15:05 Post-Navy career and lessons learned from naval experience<br />0:16:59 Naval Training Center Orlando and the Lone Sailor Memorial Project<br />0:19:07 National Aeronautics and Space Administration
Abstract
Oral history interview of William Reuter. Interview conducted by Daniel Bradfield at Central Florida Research Park in Orlando, Florida on March 10, 2014.
Type
Moving Image
Source
<a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/286/rec/2" target="_blank">Reuter, William</a>. Interviewed by Daniel Bradfield, March 10, 2014. UCF Community Veterans History Project, DP0014907. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida.
Requires
<a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a>
<a href="http://java.com/en/download/index.jsp" target="_blank">Java</a>
<a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a>
Is Part Of
<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida.
Has Format
12-page digital transcript of original 21-minute and 23-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/286/rec/2" target="_blank">Reuter, William</a>. Interviewed by Daniel Bradfield, March 10, 2014. UCF Community Veterans History Project, DP0014907. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida.
Conforms To
Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress.
Coverage
Naval Air Warfare Center Training Systems Division, Naval Support Activity, Orlando, Florida
Baldwin Park, Orlando, Florida
Creator
Reuter, William
Bradfield, Daniel
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Date Created
2014-03-10
Date Issued
2014-09
Date Copyrighted
2014-03-10
Format
application/website
application/pdf
Extent
137 MB
165 KB
Medium
21-minute and 23-second DVD audio/video recording
12-page digital transcript
Language
eng
Mediator
History Teacher
Civics/Government Teacher
Economics Teacher
Geography Teacher
Provenance
Originally created by Daniel Bradfield and William Reuter.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>
Curator
Cepero, Laura
Digital Collection
<a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/
"<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/.
<a href="http://www.lonesailorfl.com/" target="_blank"><em>A Guide to Historic Orlando</em></a>. Charleston, SC: History Press, 2006.
Click to View (Movie, Podcast, or Website)
<a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/286/rec/2" target="_blank">Reuter, William</a>
Transcript
<p><strong>Bradfield<br /></strong>Today is March 10<sup>th</sup>, 2014. I am interviewing [William] “Bill” Rotto[sic]—Reuter, who served in the United States Navy from 1979 through 2010?</p>
<p><strong>Reuter<br /></strong>2012.</p>
<p><strong>Bradfield<br /></strong>2012. Um, they, uh—Mr. Reuter served during the Cold War and completed his service as a…</p>
<p><strong>Reuter<br /></strong>Captain.</p>
<p><strong>Bradfield<br /></strong>Captain. Um, my name is Daniel Bradfield. We are interviewing Mr. Reuter as part of the UCF [University of Central Florida] Community Veterans History Project and as research for the creation of the Lone Sailor Memorial Project. We are recording this interview at [Central Florida] Research Parkway in Orlando, Florida. Mr. Reuter, can you please start us off by telling us when and where you were born?</p>
<p><strong>Reuter <br /></strong>I was born in [April 4<sup>th</sup>,] 1961 in Camden New Jersey.</p>
<p><strong>Bradfield<br /></strong>Okay. Uh, what did your parents do for a living?</p>
<p><strong>Reuter<br /></strong>My dad owned a mobile home business in, uh, Key West, Florida, which is where I grew up, and, uh, my mother, uh did all kinds of different things, including deal with us.</p>
<p><strong>Bradfield<br /></strong>Uh, what did you, uh—do you have any brothers or sisters?</p>
<p><strong>Reuter<br /></strong>I have two younger brothers and, uh—one of them in Pennsylvania and the other down in the Keys.</p>
<p><strong>Bradfield<br /></strong>Growing up, where did you go to school?</p>
<p><strong>Reuter<br /></strong>I went to school in Key West. Uh, grew up in a trailer park, because we owned trailers and trailer parks, and so, uh—but, uh—all—all throughout my life in Key West.</p>
<p><strong>Bradfield<br /></strong>Um, what did you do before entering the Navy?</p>
<p><strong>Reuter<br /></strong>Uh, basically, I was a student—I was a high school student, and received an [Reserve Officers’ Training Corps] ROTC scholarship out of—out of Key West High School, and then went straight to UF [University of Florida] to, uh, start my journey in the Navy.</p>
<p><strong>Bradfield<br /></strong>Um, why did you join the Navy?</p>
<p><strong>Reuter<br /></strong>I wanted to fly airplanes. I wanted be an astronaut.</p>
<p><strong>Bradfield<br /></strong>Um, do you have any other family members in the service?</p>
<p><strong>Reuter<br /></strong>I had an uncle that was in the Air Force, uh, but that’s about it.</p>
<p><strong>Bradfield<br /></strong>Uh, how did your family feel about you joining the Navy?</p>
<p><strong>Reuter<br /></strong>Very, very supportive.</p>
<p><strong>Bradfield<br /></strong>Where did you attend boot camp?</p>
<p><strong>Reuter<br /></strong>As an officer, my boot camp was really going through the Reserve Officer[sic] Training Corps program at UF. So I didn’t attend a formal boot camp, like many of the enlisted sailors that you’ve interviewed.</p>
<p><strong>Bradfield<br /></strong>Did you ever see active duty in a warzone?</p>
<p><strong>Reuter<br /></strong>Uh, only on, uh, Line of Death in Libya, and, uh, in the Norwegian fjords, uh, against Soviet, uh, reconnaissance, uh, and bomber aircraft, but not in the current [Persian] Gulf conflict.<a title="">[1]</a></p>
<p><strong>Bradfield<br /></strong>Um, do you have any stories you’d like to share about those encounters?</p>
<p><strong>Reuter <br /></strong>Well, I mean, it’s always fun seeing people that, you know, think differently from you, and back in the [19]80s, certainly, we saw the Soviet Union as, uh—as sort of an enigma. It was very, very mysterious, because they were in this whole different, you know, behind the—Steel Curtain, you know? And so, uh, we had a lot of curiosity, and—and, uh, we’d look back at each other in airplanes, and here we are up in the middle of nowhere, and we just con—continue to have that kind of curiosity. Most of my stories having to do with, uh, stress and overcoming stress in the service have more to do with landing aircraft—landing aircraft on aircraft carriers at night. Those sorts of things. Because those are often, uh, scarier than most other things that an aviator would encounter.</p>
<p><strong>Bradfield<br /></strong>Do you have any stories about any close calls while trying to land on an aircraft carrier?</p>
<p><strong>Reuter<br /></strong>Certainly. Uh, well, I can tell you that, uh, at one point, I was—I had had a, uh, problem—what we call a “bleed air fuel leak,” which can create a fire, and so I had lights in the cockpit that were saying that there was excessive heat in the engine compartment. Uh, and it was—it’s what they call “one step short of a fire.” And a fire out on the aircraft carrier, when there’s really nowhere else to go, and, In this case, the aircraft carrier was so far off of any coast, that we were doing what you call “blue water op[eration]s.” “Blue water ops” meaning you’re going nowhere but back to the carrier, or the aircraft is going in the ocean. So we had to think real quick[sic]. We had just launched off catapult, so we were still very heavy, and we couldn’t land on the carrier right away. Carrier read—wasn’t even ready to catch us right away. So, uh—so we had to do, uh, some— real, uh, quick emergency things. Cockpit was getting very, very hot. Uh, they estimated it was around 130 degrees, uh, in the cockpit, and, um, we had to, uh—had to bring it back aboard the carrier, and—and, uh, did that, and got out of the airplane, and went down, and had me a cheeseburger. Because, uh, that’s one of the ways that we aviators deals[sic] with—deal with stress.</p>
<p><strong>Bradfield<br /></strong>Did you receive any special commendations or medals?</p>
<p><strong>Reuter<br /><br /></strong>Uh, lots in the Navy, certainly. A couple of Legions of Merit medals, uh, which I am very, very grateful for. Uh, most of my accolades though, I can tell you—like most other sailors, I believe, would say—and that is: it’s not only due to them personally. None of these awards, uh—though you wear them as a personal decoration—a decoration, most of the time, they are as a result of the team you were on and the people you served with. Uh, But I was very fortunate to get a—a good number of accolades, uh, in the Navy, Including two commands. Uh, my—my biggest role, before this role down here at NAWCTSD [Naval Air Warfare Center Training Systems Division], uh, was—it’s Commanding Officer and Chief Test Pilot of the squadron up at [Naval Air Station] Patuxent River, Maryland, Where I flew as an [McDonnell Douglas] F[/A]-18 [Hornet]<a title="">[2]</a> test pilot.</p>
<p><strong>Bradfield<br /></strong>Uh, when were you assigned to NAWCTSD?</p>
<p><strong>Reuter<br /></strong>I got here in, uh, January of 2008. So—and as I—as I moved into the role as Executive Officer, which is the second-in-command.</p>
<p><strong>Bradfield<br /></strong>Did you know the—did you know about the region, militarily or other, before coming to NAWCTSD Orlando?</p>
<p><strong>Reuter<br /></strong>All I knew about Orlando, uh, other than knowing a little bit of what NAWCTSD did and the—the—I did not know or appreciate the whole modeling and simulation cluster we had here. I knew there was a base,<a title="">[3]</a> when there was a boot camp,<a title="">[4]</a> and everything like that, and the nuke school,<a title="">[5]</a> But I did not know a lot about what NAWCTSD did, other than produce the aviation simulators that I was fortunate enough to fly.</p>
<p><strong>Bradfield<br /></strong>What were your first impressions of the base?<a title="">[6]</a> Or—or the surrounding area?</p>
<p><strong>Reuter<br /></strong>Well, I was very impressed with the—the—the—the proximity of everything. I was impressed that we were really close to the Army and we were really close to the Air Force and Marine Corps, and I was astounded with the intimacy of the relationship with the University of Central Florida, uh, and—and continued to enjoy that relationship throughout my tenure at NAWCTSD.</p>
<p><strong>Bradfield<br /></strong>How did that compare to other bases you have been stationed at?</p>
<p><strong>Reuter<br /></strong>There’s absolutely nothing like this area right here. There—there are no—no entities, within the [U.S.] DOD [Department of Defense], that duplicate what we have here. What we have here is a clear synergistic effect, not only based on proximity. You can put anybody in a building next to another entity and not gain the kind of synergies we get here from the partnerships and the relationships that we have across academia, and industry, and now these DOD activities.</p>
<p><strong>Bradfield<br /></strong>What were your first days at NAWS—NAWCTSD like?</p>
<p><strong>Reuter<br /></strong>I came in with—wearing civilian clothes, ‘Cause I was actually a, uh—in a—in a class. So this class had you wearing civilian clothes. So people didn’t know that I was the guy that was gonna come in and eventually be in charge. So it was actually very cool, ‘cause I could have this sort of <em>Brubaker</em> approach to it, Where [Henry] Brubaker was the guy that[sic] went into the prison as the warden and he went in as an inmate. So I kinda went in in that underground kind of incognito way, and it was great, ‘cause I got to hear the conversations. I got to understand a little bit more about the culture/ but it is the most unique place that I have ever served in the Navy.</p>
<p><strong>Bradfield<br /></strong>What were your primary responsibilities while you were at NAWCTSD?</p>
<p><strong>Reuter<br /></strong>Well, I was the Executive Officer, who is the second-in-command, so responsible for pretty much everything that happens, uh, at NAWCTSD, and the other thing that a lot people don’t rec—recognize is that when you’re the commanding officer, or the Executive Officer, of NAWCTSD, You are also the Executive Officer, Commanding Officer of NSA Orlando—the Naval Support Activity Orlando, which is the base. So all of the stuff that deals with the gates, and the guards, and any of the sort of anti-terrorism measures, or any of that kind of stuff when it comes to protection, You deal with in capacity as CO or the XO, so—Commanding Officer or Executive Officer—of NSA Orlando. So you really had two hats and two jobs.</p>
<p><strong>Bradfield<br /></strong>So, eh, what was a typical day like, um, when you were, uh, Executive Officer?</p>
<p><strong>Reuter<br /></strong>Well, a typical day as Executive Officer, uh, had a lot to do with, uh, a series of meeting, most of which were people that[sic] wanted a decision about one thing or another. Some of them were informational, but we tried to keep those to a minimum. Most of the time, I was given direction and—and providing guidance to people that were trying to, uh, make decisions. Uh, I—I tried to give them enough context to how I would decide, so that they could make decisions on their own and have my full faith, trust, and confidence, as they did so. So a lot of different things go on as you can imagine. Running, uh, a warfare center and a base, and so, there’s, uh, everything from acquisition stuff that has to be decided, to what, uh—to—to where we’re gonna—to what color carpet we’re gonna pick out. There’s just a lot of different things [<em>laughs</em>] that—you[?] pro—and anything in between that spectrum.</p>
<p><strong>Bradfield<br /></strong>Um, can you tell us about the types of projects you worked on and what they aimed to accomplish?</p>
<p><strong>Reuter<br /></strong>The things that I’m most proud of, and the thing that people need to understand is that: simulation—we talk about it, kind of, trying to create an environment that is the real thing, and, in this environ—in this world today— in the way that we train our airmen, our sailors, our soldiers, and our Marines, We have to create some really, really immersive environments, in order to generate the kind of suspension of disbelief. For people to go in there and actually get proficiency from these environments. I mean, there’s[sic] so many people playing video games and they’re dealing with such cool graphics and immersive effects that you really, really need to wow them, in order to create that environment, and in the aviation community, it becomes even harder, because you’re dealing with very dynamic technology and it’s not as easy to do that.</p>
<p>So what we decided to do in the Navy was really, really take hold of this whole idea of increasing the fidelity of our simulations. Whether it be better visuals, better motions, better all kinds of different things that you can do to generate, uh—to—to give them an environment where they could actually be trained, and so, we were—I was—I was fortunate enough to be there, from ‘08 to ‘12—from 2008 to 2012—where we made huge investments that we still continue to make, but it was really the—the tip of the iceberg, for the money that’s going into simulation and that is being taken out of a lot of the live exercises that we used to do that cost a lot of money and that required a lot of infrastructure, and you had to sustain that infrastructure. So that’s a—a cost that is per—you know, in perpetuity. So we’ve have really changed our mindset on simulation. That’s been the most important thing that I was a part of—of being able to do that in, uh, aviation, surface, subsurface, and other communities.</p>
<p><strong>Bradfield<br /></strong>In what ways have the simulation projects at NAWCTSD impacted other branches of the military?</p>
<p><strong>Reuter<br /></strong>So the Air Force, uh, is very, very big on simulation, as well. They’re—we do a lot of collaboration through—not only of the acquisitions that we do, you know? We—we go out and we buy a simulator, and we go to some of these industry partners that are in this area and around the country, and, in fact, the world, and we buy, you know, an aircraft simulator or we buy a ship simulator, or something like that, but what’s really cool is the collaboration that goes into the technical side of this, before we ever ask industry to give us a simulator. We inform each other, through symposia and the like, to understand better the science of learning, to understand better where the technology is going, So we can be leaning forward as a DOD—and not only as a DOD, but as other agencies around here. We still work with the [U.S.] Department of Homeland Security and with other agencies that have benefit from this technology training their workforce—whatever it might be. So that collaborative energy, and the fact that we have papers, and we have symposia that sort of continue to nurture that collective understanding of the technology and its merit in the science of learning. That’s what moves this needle forward for all of us. So that NAWC—it’s not only NAWCTSD, or PEO STRI [Program Executive Office for Simulation, Training and Instrumentation], or any of those entities. It is all those entities and their collective, uh, IP—intellectual property—to get together that gets moved forward.</p>
<p><strong>Bradfield<br /></strong>What do you think the future holds for simulation training in Central Florida?</p>
<p><strong>Reuter<br /></strong>Si—there is—there’s really no limit to what we can do with simulation and training in Central Florida. The fact that we have grown it, based on DODs demand, is very fortunate, but it is certainly not the limit to the application of this technology into other fields. We talk about transportation, we talk—modeling and simulating transportation, In order to understand where chokepoints are, to, uh, train people in dealing with different crises, to train emergency first responders, to train medical professionals. We’re already doing that at the VA [Veterans Health Administration] Sim[ulation] Learning[, Education and Research Network National Simulation] Center down here at Lake Nona, where [Lake Nona] Medical City is. We talk about construction simulation, So that we avoid, uh, costs of engineering changes and things like that, once we have gone into the construction phase, through just So many—education. There is so many applications of this simulation technology in—in moving forward. All of these industries.</p>
<p><strong>Bradfield<br /></strong>What do you think are the most important achievements or contributions of the simulation projects to technology and to the future of technology?</p>
<p><strong>Reuter<br /></strong>I think that the—the most important contribution was to give some other technologies an application that actually could affect an end-product. So if you think about digital media and graphics, alright? and some of the, um, some of the, uh—the stuff we’re doing with, uh—with extensive graphics—much—much higher definition graphics—There’s are a lot of different applications for those types of technologies. What we did was bring those technologies into, uh, a simulation, into creating a virtual environment, Such that we could add proficiency to people. We can do that in so many different ways, not only across DOD, but others, as well.</p>
<p><strong>Bradfiels<br /></strong>When did you leave the Navy, and what did you do after you left?</p>
<p><strong>Reuter<br /></strong>So I left the Navy in September of 2012, um, just—Not even two years ago now—And started my own consulting practice. I’ve also continued to work in the simulation industry and work with both companies in—in the simulation industry, as well as with folks like the [Metro Orlando] Economic Development Commission, and—and the Mayor’s office, and people that are moving forward this understanding of how simulation can grow and affect our economy. I was fortunate enough, in the very beginning of, uh—right after I retired, to assist in writing the strategic plan for modeling and simulation for Central Florida, and I can tell ya, more than anything we have a center of excellence. We need to grow and nurture it, even beyond the DOD, such that DOD just wants to be around it, because they recognize the kind of ecosystem we have here.</p>
<p><strong>Bradfield<br /></strong>What values or characteristics of the Navy do you believe made an impression on your life?</p>
<p><strong>Reuter<br /></strong>Well, he standard answer, of course, would be: honor, courage, and commitment, and they, uh—and those are our watchwords in the Navy, and the—the caliber of people that I have met—that I have lifelong friends, uh, that[sic] I’ve been 28 years in the Navy. You’ve met people in so many different stages of your career, and you continue to be in touch with them, and so, that sort of, uh—that’s sort of such a nurturing environment, and the fact that we were off and off of the aircraft carrier, and test flying up in Patuxent River, Maryland, Launching into some pretty hairy situations, uh, and—and came through it, and shared a beer at the end, uh, Just continues to nurture those relationships, and we’ve seen kids grow up together, and we’ve had a lot of fun, and so that’s been the most valuable piece for me.</p>
<p><strong>Bradfield<br /></strong>How has the NTC Orlando base or Central Florida region changed since the time you spent there?</p>
<p><strong>Reuter<br /></strong>In my case, of course, that would be a little NA [not applicable], But I can tell you that I’ve, uh—because I didn’t spend the time at NTC—But I can tell you that, um, you know, what has been done at [Lake] Baldwin Park is phenomenal. No question about it, it has definitely one of the better repurposing of a base environment that, uh, has taken place in our entire country, when it comes to BRACs, and how people have responded to Base Realignment and Closure. Uh, I think what’s unfortunate—and what was unfortunate for me and my family—was when we came here and saw that there was really no evidence that the Navy had been there, and so hence, the rationale and the driver behind the Lone Sailor Navy Memorial Project.</p>
<p><strong>Bradfield<br /></strong>What do you think former naval personnel would like to see or be reminded of when they revisit—when they revisit the site of the base and the LS[M]P memorial?</p>
<p><strong>Reuter<br /></strong>I think, more than anything, they want to imagine—re—reimagine, especially ones that were stationed there, what that Grinder was like, to recognize that that is hallowed ground, and to be able to tell their descendants about the time that they spent here and the pride that they took in getting through that. Whether it had been the nuke school or whether it was RTC [Recruit Training Center Orlando]—you know, because there were a lot of Navy entities here, at that time, and so, they—people need to understand what the Navy meant to Orlando during those days. It was a big Navy town. People started and—and made businesses grow, as a result of the Navy being here during those times, and so, to have—and we’ve got such a tremendous amount of support from people way out of town, That have roots here in Orlando based on their time here at RTC, and so somehow, we have got to—got to memorialize that, and give them a chance to re-experience that and pass that on down the generations.</p>
<p><strong>Bradfield<br /></strong>Is there anything else you would like to share about your Navy experience?</p>
<p><strong>Reuter<br /></strong>Well, I tell ya, I’m just—I was very blessed from the word go. Um, you know, you’re talking to a kid that—that grew up running on coral in Key West, And—often barefoot—had a dream to be an astronaut. Ended up going through the whole program, into Test Pilot School, finalist for NASA [National Aeronautics and Space Administration], ended up coming here into a place that I had no idea how special it was, and I—I’m grateful for the relationships that we have built, and I have built personally, as a Navy guy, with the folks at UCF with president [John C.] Hitt and a lot of others in this community, uh, that truly, truly are a partnership community, and, uh, it was the best way to—to leave the Navy. Understanding, that one, my command was in my good hands and the Navy was in good hands but also to come out into this tremendous community that[?], um, I’ve learned more in the last four years being in the Navy, than, uh, arguably then I learned in the la—in the ten prior, Uh, for sure.</p>
<p><strong>Bradfield<br /></strong>When did you start your astronaut training?</p>
<p><strong>Reuter<br /></strong>Uh, you—basically, what you do is you—as you—when you become a test pilot and you go through Test Pilot School, You are then, uh, afforded the opportunity to apply to NASA, and the thing—fortunately or unfortunately—when I was through that training and was applying for NASA, We had—had encountered a couple of really tough things. The [Space Shuttle] <em>Challenger</em> disaster, uh, certainly setback some—in 1986—se—or 1985<a title="">[7]</a>—setback some things pretty big, and then the [Space Shuttle] <em>Columbia</em> disaster was really the one that was tough. I mean, I had two buddies on the <em>Columbia</em> that day: uh, [William] “Willie” [Cameron] McCool and Dr. David [McDowell] Brown, uh, and that really slowed the manifest of space shuttle launches. So—so it was harder to get through the eye of the needle there, when it came to NASA. They weren’t taking as many people—all that kinda stuff. So I was a finalist three times. I—I’m very grateful for that, But at the end of the day, uh, somebody had other plans, and I have no problem with that, and I am very, very grateful that I got to come here.</p>
<p><strong>Bradfield<br /></strong>Alright. Well, thank you very much.</p>
<p><strong>Reuter<br /></strong>Absolutely. Thank you for the opportunity.</p>
<div><br /><div>
<p><a title="">[1]</a> Iraq War.</p>
</div>
<div>
<p><a title="">[2]</a> Now manufactured the Boeing Company as the Boeing F/A-18 Hornet.</p>
</div>
<div>
<p><a title="">[3]</a> Naval Training Center (NTC) Orlando.</p>
</div>
<div>
<p><a title="">[4]</a> Recruit Training Center (RTC) Orlando.</p>
</div>
<div>
<p><a title="">[5]</a> Nuclear Power School.</p>
</div>
<div>
<p><a title="">[6]</a> Naval Support Activity (NSA) Orlando.</p>
</div>
<div>
<p><a title="">[7]</a> Correction: January 28, 1986.</p>
</div>
</div>
Action in the Gulf of Sidra
aircraft
aircraft carriers
airplanes
anti-terrorism
astronauts
aviation
aviation simulations
aviation simulators
aviators
Baldwin Park
Base Realignment and Closure
Bill Reuter
bleed air fuel leak
blue water operation
Boeing F/A-18 Hornet
BRAC
Challenger disaster
Chief Test Pilot
cold war
college
colleges
Columbia
Columbia disaster
Commanding Officer
commendation
commendations
Community Veterans History Project
CVHP
Daniel Bradfield
David M. Brown
David McDowell Brown
education
Executive Officer
F-18
Henry Brubaker
Key West
Key West High School
KWHS
Lake Baldwin Park
Legion of Merit
Libya
Line of Death
Lone Sailor Memorial Project
LSMP
McDonnell Douglas F/A-18 Hornet
medals
memorials
military education
modeling
monuments
NAS Patuxent River
NASA
National Aeronautics and Space Administration
Naval Air Station Patuxent River
Naval Air Warfare Center Training Systems Division
Naval Support Activity
Naval Support Activity Orlando
Naval Training Center
Naval Training Center Orlando
NAWCTSD
Norway
NSA Orlando
NTC Orlando
outer space
Patuxent River, Maryland
pilots
planes
Recruit Training Center
Recruit Training Center Orlando
Reserve Officers' Training Corps
ROTC
RTC Orlando
science of learning
Soviet Union
Soviets
Space Shuttle Challenger
Space Shuttle Challenger disaster
Space Shuttle Columbia
Space Shuttle Columbia disaster
SU
terrorism
Test Pilot School
test pilots
U.S. Air Force
U.S. Navy
UCF
UF
Union of Soviet Socialist Republics
universities
university
University of Central Florida
University of Florida
USSR
veterams
veteran
wars
warzones
William C. McCool
William Cameron McCool
William Reuter
Willie McCool
XO
-
https://richesmi.cah.ucf.edu/omeka/files/original/e54599831ae0efd32917fa5607e94129.mp3
747a792353abb25256f0b75d3d6f72e8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
16 minutes and 39 seconds
Bit Rate/Frequency
128kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries, Episode 28: Hamilton Holt, Part 1
Alternative Title
Hamilton Holt Podcast
Subject
Podcasts
Documentaries
Rollins College (Winter Park, Fla.)
Winter Park (Fla.)
Holt, Hamilton, 1872-1951
College presidents--Florida
Description
Episode 28, Part 1 of RICHES Podcast Documentaries: Hamilton Holt. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 28 focuses on the life of Hamilton Holt, one of the most well-known presidents of Rollins College in Winter Park, Florida. Hamilton Holt became the president of Rollins College in 1925 and served until 1949. Holt revitalized education at Rollins by stressing a new, cooperative system called the "Conference Plan," which involved one-on-one interaction between professor and student. This podcast also includes interviews with former Rollins president Thaddeus Seymour, and Rollins professor Jack Lane.
Abstract
In this two-part podcast, former president of Rollins College, Thaddeus Seymour, and Professor Jack Lane discuss the influential life of Hamilton Holt, one of the most celebrated and well-known presidents of the college. The controversial effects of Holt on Rollins College and Winter Park are explored.
Type
Sound/Podcast
Source
Original 16-minute and 39-second podcast, April 12, 2012: "RICHES Podcast Documentaries, Episode 28: Hamilton Holt, Part 1." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Rollins College, Winter Park, Florida
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Seymour, Thaddeus
Lane, Jack
Date Created
ca. 2012-04-12
Format
audio/mp3
Extent
14.8 MB
Medium
16-minute and 39-second podcast
Language
eng
Mediator
History Teacher
Geography Teacher
Provenance
Originally published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2481" target="_blank">RICHES Podcast Documentaries, Episode 28: Hamilton Holt, Part 1</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2481.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2482" target="_blank">RICHES Podcast Documentaries, Episode 29: Hamilton Holt, Part 2</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2482.
Kuehl, Warren F. <a href="http://www.worldcat.org/oclc/189709" target="_blank"><em>Hamilton Holt: Journalist, Internationalist, Educator.</em></a> Gainesville: University of Florida Press, 1960.
"<a href="http://www.rollins.edu/" target="_blank">Rollins College</a>." Rollins College. http://www.rollins.edu/.
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/e54599831ae0efd32917fa5607e94129.mp3" target="_blank">RICHES Podcast Documentaries, Episode 28: Hamilton Holt, Part 1</a>
Date Copyrighted
2012-04-12
Date Issued
2012-04-12
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
Has Part
<span>"</span><a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2482" target="_blank">RICHES Podcast Documentaries, Episode 29: Hamilton Holt, Part 2</a><span>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2482.</span>
Bacheller, Irving
campaign
classical curriculum
classics
college
college president
Conference Plan
curriculum
Dewey, John
documentary
editor
education
educator
election
examination
final examination
French, Scot
Frost, Robert Lee
Greek language
higher education
historian
Holt, Hamilton
ICJ
International Court of Justice
Lane, Jack
Latin language
League of Nartions
literary magazine
magazine editor
My Butterfly
peace activist
peace movement
podcast
poet
poetry
professor
progressive curriculum
RICHES Podcast Documentaries
Rollins College
Seymour, Thaddeus
The Independent Magazine
U.S. Senate
Ward
Winter Park
World Court
World War I
WWI
Yale University
-
https://richesmi.cah.ucf.edu/omeka/files/original/e68888ff72c21307d6065facdf0dbb2b.mp3
3b2b952540c4d0148f169fce2cae3357
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
15 minutes and 34 seconds
Bit Rate/Frequency
128kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries, Episode 29: Hamilton Holt, Part 2
Alternative Title
Hamilton Holt Podcast
Subject
Podcasts
Documentaries
Rollins College (Winter Park, Fla.)
Winter Park (Fla.)
Holt, Hamilton, 1872-1951
College presidents--Florida
Description
Episode 29, Part 2 of RICHES Podcast Documentaries: Hamilton Holt. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 29 focuses on the life of Hamilton Holt, one of the most well-known presidents of Rollins College in Winter Park, Florida. Hamilton Holt became the president of Rollins College in 1925 and served until 1949. Holt revitalized education at Rollins by stresses a new, cooperative system called the "Conference Plan," which involved one-on-one interaction between professor and student. This podcast also includes interviews with former Rollins president Thaddeus Seymour, and Rollins professor Jack Lane.
Abstract
In this two-part podcast, former president of Rollins College, Thaddeus Seymour, and Professor Jack Lane discuss the influential life of Hamilton Holt, one of the most celebrated and well-known presidents of the college. The controversial effects of Holt on Rollins College and Winter Park are explored.
Type
Sound/Podcast
Source
Original 15-minute and 34-second podcast, April 27, 2012: "RICHES Podcast Documentaries, Episode 29: Hamilton Holt, Part 2." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Rollins College, Winter Park, Florida
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Seymour, Thaddeus
Lane, Jack
Date Created
ca. 2012-04-27
Format
audio/mp3
Extent
14.3 MB
Medium
15-minute and 34-second podcast
Language
eng
Mediator
History Teacher
Geography Teacher
Provenance
<span>Originally published by </span><a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span>.</span>
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
<span>"</span><a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2482" target="_blank">RICHES Podcast Documentaries, Episode 29: Hamilton Holt, Part 2</a><span>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2482.</span>
<span>"</span><a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2481" target="_blank">RICHES Podcast Documentaries, Episode 28: Hamilton Holt, Part 1</a><span>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2481.</span>
<span>Kuehl, Warren F. </span><a href="http://www.worldcat.org/oclc/189709" target="_blank"><em>Hamilton Holt: Journalist, Internationalist, Educator.</em></a><span> Gainesville: University of Florida Press, 1960.</span>
<span>"</span><a href="http://www.rollins.edu/" target="_blank">Rollins College</a><span>." Rollins College. http://www.rollins.edu/.</span>
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/e68888ff72c21307d6065facdf0dbb2b.mp3" target="_blank">RICHES Podcast Documentaries, Episode 29: Hamilton Holt, Part 2</a>
Date Copyrighted
2012-04-27
Date Issued
2012-04-27
Has Part
<span>"</span><a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2481" target="_blank">RICHES Podcast Documentaries, Episode 28: Hamilton Holt, Part 1</a><span>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2481.</span>
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
African American
Animated Magazine
artillery shell
atomic bomb
Bethune, Mary Jane McLeod
Carnegie Endowment for International Peace
Carnegie, Andrew
college
college president
Conference Plan
Congregational church
Congregationalism
Congregationalist
Coolidge, Calvin
Coolidge, John Calvin, Jr.
documentary
Downtown Winter Park
education
evolution
Florida Congregational Association
Florida State Legislature
higher education
Holt, Hamilton
HOTEL
Hugo, Victor Marie
Hurston, Zora Neale
Lake Osceola
Lane, Jack
League of Nations
leftist
legislation
Mills Memorial Center and Peace Monument
Mills Memorial Library
monument
National Public Radio
NPR
orlando
Orlando Country Club
peace movement
podcast
political left
president
protest
race relations
RICHES Podcast Documentaries
Rollins College
Roosevelt, Anna Eleanor
Roosevelt, Eleanor
Roosevelt, Franklin Delano
segregation
Seminole Hotel
Seymour, Thaddeus
Taft, William Howard
Tallahassee
tourism
tourist
Truman, Harry S.
UN
United Nations
university
Wilson, Thomas Woodrow
Wilson, Woodrow
Winter Park
world peace
World War I
World War II
WWI
WWII
-
https://richesmi.cah.ucf.edu/omeka/files/original/016067d49df3e3429e2b8b032d60fd87.mp3
c0e681ac5f49f90018cfd014c545b741
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
16 minutse and 48 seconds
Bit Rate/Frequency
192kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries, Episode 40: Bethune Cookman University Founding
Alternative Title
Bethune Cookman University Founding Podcast
Subject
Podcasts
Documentaries
Bethune-Cookman College (Daytona Beach, Fla.)
Daytona Beach (Fla.)
Universities and colleges--Florida
Bethune, Mary McLeod, 1875-1955
Description
Episode 40 of RICHES Podcast Documentaries: Bethune Cookman University Founding. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 40 features an interview with Dr. Sheila Flemming Hunter about the history of Bethune-Cookman University, formerly Bethune-Cookman College, located at 640 Dr. Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The Daytona Educational and Industrial Training School was established by African-American educator and civil rights activist Mary McLeod Bethune in October of 1904. In 1923, the school merged with the Cookman Institute of Jacksonville and then became affiliated with the Methodist Church the following year. The school served as a co-educational high school until 1931, when it became a junior college. In 1941, the school was accredited as a four-year college and was renamed Bethune-Cookman College.
Abstract
Although many know who Bethune Cookman University is named after, few know the details of its inception and conception. This podcast looks at the ideas that formed this historic university. Dr. Sheila Flemming Hunter provides with an enlightening interview about the founding of this important institution.
Type
Sound/Podcast
Source
Original 16-minute and 48-second podcast, October 12, 2012: "RICHES Podcast Documentaries, Episode 40: Bethune Cookman University Founding." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Daytona Educational and Industrial Training School, Daytona Beach, Florida
Bethune-Cookman College, Daytona Beach, Florida
Bethune-Cookman University, Daytona Beach, Florida
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
Hunter, Sheila Flemming
Date Created
ca. 2012-10-12
Format
audio/mp3
Extent
23.1 MB
Medium
16-minute and 48-second podcast
Language
eng
Mediator
History Teacher
Geography Teacher
Provenance
Originally created and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2493" target="_blank">RICHES Podcast Documentaries, Episode 40: Bethune Cookman University Founding</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2493.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2471" target="_blank">RICHES Podcast Documentaries, Episode 19: The Home of Dr. Mary McLeod Bethune</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2471.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2500" target="_blank">RICHES Podcast Documentaries, Episode 47: Integration and Sports at Bethune Cookman University</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2500.
<span>Flemming, Sheila Y. </span><a href="http://www.worldcat.org/oclc/32468984" target="_blank"><em>Bethune-Cookman College, 1904-1994: The Answered Prayer to a Dream</em></a><span>. Virginia Beach, VA: Donning Co, 1995.</span>
"<a href="http://www.gcah.org/site/pp.aspx?c=ghKJI0PHIoE&b=3522559" target="_blank">Bethune-Cookman College and Foundation Daytona Beach, Florida: Heritage Landmark of The United Methodist Church</a>." General Commission on Archives & History, United Methodist Church. http://www.gcah.org/site/pp.aspx?c=ghKJI0PHIoE&b=3522559.
Hanson, Joyce Ann. <a href="http://www.worldcat.org/oclc/51060235" target="_blank"><em>Mary McLeod Bethune & Black Women's Political Activism</em></a>. Columbia: University of Missouri Press, 2003.
"<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">History</a>." Bethune-Cookman University. http://www.cookman.edu/about_BCU/history/index.html.
Long, Nancy Ann Zrinyi. <a href="http://www.worldcat.org/oclc/57363897" target="_blank"><em>The Life and Legacy of Mary McLeod Bethune</em></a>. Cocoa, Fla: Florida Historical Society Press, 2004.
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/016067d49df3e3429e2b8b032d60fd87.mp3" target="_blank">RICHES Podcast Documentaries, Episode 40: Bethune Cookman University Founding</a>
Date Copyrighted
2012-10-12
Date Issued
2012-10-12
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
African American
Bethune-Cookman College
Bethune-Cookman College, 1904-1994: The Answered Prayer to a Dream
Bethune-Cookman University
Bethune, Albertus
Bethune, Mary Jane McLeod
Christian
Christianity
church
civil rights
civil rights activist
co-educational
college
Colored Women's Association
Cookman Institute of Jacksonville
Daytona Beach
Daytona Educational and Industrial Training School
Daytona Normal and Industrial School for Negro Girls
documentary
education
educator
Florida A&M College
Florida A&M University
Florida Agricultural and Mechanical College
Florida Agricultural and Mechanical University
fundraising
Gamble, James
Gray, Willam H. III
HBCU
high school
historically black colleges and universities
Hunter, Sheila Flemming
Jim Crow South
junior college
KKK
Ku Klux Klan
Laney, Lucy Craft
literacy
Mayseville, South Carolina
Methodism
Methodist
Methodist church
mission school
National Council of Negro Women
podcast
Presbyterian
Presbyterian church
Presbyterianism
private school
Procter & Gamble Company
public school
religion
religious education
RICHES Podcast Documentaries
school
separation of church and state
teacher
Tuskegee Institute
Tuskegee University
university
voter registration
voter registration movement
voting
Washington, Booker Taliaferro
White Sewing Machine Company
white supremacy
White, Thomas H.
-
https://richesmi.cah.ucf.edu/omeka/files/original/18fc2d13c8ad42fef7810f182b91b1dc.mp3
3407d0860199ca4f6e090eb6b5ac0ba8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries Collection
Alternative Title
RICHES Podcast Collection
Subject
Podcasts
Documentaries
Description
RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.
Contributor
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Cassanello, Robert
Language
eng
Type
Collection
Coverage
Altoona, Florida
Apopka, Florida
Astor, Florida
Barberville, Florida
Brevard County, Florida
Bushnell, Florida
Clermont, Florida
Cocoa, Florida
Cocoa Beach, Florida
College Park, Orlando, Florida
Coral Gables, Florida
Daytona Beach, Florida
DeLand, Florida
Disston City, Florida
Eatonville, Florida
Eau Gallie, Melbourne, Florida
Fort King, Florida
Fort Lauderdale, Florida
Geneva, Florida
Goldenrod, Florida
Groveland, Florida
Hannibal Square, Winter Park, Florida
Holly Hill, Florida
Hontoon Island, DeLand, Florida
Indian River, Florida
Jacksonville, Florida
Key Biscayne, Florida
Key West, Florida
Kissimmee, Florida
Lake Apopka, Florida
Lake Buena Vista, Florida
Lake County, Florida
Lake Mary, Florida
Marion County, Florida
Merritt Island, Florida
Mims, Florida
Mount Dora, Florida
Newnans Lake, Gainesville, Florida
New Smyrna, Florida
New Smyrna Beach, Florida
Ocala, Florida
Ocklawaha River, Florida
Ocoee, Florida
Orlando, Florida
Ormond Beach, Florida
Osceola County, Florida
Oviedo, Florida
Parramore, Orlando, Florida
Reedy Creek, Florida
Sanford, Florida
Silver Springs, Florida
St. Augustine, Florida
St. Cloud, Florida
St. Johns River, Florida
St. Petersburg, Florida
Tampa, Florida
Titusville, Florida
Vero Beach, Florida
Weirsdale, Florida
Winter Garden, Florida
Winter Park, Florida
Ybor City, Tampa, Florida
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
External Reference
<span>"</span><a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a><span>." RICHES of Central Florida. http://riches.cah.ucf.edu/podcastsblog.php.</span>
Has Part
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/137" target="_blank">A History of Central Florida Collection</a>, RICHES Podcast Documentaries Collection, RICHES of Central Florida.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES<br /></a>
Sound/Podcast
A resource whose content is primarily intended to be rendered as audio.
Original Format
1 audio podcast
Duration
17 minutes and 39 seconds
Bit Rate/Frequency
192kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
RICHES Podcast Documentaries, Episode 47: Integration and Sports at Bethune Cookman University
Alternative Title
Integration and Sports at Bethune Cookman University Podcast
Subject
Podcasts
Documentaries
Bethune-Cookman College (Daytona Beach, Fla.)
Daytona Beach (Fla.)
Universities and colleges--Florida
College sports--Florida--History
College athletes--United States
Description
Episode 47 of RICHES Podcast Documentaries: Integration and Sports at Bethune Cookman University. RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners. <br /><br />Episode 47 features some of Bethune-Cookman University's greatest coaches and athletes, as well as integration and how it affected sports and recruitment. This contains some very raw statements which demonstrate how passionately people feel about this piece of history.<br /><br />The Daytona Educational and Industrial Training School was established by African-American educator and civil rights activist Mary McLeod Bethune in October 1904. In 1923, the school merged with the Cookman Institute of Jacksonville and then became affiliated with the Methodist Church the following year. The school served as a co-educational high school until 1931 when it became a junior college. In 1941, the school was accredited as a four-year college and was renamed Bethune-Cookman College.
Abstract
This podcast features some of Bethune Cookman’s greatest coaches and athletes. We look at all sides of integration and how it affected sports and recruitment. This contains some very raw statements which demonstrate how passionately people feel about this piece of history.
Type
Sound/Podcast
Source
Original 17-minute and 39-second podcast, February 1, 2013: "RICHES Podcast Documentaries, Episode 47: Integration and Sports at Bethune Cookman University." <a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
Is Part Of
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/70" target="_blank">RICHES Podcast Documentaries Collection</a>, RICHES of Central Florida.
Coverage
Bethune-Cookman College, Daytona Beach, Florida
Bethune-Cookman University, Daytona Beach, Florida
Publisher
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Contributor
McClaren, Simon
Johnson, Ted
Hunter, Sheila Flemming
Long, Nancy
Date Created
ca. 2013-02-01
Format
audio/mp3
Extent
24.3 MB
Medium
17-minute and 39-second podcast
Language
eng
Mediator
History Teacher
Geography Teacher
Provenance
Originally created and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Rights Holder
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
Accrual Method
Item Creation
Contributing Project
<a href="http://riches.cah.ucf.edu/podcastsblog.php" target="_blank">RICHES Podcast Documentaries</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>
External Reference
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2500" target="_blank">RICHES Podcast Documentaries, Episode 47: Integration and Sports at Bethune Cookman University</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2500.
<span>"</span><a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2471" target="_blank">RICHES Podcast Documentaries, Episode 19: The Home of Dr. Mary McLeod Bethune</a><span>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2471.</span>
<span>"</span><a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2493" target="_blank">RICHES Podcast Documentaries, Episode 40: Bethune Cookman University Founding</a><span>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2493.</span>
"<a href="http://www.gcah.org/site/pp.aspx?c=ghKJI0PHIoE&b=3522559" target="_blank">Bethune-Cookman College and Foundation Daytona Beach, Florida: Heritage Landmark of The United Methodist Church</a>." General Commission on Archives & History, United Methodist Church. http://www.gcah.org/site/pp.aspx?c=ghKJI0PHIoE&b=3522559.
Hanson, Joyce Ann. <a href="http://www.worldcat.org/oclc/51060235" target="_blank"><em>Mary McLeod Bethune & Black Women's Political Activism</em></a>. Columbia: University of Missouri Press, 2003.
"<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">History</a>." Bethune-Cookman University. http://www.cookman.edu/about_BCU/history/index.html.
Long, Nancy Ann Zrinyi. <a href="http://www.worldcat.org/oclc/57363897" target="_blank"><em>The Life and Legacy of Mary McLeod Bethune</em></a>. Cocoa, Fla: Florida Historical Society Press, 2004.
Click to View (Movie, Podcast, or Website)
<a href="https://richesmi.cah.ucf.edu/omeka2/files/original/18fc2d13c8ad42fef7810f182b91b1dc.mp3" target="_blank">RICHES Podcast Documentaries, Episode 47: Integration and Sports at Bethune Cookman University</a>
Date Copyrighted
2013-02-01
Date Issued
2013-02-01
Requires
Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>.
African American
athlete
athletic program
Bethune-Cookman College
Bethune-Cookman University
Bethune, Mary Jane McLeod
coach
college
college athlete
college recruitment
college sports
Cookman Institute of Jacksonville
Daytona Beach
Daytona Educational and Industrial Training School
desegregation
documentary
Florida A&M College
Florida Agricultural and Mechanical College
football
HBCU
historically black colleges and universities
Hunter, Sheila Flemming
integration
Johnson, Ted
Long, Nancy
McClaren, Simon
men
Moore, Richard B.
physical education
Pittsburgh Steelers
podcast
race relations
recruitment
RICHES Podcast Documentaries
school
segregation
sports
Steelers
university
women
women's suffrage
World War II
WWII
-
https://richesmi.cah.ucf.edu/omeka/files/original/8a6d6771d745ea3491c0ae2ef4936265.jpg
2a6d74ab59a10cecd561a1c6bc2214b1
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
Mary McLeod Bethune Foundation Collection
Alternative Title
Bethune Foundation Collection
Subject
Daytona Beach (Fla.)
Bethune, Mary McLeod, 1875-1955
Description
Collection of digital images, documents, and other records from the Mary McLeod Bethune Foundation located on the Bethune-Cookman University campus at 640 Doctor Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The foundation was established on March 17, 1953, as "a place to awaken people and to have them realize that there is something in the world they can do."
The foundation is housed in the Mary McLeod Bethune Home, which was inhabited by educator and civil rights activist Mary McLeod Bethune (1875-1955). Also known as "The Retreat," the home was built by African American A. B. Raddick around 1905. In 1913, chemist James Norris Gamble and Thomas White of White Sewing Machine Company, purchased the home for Bethune. On December 2, 1974, the historic house was added to the U.S. National Register of Historic Places. In 2006, the museum closed for renovation and conservation. It reopened in April of 2011.
Contributor
<a href="http://www.cookman.edu/foundation/" target="_blank">Mary McLeod Bethune Foundation</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank">Volusia County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/80" target="_blank">Daytona Beach Collection</a>, Volusia County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Mary McLeod Bethune Home, Daytona Beach, Florida
Rights Holder
<span>Copyright to this resource is held by the </span><a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a><span> and is provided here by </span><a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only.</span>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
"<a href="http://www.cookman.edu/foundation/about_us.html" target="_blank">About Us</a>." Mary McLeod Bethune Foundation, Bethune-Cookman University. http://www.cookman.edu/foundation/about_us.html.
"<a href="http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building" target="_blank">Bethune (Mary Mcleod) Home</a>." National Historic Landmarks Program, National Park Service. http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photographic print
Physical Dimensions
8 x 10 inches
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
Wilhelmina White Colston
Alternative Title
Wilhelmina Colston
Subject
Colleges
Daytona Beach (Fla.)
Education--Florida
Teachers--Florida
Description
A portrait of Wilhelmina White Colston, which is housed at the Mary McLeod Bethune Foundation, located at 640 Dr. Mary McLeod Bethune Boulevard in Daytona Beach, Florida. She was a student and later teacher at Bethune-Cookman College (BCC). In 1935, Wilhelmina White married James Allen Colston, who would later serve as the second president of Bethune-Cookman College from 1942 to 1944. After marrying, Wilhelmina retired from teaching. She also attended Talladega College in Talladega, Alabama, and then Howard University in Washington, D.C., where she earned a master's degree. Together, the couple had one daughter, Jean Allie Colston Foster, and three grandchildren.
Type
Still Image
Source
Original 8 x 10 inch black and white photographic print: Sun room, image 89, <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
Is Part Of
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank">Mary McLeod Bethune Foundation Collection</a>, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 8 x 10 inch black and white photographic print.
Coverage
Bethune-Cookman University, Daytona Beach, Florida
Talladega College, Talladega, Alabama
Howard University, Washington, D.C.
Date Created
ca. 1920-1955
Format
image/jpg
Extent
241 KB
Medium
8 x 10 inch black and white photographic print
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
Flemming, Sheila Y. <a href="http://www.worldcat.org/oclc/32468984" target="_blank"><em>Bethune-Cookman College, 1904-1994: The Answered Prayer to a Dream</em></a>. Virginia Beach, VA: Donning Co, 1995.
"<a href="https://news.google.com/newspapers?id=HG0eAAAAIBAJ&sjid=S8kEAAAAIBAJ&pg=2342%2C1863060" target="_blank">Dr. Colston Named To Bronx Post</a>. <em>The Daytona Beach Morning Journal</em>, March 10, 1966. https://news.google.com/newspapers?id=HG0eAAAAIBAJ&sjid=S8kEAAAAIBAJ&pg=2342%2C1863060.
"<a href="https://news.google.com/newspapers?id=XCImAAAAIBAJ&sjid=P_4FAAAAIBAJ&pg=2832%2C495356" target="_blank">Dr. Colston dies, four college head</a>. <em>The Afro American</em>, February 6, 1982. https://news.google.com/newspapers?id=XCImAAAAIBAJ&sjid=P_4FAAAAIBAJ&pg=2832%2C495356.
African American
BCC
Bethune-Cookman College
college
Colston, James Allen
Colston, Wilhelmina White
education
educator
Howard University
Mary McLeod Bethune Home
president
student
Talladega College
Talladega, Alabama
teacher
university
Washington, D.C.
White, Wilhelmina
-
https://richesmi.cah.ucf.edu/omeka/files/original/78ff3ab5b214f68e1e5bfbd771d0d52b.jpg
8dbe51f2dd9345fa87c1871238a07137
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
Mary McLeod Bethune Foundation Collection
Alternative Title
Bethune Foundation Collection
Subject
Daytona Beach (Fla.)
Bethune, Mary McLeod, 1875-1955
Description
Collection of digital images, documents, and other records from the Mary McLeod Bethune Foundation located on the Bethune-Cookman University campus at 640 Doctor Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The foundation was established on March 17, 1953, as "a place to awaken people and to have them realize that there is something in the world they can do."
The foundation is housed in the Mary McLeod Bethune Home, which was inhabited by educator and civil rights activist Mary McLeod Bethune (1875-1955). Also known as "The Retreat," the home was built by African American A. B. Raddick around 1905. In 1913, chemist James Norris Gamble and Thomas White of White Sewing Machine Company, purchased the home for Bethune. On December 2, 1974, the historic house was added to the U.S. National Register of Historic Places. In 2006, the museum closed for renovation and conservation. It reopened in April of 2011.
Contributor
<a href="http://www.cookman.edu/foundation/" target="_blank">Mary McLeod Bethune Foundation</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank">Volusia County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/80" target="_blank">Daytona Beach Collection</a>, Volusia County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Mary McLeod Bethune Home, Daytona Beach, Florida
Rights Holder
<span>Copyright to this resource is held by the </span><a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a><span> and is provided here by </span><a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only.</span>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
"<a href="http://www.cookman.edu/foundation/about_us.html" target="_blank">About Us</a>." Mary McLeod Bethune Foundation, Bethune-Cookman University. http://www.cookman.edu/foundation/about_us.html.
"<a href="http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building" target="_blank">Bethune (Mary Mcleod) Home</a>." National Historic Landmarks Program, National Park Service. http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photographic print
Physical Dimensions
8 x 10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Dr. James Allen Colston
Alternative Title
Dr. James Allen Colston
Subject
Colston, James A., 1910-1982
Bethune-Cookman College (Daytona Beach, Fla.)
College presidents--United States
Educators--Florida
Description
A portrait of Dr. James Allen Colston, which is housed at the Mary McLeod Bethune Foundation, located at 640 Dr. Mary McLeod Bethune Boulevard in Daytona Beach, Florida. Born in 1910, Dr. Colston is best known as the second president of Bethune-Cookman College from 1942 to 1946. He received his Bachelor of Science in education from Morehouse College in Atlanta, Georgia, in 1932; his Master of Arts from Atlanta University in 1933 in Atlanta; and his Ph.D. from New York University in New York City, New York. In 1935, he married Wilhelmina White Colston, a graduate and educator at Bethune-Cookman.<br /><br />In 1942, Dr. Mary Jane McLeod Bethune retired from her presidency at B-CC and named Dr. Colston her successor. By 1945, Dr. Colston had launched the college's School of Education. He went on to serve as president of Georgia State College (present-day Savannah State University) in Savannah, Georgia, from 1947 to 1949. He then went on to preside over Knoxville College in Knoxville, Tennessee, from 1951 to 1965. Dr. Colston became one of the first African Americans to preside over a mostly white college, Bronx Community College, from 1966 to 1976.
Type
Still Image
Source
Original 8 x 10 inch black and white photographic print: Sun room, image 136, <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
Is Part Of
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank">Mary McLeod Bethune Foundation Collection</a>, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 8 x 10 inch black and white photographic print.
Coverage
Bethune-Cookman College, Daytona Beach, Florida
Mary McLeod Bethune Foundation, Mary McLeod Bethune Home, Bethune-Cookman University, Daytona Beach, Florida
Date Created
ca. 1910-1982
Format
image/jpg
Extent
288 KB
Medium
8 x 10 inch black and white photographic print
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
Flemming, Sheila Y. <a href="http://www.worldcat.org/oclc/32468984" target="_blank"><em>Bethune-Cookman College, 1904-1994: The Answered Prayer to a Dream</em></a>. Virginia Beach, VA: Donning Co, 1995.
"<a href="http://www.cookman.edu/about_BCU/administration/past_presidents/colstonj_bio.html" target="_blank">James Colston - Bethune-Cookman's Second President</a>." Bethune-Cookman University. http://www.cookman.edu/about_BCU/administration/past_presidents/colstonj_bio.html.
B-CC
Bethune-Cookman College
college
education
educator
James Allen Colston
president
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/d1440f9d9225bd60480cffc3999721e3.jpg
ea9cc95cc4073a95d1fe94313259901f
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
Mary McLeod Bethune Foundation Collection
Alternative Title
Bethune Foundation Collection
Subject
Daytona Beach (Fla.)
Bethune, Mary McLeod, 1875-1955
Description
Collection of digital images, documents, and other records from the Mary McLeod Bethune Foundation located on the Bethune-Cookman University campus at 640 Doctor Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The foundation was established on March 17, 1953, as "a place to awaken people and to have them realize that there is something in the world they can do."
The foundation is housed in the Mary McLeod Bethune Home, which was inhabited by educator and civil rights activist Mary McLeod Bethune (1875-1955). Also known as "The Retreat," the home was built by African American A. B. Raddick around 1905. In 1913, chemist James Norris Gamble and Thomas White of White Sewing Machine Company, purchased the home for Bethune. On December 2, 1974, the historic house was added to the U.S. National Register of Historic Places. In 2006, the museum closed for renovation and conservation. It reopened in April of 2011.
Contributor
<a href="http://www.cookman.edu/foundation/" target="_blank">Mary McLeod Bethune Foundation</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank">Volusia County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/80" target="_blank">Daytona Beach Collection</a>, Volusia County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Mary McLeod Bethune Home, Daytona Beach, Florida
Rights Holder
<span>Copyright to this resource is held by the </span><a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a><span> and is provided here by </span><a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only.</span>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
"<a href="http://www.cookman.edu/foundation/about_us.html" target="_blank">About Us</a>." Mary McLeod Bethune Foundation, Bethune-Cookman University. http://www.cookman.edu/foundation/about_us.html.
"<a href="http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building" target="_blank">Bethune (Mary Mcleod) Home</a>." National Historic Landmarks Program, National Park Service. http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 autographed black and white photographic print
Physical Dimensions
8 x 10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Dr. John Hope
Alternative Title
Dr. John Hope
Subject
Hope, John, 1868-1936
Educators--Georgia
Civil rights--Southern States
Description
An autographed portrait of Dr. John Hope, which is housed at the Mary McLeod Bethune Foundation, located at 640 Dr. Mary McLeod Bethune Boulevard in Daytona Beach, Florida. Dr. Hope was born in Augusta, Georgia, on June 2, 1868. He is well-known as an African-American educator and activist. He earned his college degrees at Worcester Academy in Worcester, Massachusetts, and Brown University in Providence, Rhode Island.<br /><br />Dr. Hope became the first African-American president of two colleges in Atlanta, Georgia: Atlanta Baptist College (present-day Morehouse College) in 1906 and Atlanta University (present-day Clark Atlanta University) in 1929. He was also active in a number of civil rights organizations, including the Niagara Movement, the National Association for the Advancement of Colored People (NAACP), and the Commission on Interracial Cooperation.
Type
Still Image
Source
Original 8 x 10 inch black and white photographic print: Sun room, image 107, <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
Is Part Of
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank">Mary McLeod Bethune Foundation Collection</a>, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 8 x 10 inch black and white photographic print.
Coverage
Atlanta Baptist College, Atlanta, Georgia
Atlanta University, Atlanta, Georgia
Mary McLeod Bethune Foundation, Mary McLeod Bethune Home, Bethune-Cookman University, Daytona Beach, Florida
Date Created
ca. 1868-1936
Format
image/jpg
Extent
268 KB
Medium
8 x 10 inch autographed black and white photographic print
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
Davis, Leroy. "<a href="http://www.georgiaencyclopedia.org/articles/education/john-hope-1868-1936" target="_blank">John Hope (1868-1936)</a>." New Georgia Encyclopedia, April 1, 2003. http://www.georgiaencyclopedia.org/articles/education/john-hope-1868-1936.
activist
Atlanta Baptist College
Atlanta University
Atlanta, Georgia
civil rights
Clark Atlanta University
college
educator
John Hope
Morehouse College
NAACP
National Association for the Advancement of Colored People
teacher
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/dd9919c752487ed06c304499b9bc570e.jpg
b8ab3dc1e8ea900d049309c099582372
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
Mary McLeod Bethune Foundation Collection
Alternative Title
Bethune Foundation Collection
Subject
Daytona Beach (Fla.)
Bethune, Mary McLeod, 1875-1955
Description
Collection of digital images, documents, and other records from the Mary McLeod Bethune Foundation located on the Bethune-Cookman University campus at 640 Doctor Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The foundation was established on March 17, 1953, as "a place to awaken people and to have them realize that there is something in the world they can do."
The foundation is housed in the Mary McLeod Bethune Home, which was inhabited by educator and civil rights activist Mary McLeod Bethune (1875-1955). Also known as "The Retreat," the home was built by African American A. B. Raddick around 1905. In 1913, chemist James Norris Gamble and Thomas White of White Sewing Machine Company, purchased the home for Bethune. On December 2, 1974, the historic house was added to the U.S. National Register of Historic Places. In 2006, the museum closed for renovation and conservation. It reopened in April of 2011.
Contributor
<a href="http://www.cookman.edu/foundation/" target="_blank">Mary McLeod Bethune Foundation</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank">Volusia County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/80" target="_blank">Daytona Beach Collection</a>, Volusia County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Mary McLeod Bethune Home, Daytona Beach, Florida
Rights Holder
<span>Copyright to this resource is held by the </span><a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a><span> and is provided here by </span><a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only.</span>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
"<a href="http://www.cookman.edu/foundation/about_us.html" target="_blank">About Us</a>." Mary McLeod Bethune Foundation, Bethune-Cookman University. http://www.cookman.edu/foundation/about_us.html.
"<a href="http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building" target="_blank">Bethune (Mary Mcleod) Home</a>." National Historic Landmarks Program, National Park Service. http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photographic print
Physical Dimensions
8 x 10 inches
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
Charlotte Clark Ford
Alternative Title
Charlotte Clark Ford
Subject
Ford, Charlotte
Bethune-Cookman College (Daytona Beach, Fla.)
Educators--Georgia
Deans (Education)--United States
Description
A portrait of Charlotte Clark Ford, which is housed at the Mary McLeod Bethune Foundation, located at 640 Dr. Mary McLeod Bethune Boulevard in Daytona Beach, Florida. Ford was the Dean of Instruction at Bethune-Cookman College.<br /><br />Originally the Daytona Educational and Industrial Training School for Negro Girls, Bethune-Cookman was established by African-American educator and civil rights activist Dr. Mary Jane McLeod Bethune in October 1904. In 1923, the school merged with the Cookman Institute of Jacksonville and then became affiliated with the Methodist Church the following year. The school served as a co-educational high school until 1931 when it became a junior college. In 1941, the school was accredited as a four-year college and was renamed Bethune-Cookman College.
Type
Still Image
Source
Original 8 x 10 inch black and white photographic print: Sun room, image 131, <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
Is Part Of
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank">Mary McLeod Bethune Foundation Collection</a>, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 8 x 10 inch black and white photographic print.
Coverage
Bethune-Cookman College, Daytona Beach, Florida
Mary McLeod Bethune Foundation, Mary McLeod Bethune Home, Bethune-Cookman University, Daytona Beach, Florida
Date Created
ca. 1920-1955
Format
image/jpg
Extent
260 KB
Medium
8 x 10 inch black and white photographic print
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
Flemming, Sheila Y. <a href="http://www.worldcat.org/oclc/32468984" target="_blank"><em>Bethune-Cookman College, 1904-1994: The Answered Prayer to a Dream</em></a>. Virginia Beach, VA: Donning Co, 1995.
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2493" target="_blank">RICHES Podcast Documentaries, Episode 40: Bethune Cookman University Founding</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2493.
"<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">History</a>." Bethune-Cookman University. http://www.cookman.edu/about_BCU/history/index.html.
B-CC
Bethune-Cookman College
Charlotte Clark Ford
college
Daytona Beach
dean
Dean of Instruction
education
educator
teacher
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/e6a74d14d2452706e066f99546c5b661.jpg
ebed41227e9ec44fdc9e6ed4c4b1d41d
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
Mary McLeod Bethune Foundation Collection
Alternative Title
Bethune Foundation Collection
Subject
Daytona Beach (Fla.)
Bethune, Mary McLeod, 1875-1955
Description
Collection of digital images, documents, and other records from the Mary McLeod Bethune Foundation located on the Bethune-Cookman University campus at 640 Doctor Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The foundation was established on March 17, 1953, as "a place to awaken people and to have them realize that there is something in the world they can do."
The foundation is housed in the Mary McLeod Bethune Home, which was inhabited by educator and civil rights activist Mary McLeod Bethune (1875-1955). Also known as "The Retreat," the home was built by African American A. B. Raddick around 1905. In 1913, chemist James Norris Gamble and Thomas White of White Sewing Machine Company, purchased the home for Bethune. On December 2, 1974, the historic house was added to the U.S. National Register of Historic Places. In 2006, the museum closed for renovation and conservation. It reopened in April of 2011.
Contributor
<a href="http://www.cookman.edu/foundation/" target="_blank">Mary McLeod Bethune Foundation</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank">Volusia County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/80" target="_blank">Daytona Beach Collection</a>, Volusia County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Mary McLeod Bethune Home, Daytona Beach, Florida
Rights Holder
<span>Copyright to this resource is held by the </span><a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a><span> and is provided here by </span><a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only.</span>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
"<a href="http://www.cookman.edu/foundation/about_us.html" target="_blank">About Us</a>." Mary McLeod Bethune Foundation, Bethune-Cookman University. http://www.cookman.edu/foundation/about_us.html.
"<a href="http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building" target="_blank">Bethune (Mary Mcleod) Home</a>." National Historic Landmarks Program, National Park Service. http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 autographed black and white photographic print
Physical Dimensions
8 x 10 inches
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
Arrabella Dennison
Alternative Title
Arrabella Dennison
Subject
Bethune-Cookman College (Daytona Beach, Fla.)
Secretaries--United States
National Council of Negro Women
Description
An autographed portrait of Arrabella Dennison, which is housed at the Mary McLeod Bethune Foundation, located at 640 Dr. Mary McLeod Bethune Boulevard in Daytona Beach, Florida. Dennison was the secretary for Dr. Mary Jane McLeod Bethune at Bethune-Cookman College (B-CC). Originally the Daytona Educational and Industrial Training School for Negro Girls, Bethune-Cookman was established by African-American educator and civil rights activist Dr. Mary Jane McLeod Bethune in October 1904. In 1923, the school merged with the Cookman Institute of Jacksonville and then became affiliated with the Methodist Church the following year. The school served as a co-educational high school until 1931 when it became a junior college. In 1941, the school was accredited as a four-year college and was renamed Bethune-Cookman College.<br /><br />Dennison also served as the executive secretary for the National Council of Negro Women (NCNW) when it was established by Dr. Bethune in 1935. NCNW was organized to advance opportunities for African-American women via research, advocacy, and national and community-based programs.
Type
Still Image
Source
Original 8 x 10 inch black and white photographic print: Sun room, image 101, <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
Is Part Of
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank">Mary McLeod Bethune Foundation Collection</a>, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 8 x 10 inch black and white photographic print.
Coverage
New York City, New York
Mary McLeod Bethune Foundation, Mary McLeod Bethune Home, Bethune-Cookman University, Daytona Beach, Florida
Date Created
ca. 1920-1955
Format
image/jpg
Extent
374 KB
Medium
8 x 10 inch autographed black and white photographic print
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
Holt, Rackham. <a href="http://www.worldcat.org/oclc/711061" target="_blank"><em>Mary McLeod Bethune: A Biography</em></a>. 1964.
"<a href="http://ncnw.org/about/index.htm" target="_blank">About Us</a>." National Council of Negro Women, Inc. http://ncnw.org/about/index.htm.
Arrabella Dennison
B-CC
Bethune-Cookman College
Bethune, Mary Jane McLeod
college
Daytona Beach
Mary Jane McLeod
National Council of Negro Women
NCNW
secretary
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/f3323888ff1ca85e052f9b99a70407e6.jpg
5b5a0da59691301939ba61eb31bcd3d0
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
Mary McLeod Bethune Foundation Collection
Alternative Title
Bethune Foundation Collection
Subject
Daytona Beach (Fla.)
Bethune, Mary McLeod, 1875-1955
Description
Collection of digital images, documents, and other records from the Mary McLeod Bethune Foundation located on the Bethune-Cookman University campus at 640 Doctor Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The foundation was established on March 17, 1953, as "a place to awaken people and to have them realize that there is something in the world they can do."
The foundation is housed in the Mary McLeod Bethune Home, which was inhabited by educator and civil rights activist Mary McLeod Bethune (1875-1955). Also known as "The Retreat," the home was built by African American A. B. Raddick around 1905. In 1913, chemist James Norris Gamble and Thomas White of White Sewing Machine Company, purchased the home for Bethune. On December 2, 1974, the historic house was added to the U.S. National Register of Historic Places. In 2006, the museum closed for renovation and conservation. It reopened in April of 2011.
Contributor
<a href="http://www.cookman.edu/foundation/" target="_blank">Mary McLeod Bethune Foundation</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank">Volusia County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/80" target="_blank">Daytona Beach Collection</a>, Volusia County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Mary McLeod Bethune Home, Daytona Beach, Florida
Rights Holder
<span>Copyright to this resource is held by the </span><a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a><span> and is provided here by </span><a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only.</span>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
"<a href="http://www.cookman.edu/foundation/about_us.html" target="_blank">About Us</a>." Mary McLeod Bethune Foundation, Bethune-Cookman University. http://www.cookman.edu/foundation/about_us.html.
"<a href="http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building" target="_blank">Bethune (Mary Mcleod) Home</a>." National Historic Landmarks Program, National Park Service. http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 autographed black and white photographic print
Physical Dimensions
8 x 10 inches
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
Albert McLeod Bethune, Sr.
Alternative Title
Albert McLeod Bethune, Sr.
Subject
Morticians
Description
A portrait of Albert McLeod Bethune, Sr., which is housed at the Mary McLeod Bethune Foundation, located at 640 Dr. Mary McLeod Bethune Boulevard in Daytona Beach, Florida. Albert Bethune was the only child of Albertus Bethune and Dr. Mary Jane McLeod Bethune. He was born on February 3, 1899, and served in the United States Army during World War I, when he was a young adult. Albert Bethune was one of the first students at his mother's school, after it merged with the Cookman Institute in 1923. He later went to the Haines Institute in Augusta, Georgia. Albert then became the owner and operator of Bethune Funeral Home for 25 years. He was also a retired coordinator of vocational services at Bethune-Cookman College (B-CC). He died on October 31, 1989.
Type
Still Image
Source
Original 8 x 10 inch black and white photographic print: Sun room, image 78, <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
Is Part Of
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank">Mary McLeod Bethune Foundation Collection</a>, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 8 x 10 inch black and white photographic print.
Coverage
Bethune-Cookman College, Daytona Beach, Florida
Mary McLeod Bethune Foundation, Mary McLeod Bethune Home, Bethune-Cookman University, Daytona Beach, Florida
Date Created
ca. 1899-1989
Format
image/jpg
Extent
266 KB
Medium
8 x 10 inch black and white photographic print
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
Hager, Charlene. "<a href="http://articles.orlandosentinel.com/1989-11-02/news/8911022929_1_bethune-daytona-beach-albert-m" target="_blank">Albert M. Bethune Dies At 90 He Was College Founder's Son, Army Veteran, Civic Leader In Volusia</a>." <em>The Orlando Sentinel</em>, November 2, 1989. http://articles.orlandosentinel.com/1989-11-02/news/8911022929_1_bethune-daytona-beach-albert-m.
Albert McLeod Bethune, Sr.
B-CC
Bethune Funeral Home
Bethune-Cookman College
college
Daytona Beach
funeral home
Mary Jane McLeod Bethune
mortician
undertaker
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/fc245b1264701054c870fcb5e124b354.jpg
3d719b5f35af18522208d89789616b50
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
Mary McLeod Bethune Foundation Collection
Alternative Title
Bethune Foundation Collection
Subject
Daytona Beach (Fla.)
Bethune, Mary McLeod, 1875-1955
Description
Collection of digital images, documents, and other records from the Mary McLeod Bethune Foundation located on the Bethune-Cookman University campus at 640 Doctor Mary McLeod Bethune Boulevard in Daytona Beach, Florida. The foundation was established on March 17, 1953, as "a place to awaken people and to have them realize that there is something in the world they can do."
The foundation is housed in the Mary McLeod Bethune Home, which was inhabited by educator and civil rights activist Mary McLeod Bethune (1875-1955). Also known as "The Retreat," the home was built by African American A. B. Raddick around 1905. In 1913, chemist James Norris Gamble and Thomas White of White Sewing Machine Company, purchased the home for Bethune. On December 2, 1974, the historic house was added to the U.S. National Register of Historic Places. In 2006, the museum closed for renovation and conservation. It reopened in April of 2011.
Contributor
<a href="http://www.cookman.edu/foundation/" target="_blank">Mary McLeod Bethune Foundation</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank">Volusia County Collection</a>, RICHES of Central Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/80" target="_blank">Daytona Beach Collection</a>, Volusia County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Mary McLeod Bethune Foundation, Daytona Beach, Florida
Mary McLeod Bethune Home, Daytona Beach, Florida
Rights Holder
<span>Copyright to this resource is held by the </span><a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a><span> and is provided here by </span><a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a><span> for educational purposes only.</span>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
"<a href="http://www.cookman.edu/foundation/about_us.html" target="_blank">About Us</a>." Mary McLeod Bethune Foundation, Bethune-Cookman University. http://www.cookman.edu/foundation/about_us.html.
"<a href="http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building" target="_blank">Bethune (Mary Mcleod) Home</a>." National Historic Landmarks Program, National Park Service. http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1428&ResourceType=Building.
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photographic print
Physical Dimensions
8 x 10 inches
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Dr. Mary Jane McLeod Bethune with First Lady Eleanor Roosevelt
Alternative Title
Dr. Bethune with First Lady Eleanor Roosevelt
Subject
Bethune, Mary Jane McLeod, 1875-1955
Roosevelt, Anna Eleanor Roosevelt, 1884-1962
First ladies (United States)
Educators--Florida
Bethune-Cookman College (Daytona Beach, Fla.)
Description
Dr. Mary Jane Mcleod Bethune presenting the First Lady Eleanor Roosevelt an honorary degree from Bethune-Cookman College in Daytona Beach, Florida, on March 19, 1953. The two women had developed a friendship previously and Roosevelt had arranged for Dr. Bethune's appointment as Director of the Division of Negro Affairs of the National Youth Administration (NYA) when Roosevelt's husband, Franklin Delano Roosevelt, was President.<br /><br />Originally the Daytona Educational and Industrial Training School for Negro Girls, Bethune-Cookman was established by African-American educator and civil rights activist Dr. Mary Jane McLeod Bethune in October 1904. In 1923, the school merged with the Cookman Institute of Jacksonville and then became affiliated with the Methodist Church the following year. The school served as a co-educational high school until 1931 when it became a junior college. In 1941, the school was accredited as a four-year college and was renamed Bethune-Cookman College.
Type
Still Image
Source
Original 8 x 10 inch black and white photographic print: Sun room, image 154, <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
Is Part Of
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>, Daytona Beach, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank">Mary McLeod Bethune Foundation Collection</a>, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 8 x 10 inch black and white photographic print.
Coverage
Bethune-Cookman College, Daytona Beach, Florida
Date Created
1953-03-19
Format
image/jpg
Extent
321 KB
Medium
8 x 10 inch black and white photographic print
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a> and is provided here by <a title="RICHES of Central Florida" href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank">Mary McLeod Bethune Foundation</a>
External Reference
Holt, Rackham. <a href="http://www.worldcat.org/oclc/711061" target="_blank"><em>Mary McLeod Bethune: A Biography</em></a>. 1964.
Stille, Darlene R., and Reed Sprunger. <a href="http://www.worldcat.org/oclc/796001996" target="_blank"><em>Eleanor Roosevelt: First Lady and Civil Rights Activist</em></a>. Minneapolis, MN: Magic Wagon, 2013.
Anna Eleanor Roosevelt
B-CC
Bethune-Cookman College
college
education
educator
Eleanor
First Lady
First Lady of the United States
First Lady of the World
FLOTUS
honorary degree
Mary Jane McLeod Bethune
teacher
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/f256722262e7c5f37ac82968b55dbb66.jpg
f35a2f274bf5b7bbcddfe16e61a7e5ec
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
Oviedo Historical Society Collection
Alternative Title
Oviedo Historical Society Collection
Subject
Oviedo (Fla).
Description
The Oviedo Historical Society Collection encompasses historical artifacts donated for digitization at the Oviedo Historical Society's History Harvest in the Spring semester of 2015.
The Oviedo Historical Society was organized in November 1973 by a group of citizens. The society is a 501(3) non-profit organization. Its purpose is to help preserve the community identity of Oviedo by collecting and disseminating knowledge about local history, serve as a repository for documents and artifacts relating to Oviedo history, promote the preservation and marking of historic sites and buildings in the Oviedo area and foster interest in local, state, national, and world history.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/128" target="_blank">Oviedo Collection</a>, Seminole County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Oviedo, Florida
Contributing Project
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
<a href="http://history.cah.ucf.edu/staff.php?id=304" target="_blank">Dr. Connie L. Lester</a>'s Introduction to Public History course, Spring 2015
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>." Oviedo Historical Society, Inc. http://oviedohs.com/.
Adicks, Richard, and Donna M. Neely. <a href="http://www.worldcat.org/oclc/5890131" target="_blank"><em>Oviedo, Biography of a Town</em></a>. S.l: s.n.], 1979.
Robison, Jim. <a href="http://www.worldcat.org/oclc/796757419" target="_blank"><em>Around Oviedo</em></a>. 2012.
"<a href="http://www.cityofoviedo.net/node/68" target="_blank">History</a>." City of Oviedo, Florida. http://www.cityofoviedo.net/node/68.
"<a href="http://riches.cah.ucf.edu/audio/Ep41-Oviedo.mp3" target="_blank">RICHES Podcast Documentaries, Episode 41: Oviedo, with Dr. Richard Adicks</a>." RICHES of Central Florida. http://riches.cah.ucf.edu/audio/Ep41-Oviedo.mp3.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Original Format
1 newspaper article
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Oviedo
Alternative Title
Oviedo
Subject
Oviedo (Fla.)
Neighborhoods--United States
Houses and homes
Real estate business--Florida
Description
A newspaper article that examines Oviedo's growth through the creation of number of subdivisions, most notably Mead Manor. Named for horticulturalist Dr. Theodore Luqueer Mead, Mead Manor was developed by the Oviedo Land Company, which was formed by B. F. Wheeler, John Evans, Bill Martin, Ben Ward, Rex Clonts, Robert Lee, Bernie Blackwood, and Bob Williams. With the advent of Florida Technological University (present-day University of Central Florida) during the 1960s, development began in order to take advantage of the arrival of faculty and staff from the university. Mead Manor is credited with beginning the land development boom in Oviedo, leading to other residential subdivisions, such as Alafaya Woods and Grove Hill.
Type
Text
Source
Photocopy of original newspaper article: "Oviedo." <em>Homebuyer</em>, Spring 2000: Private Collection of Colene Ward.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/147" target="_blank">Oviedo Historical Society Collection</a>, Oviedo Collection, Seminole County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of photocopied newspaper article: "Oviedo." <em>Homebuyer</em>, Spring 2000.
Coverage
Mead Manor, Downtown Oviedo, Florida
Publisher
<em>Homebuyer</em>
Contributor
Ward, Colene
Date Created
ca. 2000
Date Issued
ca. 2000
Date Copyrighted
ca. 2000
Format
image/jpg
Extent
115 KB
Medium
1 newspaper article
Language
eng
Mediator
1 newspaper article
Provenance
Originally published by <em>Homebuyer</em>.
Rights Holder
Copyright to this resource is held by <em>Homebuyer</em> 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://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
Curator
Dossie, Porsha
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
Private Collection of Colene Ward
External Reference
Dudley, Bruce. "Mead Manor Brings New Lifestyle to Oviedo." <em>The Orlando Sentinel</em>, September 5, 1971.
Alafaya Woods
Andrew Aulin, Sr.
Ben Ward, Jr.
celery
celery industry
chicken
citrus
citrus industry
Colene Ward
college
Downtown Oviedo
Florida Technological University
FTU
Great Depression
home
Homebuyer
house
Mead Manor
neighborhood
orange county
Oviedo
Oviedo Place
school
Solaria's Wharf
subdivision
suburb
university
-
https://richesmi.cah.ucf.edu/omeka/files/original/2b24ef23d1ab0f9a4c86482db210a60c.jpg
f6324206bb898461d6269d95ff57fa9b
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
Art Legends of Orange County Collection
Alternative Title
Art Legends Collection
Subject
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Gallery</a>
<a href="http://www.orlandoslice.com/group/cityartsfactory" target="_blank">CityArts Factory</a>
<a href="http://artandhistory.org/" target="_blank">Art & History Museums - Maitland</a>
<a href="http://www.rollins.edu/cornell-fine-arts-museum/" target="_blank">Cornell Fine Arts Museum</a>
<a href="http://www.crealde.org/" target="_blank">Crealdé School of Art</a>
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
<a href="http://gallery.cah.ucf.edu/">University of Central Florida Art Gallery</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Eldora, Florida
Gainesville, Florida
Lake Wales, Florida
Maitland, Florida
Orlando, Florida
Sanford, Florida
Winter Park, Florida
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>." Art Legends of Orange County. http://www.artlegendsoc.org/.
Description
<p>Although visual art had been explored in Central Florida, Orange County’s visual arts community truly came alive during the years of 1932-1982, thanks to the vision of 20 distinguished artists and arts leaders. Their influence not only helped build a solid foundation for the local art community but some of Orange County’s local Art Legends significantly influenced modern American Art.<br /><br />To recognize the leadership and celebrate the accomplishments of these arts visionaries, arts administrators from 11 Orange County museums and galleries joined forces and shared collections to create the <em>Art Legends of Orange County</em> initiative.<br /><br />This community-wide collaboration runs throughout the 2015-2016 arts season and includes more than 15 exhibitions and events. <em>Art Legends of Orange County</em> celebrates 20 distinguished artists and patrons who helped build Orange County’s vibrant cultural landscape.</p>
<p><br /><em>Art Legends of Orange County</em> full exhibition schedule and link to virtual exhibition available at <a href="http://www.ArtLegendsOC.org" target="_blank">www.ArtLegendsOC.org</a>.</p>
<p>Visit RICHES™ of Central Florida at <a href="https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends">https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends</a> for virtual exhibition.</p>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photograph
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
Hugh F. McKean
Alternative Title
Hugh McKean
Subject
McKean, Hugh F.
Artists--Florida
Art--Southern States
Educators--Florida
Teachers--Florida
Rollins College (Winter Park, Fla.)
Winter Park (Fla.)
Description
Hugh F. McKean (1908-1995) moved to Orlando, Florida, from College Hill in Beaver Falls, Pennsylvania, where he was raised. He earned his bachelor's degree from Rollins College in Winter Park in 1930 and joined its faculty in 1932, later heading its art department. He studied art at the Pennsylvania Academy of the Fine Arts in Philadelphia, Art Students League in New York City, the École des Beaux-Arts at Fontainebleau in France, and Harvard University. The Tiffany Foundation also selected him in 1930 to join other artists at Laurelton Hall, Louis Comfort Tiffany's mansion at Cold Spring Harbor, Long Island, New York, under Tiffany's tutelage. In 1940, he received his master's degree from Williams College in Williamstown, Massachusetts. He married Jeannette Genius , the granddaughter of Charles Hosmer Morse, in 1945. McKean then served as the president of Rollins College from 1951 to 1969 and the director of the Charles Hosmer Morse Museum of American Art from 1942 until his death in 1995.
Type
Still Image
Source
Original black and white photograph: <a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>, Orlando, Florida.
Is Part Of
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/155" target="_blank">Art Legends of Orange County Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original black and white photograph.
Coverage
College Hill, Beaver Falls, Pennsylvania
Orlando, Florida
Rollins College, Winter Park, Florida
Williams College, Williamstown, Massachusetts
Charles Hosmer Morse Museum of American Art , Winter Park, Florida
Date Created
ca. 1908-1995
Format
image/jpg
Extent
101 KB
Medium
1 black and white photograph
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
External Reference
"<a href="http://www.morsemuseum.org/morse-history/hugh-f-mckean" target="_blank">Hugh F. McKean</a>." The Charles Hosmer Morse Museum of American Art . http://www.morsemuseum.org/morse-history/hugh-f-mckean.
"<a href="http://lib.rollins.edu/olin/oldsite/archives/golden/hmckean.htm" target="_blank">Hugh F. McKean (1908-1995): Artist, Educator and Philanthropist</a>." Olin Library, Rollins College. http://lib.rollins.edu/olin/oldsite/archives/golden/hmckean.htm.
art
artist
Charles Hosmer Morse Museum of American Art
college
education
educator
Hugh F. McKean
Morse Museum of Art
museum
orlando
president
Rollins College
school
teacher
university
Williams College
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/659c563582a86773590fc6744f0703c1.jpg
54507c2681581f167950b394608589b0
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
Art Legends of Orange County Collection
Alternative Title
Art Legends Collection
Subject
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Gallery</a>
<a href="http://www.orlandoslice.com/group/cityartsfactory" target="_blank">CityArts Factory</a>
<a href="http://artandhistory.org/" target="_blank">Art & History Museums - Maitland</a>
<a href="http://www.rollins.edu/cornell-fine-arts-museum/" target="_blank">Cornell Fine Arts Museum</a>
<a href="http://www.crealde.org/" target="_blank">Crealdé School of Art</a>
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
<a href="http://gallery.cah.ucf.edu/">University of Central Florida Art Gallery</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Eldora, Florida
Gainesville, Florida
Lake Wales, Florida
Maitland, Florida
Orlando, Florida
Sanford, Florida
Winter Park, Florida
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>." Art Legends of Orange County. http://www.artlegendsoc.org/.
Description
<p>Although visual art had been explored in Central Florida, Orange County’s visual arts community truly came alive during the years of 1932-1982, thanks to the vision of 20 distinguished artists and arts leaders. Their influence not only helped build a solid foundation for the local art community but some of Orange County’s local Art Legends significantly influenced modern American Art.<br /><br />To recognize the leadership and celebrate the accomplishments of these arts visionaries, arts administrators from 11 Orange County museums and galleries joined forces and shared collections to create the <em>Art Legends of Orange County</em> initiative.<br /><br />This community-wide collaboration runs throughout the 2015-2016 arts season and includes more than 15 exhibitions and events. <em>Art Legends of Orange County</em> celebrates 20 distinguished artists and patrons who helped build Orange County’s vibrant cultural landscape.</p>
<p><br /><em>Art Legends of Orange County</em> full exhibition schedule and link to virtual exhibition available at <a href="http://www.ArtLegendsOC.org" target="_blank">www.ArtLegendsOC.org</a>.</p>
<p>Visit RICHES™ of Central Florida at <a href="https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends">https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends</a> for virtual exhibition.</p>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photograph
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
Jeannette Genius McKean
Alternative Title
Jeannette McKean
Subject
McKean, Jeannette
Artists--Florida
Art--Southern States
Painters--Southern States
Painting--Florida
Interior designers
Interior design
Rollins College (Winter Park, Fla.)
Winter Park (Fla.)
Description
Jeannette Genius McKean (1909-1989) was a painter, interior designer, and trustee, and benefactor of Rollins College in Winter Park, Florida. Born in Chicago, Illinois, she visited her grandfather, Charles Hosmer Morse, in Winter Park. On one summer visit in 1926, she enrolled in a course at Rollins, touching off a lifelong interest in the college. In 1942, Jeannette Genius founded the Morse Gallery of Art (present-day Charles Hosmer Morse Museum of American Art) on the Rollins College campus, naming it for her grandfather. She appointed Rollins art professor Hugh McKean as the gallery's director, and in 1945, she married him.
Type
Still Image
Source
Original black and white photograph: <a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>, Orlando, Florida.
Is Part Of
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/155" target="_blank">Art Legends of Orange County Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original black and white photograph.
Coverage
Chicago, Illinois
Rollins College, Winter Park, Florida
Charles Hosmer Morse Museum of American Art , Winter Park, Florida
Date Created
ca. 1909-1989
Format
image/jpg
Extent
209 KB
Medium
1 black and white photograph
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
External Reference
Twardy, Chuck and Charlie Jean. "<a href="http://articles.orlandosentinel.com/1989-08-11/news/8908112511_1_winter-park-rollins-mckean" target="_blank">Jeannette Genius Mckean, Famed Winter Park Artist, Dies</a>." <em>The Orlando Sentinel</em>, August 11, 1989. http://articles.orlandosentinel.com/1989-08-11/news/8908112511_1_winter-park-rollins-mckean.
"<a href="http://www.morsemuseum.org/morse-history/Jeannette-genius-mckean" target="_blank">Charles Hosmer Morse</a>." The Charles Hosmer Morse Museum of American Art. http://www.morsemuseum.org/morse-history/Jeannette-genius-mckean.
art
artist
benefactor
Charles Hosmer Morse Museum of American Art
college
education
interior design
interior designer
Jeannette Genius
Jeannette Genius McKean
Morse Museum of Art
museum
painter
painting
Rollins College
school
trustee
university
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/25a1949d11d2ad8f324688b5fa8775fa.jpg
768cdcad783364e7c6cc9f97b759f05f
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
Art Legends of Orange County Collection
Alternative Title
Art Legends Collection
Subject
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Gallery</a>
<a href="http://www.orlandoslice.com/group/cityartsfactory" target="_blank">CityArts Factory</a>
<a href="http://artandhistory.org/" target="_blank">Art & History Museums - Maitland</a>
<a href="http://www.rollins.edu/cornell-fine-arts-museum/" target="_blank">Cornell Fine Arts Museum</a>
<a href="http://www.crealde.org/" target="_blank">Crealdé School of Art</a>
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
<a href="http://gallery.cah.ucf.edu/">University of Central Florida Art Gallery</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Eldora, Florida
Gainesville, Florida
Lake Wales, Florida
Maitland, Florida
Orlando, Florida
Sanford, Florida
Winter Park, Florida
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>." Art Legends of Orange County. http://www.artlegendsoc.org/.
Description
<p>Although visual art had been explored in Central Florida, Orange County’s visual arts community truly came alive during the years of 1932-1982, thanks to the vision of 20 distinguished artists and arts leaders. Their influence not only helped build a solid foundation for the local art community but some of Orange County’s local Art Legends significantly influenced modern American Art.<br /><br />To recognize the leadership and celebrate the accomplishments of these arts visionaries, arts administrators from 11 Orange County museums and galleries joined forces and shared collections to create the <em>Art Legends of Orange County</em> initiative.<br /><br />This community-wide collaboration runs throughout the 2015-2016 arts season and includes more than 15 exhibitions and events. <em>Art Legends of Orange County</em> celebrates 20 distinguished artists and patrons who helped build Orange County’s vibrant cultural landscape.</p>
<p><br /><em>Art Legends of Orange County</em> full exhibition schedule and link to virtual exhibition available at <a href="http://www.ArtLegendsOC.org" target="_blank">www.ArtLegendsOC.org</a>.</p>
<p>Visit RICHES™ of Central Florida at <a href="https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends">https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends</a> for virtual exhibition.</p>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 color photograph
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
Walter Gaudnek
Alternative Title
Walter Gaudnek
Subject
Gaudnek, Walter, 1931-
Art--Southern States
Painting--Florida
Educators--Florida
Teachers--Florida
Orlando (Fla.)
Description
Born in Fleyh, Czechoslovakia, in 1931, pop artist Dr. Walter Gaudnek is known for his blend of his bold colors, philosophy, religious symbolism, labyrinth installations, and mixtures of performance and art. He also draws heavy inspiration from Bohemia, Caravaggio, Kazimir Malevich, and Pablo Picasso. A 1957 Fulbright Scholar who received his doctorate from New York University, he joined the art faculty of the Florida Technological University (present-day University of Central Florida) in Orlando, Florida, in 1970. Dr. Gaudnek previously taught at universities in Los Angeles, New York, and Ohio. He founded the Long Island University's Hillwood Art Museum in Greenvale, New York. His honors from UCF include Distinguished Researcher of the Year (1990), the Teaching Incentive Program Award (1995 and 2005), the Professional Excellence Program Award (1997), the President's Award (1999), and the Research Incentive Award (2002). In 1994, the Sudetendeutecher Landsmannschaft, an organization dedicated to recognizing the achievements of the Czech-German diaspora, awarded him the Kulturpreis for Fine Art and Architecture.<br /><br />Dr. Gaudnek's work can be seen at the Gaudnek Europe Museum (GEM) in Altomnster, Germany, as well as the UCF Library, which contains a retrospective of his work from 1945 to 2007. He has participated in more than 200 solo and group exhibitions, installations, and performances in Germany, Italy, Spain, England, Colombia, the Czech Republic, and the United States. His works have also been exhibited in museums in New York, San Francisco, Los Angeles, Virginia, Arizona, Florida, Europe, and Brazil, as well as schools, banks, office buildings, libraries, theaters, museums, and private homes in Europe and the United States. He has been featured in documentaries in San Francisco, New York, Munich, Sใo Paolo, and Paris.
Type
Still Image
Source
Original color photograph: <a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</a>, Orlando, Florida.
Is Part Of
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/155" target="_blank">Art Legends of Orange County Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original color photograph.
Coverage
Fleyh, Czechoslovakia
Florida Technological University, Orlando, Florida
University of Central Florida, Orlando, Florida
Hillwood Art Museum, Long Island University, Greenvale, New York
Gaudnek Europe Museum, Altomnster, Dachau, Bavaria, Germany
Date Created
ca. 1931-2015
Format
image/jpg
Extent
100 KB
Medium
1 color photograph
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</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://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</a>
External Reference
"<a href="http://www.gaudnek.com/?page_id=418" target="_blank">ABOUT</a>." Gaudnek.com. http://www.gaudnek.com/?page_id=418.
Bishop, Philip E. "<a href="http://articles.orlandosentinel.com/1993-11-28/entertainment/9311300709_1_picasso-guernica-religious-art-painting" target="_blank">Artist Puts His Religious Faith On Canvas In Bright Pop Style</a>." <em>The Orlando Sentinel</em>, November 28, 1993. http://articles.orlandosentinel.com/1993-11-28/entertainment/9311300709_1_picasso-guernica-religious-art-painting.
art
artist
college
Czech
education
educator
Florida Technological University
FTU
Hillwood Art Museum
LIU
Long Island University
modern art
museum
orlando
painter
painting
pop art
school
teacher
university
Walter Gaudnek
-
https://richesmi.cah.ucf.edu/omeka/files/original/e80d94ea24158e5022e72caa0c4807d0.jpg
6bde2b792bc627fe90e460ef511fb4de
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
Art Legends of Orange County Collection
Alternative Title
Art Legends Collection
Subject
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Gallery</a>
<a href="http://www.orlandoslice.com/group/cityartsfactory" target="_blank">CityArts Factory</a>
<a href="http://artandhistory.org/" target="_blank">Art & History Museums - Maitland</a>
<a href="http://www.rollins.edu/cornell-fine-arts-museum/" target="_blank">Cornell Fine Arts Museum</a>
<a href="http://www.crealde.org/" target="_blank">Crealdé School of Art</a>
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
<a href="http://gallery.cah.ucf.edu/">University of Central Florida Art Gallery</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Eldora, Florida
Gainesville, Florida
Lake Wales, Florida
Maitland, Florida
Orlando, Florida
Sanford, Florida
Winter Park, Florida
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>." Art Legends of Orange County. http://www.artlegendsoc.org/.
Description
<p>Although visual art had been explored in Central Florida, Orange County’s visual arts community truly came alive during the years of 1932-1982, thanks to the vision of 20 distinguished artists and arts leaders. Their influence not only helped build a solid foundation for the local art community but some of Orange County’s local Art Legends significantly influenced modern American Art.<br /><br />To recognize the leadership and celebrate the accomplishments of these arts visionaries, arts administrators from 11 Orange County museums and galleries joined forces and shared collections to create the <em>Art Legends of Orange County</em> initiative.<br /><br />This community-wide collaboration runs throughout the 2015-2016 arts season and includes more than 15 exhibitions and events. <em>Art Legends of Orange County</em> celebrates 20 distinguished artists and patrons who helped build Orange County’s vibrant cultural landscape.</p>
<p><br /><em>Art Legends of Orange County</em> full exhibition schedule and link to virtual exhibition available at <a href="http://www.ArtLegendsOC.org" target="_blank">www.ArtLegendsOC.org</a>.</p>
<p>Visit RICHES™ of Central Florida at <a href="https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends">https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends</a> for virtual exhibition.</p>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 color photograph
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
Judy Albertson
Alternative Title
Judy Albertson
Subject
Art--Southern States
Orlando (Fla.)
University of Central Florida
Description
Judy Albertson was active in the art community when she met gallery owner Louise Peterson. Fifteen years later, they established the Albertson-Peterson Gallery as a unique fine arts crafts gallery. Together, the pair developed a dialogue that led to greater interest in the importance of a solid link between business and the art community. Independent of the commercial gallery, the Art Consulting Program Planning Division helped give direction and dedication to corporations through the acquisition of visual arts.<br /><br />Albertson was involved in helping University of Central Florida develop its educational and arts programs from its early years. She has served on the UCF Board of Trustees and the UCF Foundation and helped establish Friends of UCF (a nonprofit organization dealing with the arts, humanities and culture). She has been a member of the Board of Trustees of the Orlando Museum of Art, a member of the Board of Visitors of the Cornell Fine Arts Museum at Rollins College and was on the board of the Cultural Alliance.
Type
Still Image
Source
Original color photograph: <a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>, Orlando, Florida.
Is Part Of
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/155" target="_blank">Art Legends of Orange County Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original color photograph.
Coverage
Albertson-Peterson Gallery, Winter Park, Florida
University of Central Florida, Orlando, Florida
Date Created
ca. 1960-2015
Format
image/jpg
Extent
127 KB
Medium
1 color photograph
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</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://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
External Reference
"<a href="http://articles.orlandosentinel.com/1987-04-05/news/0120150289_1_reese-watercolors-school-of-art" target="_blank">Art Center Shows Reese's Watercolors</a>." <em>The Orlando Sentinel</em>, April 5, 1987. http://articles.orlandosentinel.com/1987-04-05/news/0120150289_1_reese-watercolors-school-of-art.
Albertson-Peterson Gallery
art
Art Consulting Program Planning Division
college
Cornell Fine Arts Museum
Cultural Alliance
education
Friends of UCF
gallery
Judy Albertson
Orlando Museum of Art
school
UCF
UCF Board of Trustees
UCF Foundation
university
University of Central Florida
-
https://richesmi.cah.ucf.edu/omeka/files/original/f01772c452e014cbcd8b861ee0d31401.jpg
e1a8346893caffcd302bfb589662c477
https://richesmi.cah.ucf.edu/omeka/files/original/da04f9d4605bfba9be94f4f70d04ff3e.jpg
2cd667f8d1581884b6ce9610d39a6462
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
Art Legends of Orange County Collection
Alternative Title
Art Legends Collection
Subject
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Gallery</a>
<a href="http://www.orlandoslice.com/group/cityartsfactory" target="_blank">CityArts Factory</a>
<a href="http://artandhistory.org/" target="_blank">Art & History Museums - Maitland</a>
<a href="http://www.rollins.edu/cornell-fine-arts-museum/" target="_blank">Cornell Fine Arts Museum</a>
<a href="http://www.crealde.org/" target="_blank">Crealdé School of Art</a>
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
<a href="http://gallery.cah.ucf.edu/">University of Central Florida Art Gallery</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Eldora, Florida
Gainesville, Florida
Lake Wales, Florida
Maitland, Florida
Orlando, Florida
Sanford, Florida
Winter Park, Florida
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>." Art Legends of Orange County. http://www.artlegendsoc.org/.
Description
<p>Although visual art had been explored in Central Florida, Orange County’s visual arts community truly came alive during the years of 1932-1982, thanks to the vision of 20 distinguished artists and arts leaders. Their influence not only helped build a solid foundation for the local art community but some of Orange County’s local Art Legends significantly influenced modern American Art.<br /><br />To recognize the leadership and celebrate the accomplishments of these arts visionaries, arts administrators from 11 Orange County museums and galleries joined forces and shared collections to create the <em>Art Legends of Orange County</em> initiative.<br /><br />This community-wide collaboration runs throughout the 2015-2016 arts season and includes more than 15 exhibitions and events. <em>Art Legends of Orange County</em> celebrates 20 distinguished artists and patrons who helped build Orange County’s vibrant cultural landscape.</p>
<p><br /><em>Art Legends of Orange County</em> full exhibition schedule and link to virtual exhibition available at <a href="http://www.ArtLegendsOC.org" target="_blank">www.ArtLegendsOC.org</a>.</p>
<p>Visit RICHES™ of Central Florida at <a href="https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends">https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends</a> for virtual exhibition.</p>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
2 color photographs
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Dr. Walter Gaudnek with Art
Alternative Title
Walter Gaudnek
Subject
Gaudnek, Walter, 1931-
Artists--Florida
Art--Southern States
Painters--Southern States
Painting--Florida
Educators--Florida
Teachers--Florida
Florida Technological University
University of Central Florida
Orlando (Fla.)
Description
Born in Fleyh, Czechoslovakia, in 1931, pop artist Dr. Walter Gaudnek is known for his blend of his bold colors, philosophy, religious symbolism, labyrinth installations, and mixtures of performance and art. He also draws heavy inspiration from Bohemia, Caravaggio, Kazimir Malevich, and Pablo Picasso. A 1957 Fulbright Scholar who received his doctorate from New York University, he joined the art faculty of the Florida Technological University (present-day University of Central Florida) in Orlando, Florida, in 1970. Dr. Gaudnek previously taught at universities in Los Angeles, New York, and Ohio. He founded the Long Island University's Hillwood Art Museum in Greenvale, New York. His honors from UCF include Distinguished Researcher of the Year (1990), the Teaching Incentive Program Award (1995 and 2005), the Professional Excellence Program Award (1997), the President’s Award (1999), and the Research Incentive Award (2002). In 1994, the Sudetendeutecher Landsmannschaft, an organization dedicated to recognizing the achievements of the Czech-German diaspora, awarded him the Kulturpreis for Fine Art and Architecture.<br /><br />Dr. Gaudnek’s work can be seen at the Gaudnek Europe Museum (GEM) in Altomünster, Germany, as well as the UCF Library, which contains a retrospective of his work from 1945 to 2007. He has participated in more than 200 solo and group exhibitions, installations, and performances in Germany, Italy, Spain, England, Colombia, the Czech Republic, and the United States. His works have also been exhibited in museums in New York, San Francisco, Los Angeles, Virginia, Arizona, Florida, Europe, and Brazil, as well as schools, banks, office buildings, libraries, theaters, museums, and private homes in Europe and the United States. He has been featured in documentaries in San Francisco, New York, Munich, São Paolo, and Paris.
Type
Still Image
Source
Original color photographs: <a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</a>, Orlando, Florida.
Is Part Of
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</a>, Orlando, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/155" target="_blank">Art Legends of Orange County Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original color photographs.
Coverage
Orlando, Florida
Date Created
ca. 1931-2015
Format
image/jpg
Extent
187 KB
194 KB
Medium
2 color photographs
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</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://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Terrace Gallery</a>
External Reference
"<a href="http://www.gaudnek.com/?page_id=418" target="_blank">ABOUT</a>." Gaudnek.com. http://www.gaudnek.com/?page_id=418.
Bishop, Philip E. "<a href="http://articles.orlandosentinel.com/1993-11-28/entertainment/9311300709_1_picasso-guernica-religious-art-painting" target="_blank">Artist Puts His Religious Faith On Canvas In Bright Pop Style</a>." <em>The Orlando Sentinel</em>, November 28, 1993. http://articles.orlandosentinel.com/1993-11-28/entertainment/9311300709_1_picasso-guernica-religious-art-painting.
art
artist
college
Czech
education
educator
Florida Technological University
FTU
Hillwood Art Museum
LIU
Long Island University
modern art
museum
orlando
painter
painting
pop art
school
teacher
university
Walter Gaudnek
-
https://richesmi.cah.ucf.edu/omeka/files/original/5b61ec0765d6c213606a23df4ae6af82.jpg
9c6b1448b716c1f28ef9716501590978
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
Brandon Collection
Alternative Title
Brandon Collection
Subject
Brandon (Fla.)
Description
Collection of digital images, documents, and other records depicting the history of Brandon, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.
In 1857, when John Brandon (1809-1886) migrated from Mississippi to Fort Brooke (present-day Tampa) with his wife, Martha Brandon (1813-1867), and children. Brandon purchased 40 acres in New Hope, which is an area now known as Brandon. The town of Brandon grew slowly in its first few decades and suffered greatly during the Great Depression, when its poultry farms closed. Around 1946, Bill Hollash and Ann Hollash opened Brandon Eggs (later called Hollash Eggs), the largest egg producer in Hillsborough County.
In the 1950s, Brandon experience significant growth, expanding into the border communities of Limona, Seffner, and Valric. Growth continued through the 1980s.
Contributor
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/158" target="_blank">Hillsborough County Collection</a>, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Brandon, Florida
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.ospreyobserver.com/local-history/history-of-brandon/" target="_blank">History of Brandon</a>." <em>The Osprey Observer</em>. http://www.ospreyobserver.com/local-history/history-of-brandon/.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Original Format
1 newspaper advertisement
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
Allstate Construction College Advertisement
Alternative Title
Allstate Construction College Ad
Subject
Brandon (Fla.)
Colleges
Education--Florida
Description
A newspaper advertisement for Allstate Construction College's electrical engineering program. According to the ad, the college prepared students to pass the new state electrical exam and was taught by an instructor who was a state-licensed electrical contractor, a state general contractor, and an electrical engineer. The college was located at 401 Cranberry Lane in Brandon, Florida.
Type
Text
Source
Original newspaper advertisement, 1974: <a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>, Downtown Oviedo, Florida.
Is Part Of
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>, Downtown Oviedo, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/158" target="_blank">Brandon Collection</a>, Hillsborough County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original newspaper advertisement, 1974.
Coverage
Allstate Construction College, Brandon, Florida
Date Created
1974
Date Issued
1974
Date Copyrighted
1974
Format
image/jpg
Extent
107 KB
Medium
1 newspaper advertisement
Language
eng
Mediator
History Teacher
Rights Holder
Copyright to this resource is held by the <a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Contributing Project
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
External Reference
"<a href="https://news.google.com/newspapers?id=5f8sAAAAIBAJ&sjid=hs0FAAAAIBAJ&pg=1421%2C4864062" target="_blank">Allstate Construction College</a>." <em>The Palm Beach Post</em>, February 16, 1984. https://news.google.com/newspapers?id=5f8sAAAAIBAJ&sjid=hs0FAAAAIBAJ&pg=1421%2C4864062.
Allstate Construction College
Brandon
college
Cranberry Lane
education
electrical engineer
electrical engineering
electrical exam
engineer
engineering
higher education
schools
-
https://richesmi.cah.ucf.edu/omeka/files/original/59f359cd5f2749d8d5d10ddec927ea1e.jpg
bd89e94f9e01c8087857cc5e3c7d0e74
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
Oviedo Historical Society Collection
Alternative Title
Oviedo Historical Society Collection
Subject
Oviedo (Fla).
Description
The Oviedo Historical Society Collection encompasses historical artifacts donated for digitization at the Oviedo Historical Society's History Harvest in the Spring semester of 2015.
The Oviedo Historical Society was organized in November 1973 by a group of citizens. The society is a 501(3) non-profit organization. Its purpose is to help preserve the community identity of Oviedo by collecting and disseminating knowledge about local history, serve as a repository for documents and artifacts relating to Oviedo history, promote the preservation and marking of historic sites and buildings in the Oviedo area and foster interest in local, state, national, and world history.
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/128" target="_blank">Oviedo Collection</a>, Seminole County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Oviedo, Florida
Contributing Project
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
<a href="http://history.cah.ucf.edu/staff.php?id=304" target="_blank">Dr. Connie L. Lester</a>'s Introduction to Public History course, Spring 2015
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>." Oviedo Historical Society, Inc. http://oviedohs.com/.
Adicks, Richard, and Donna M. Neely. <a href="http://www.worldcat.org/oclc/5890131" target="_blank"><em>Oviedo, Biography of a Town</em></a>. S.l: s.n.], 1979.
Robison, Jim. <a href="http://www.worldcat.org/oclc/796757419" target="_blank"><em>Around Oviedo</em></a>. 2012.
"<a href="http://www.cityofoviedo.net/node/68" target="_blank">History</a>." City of Oviedo, Florida. http://www.cityofoviedo.net/node/68.
"<a href="http://riches.cah.ucf.edu/audio/Ep41-Oviedo.mp3" target="_blank">RICHES Podcast Documentaries, Episode 41: Oviedo, with Dr. Richard Adicks</a>." RICHES of Central Florida. http://riches.cah.ucf.edu/audio/Ep41-Oviedo.mp3.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Original Format
1 newspaper article
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
FTU Grads Named
Alternative Title
FTU Grads Named
Subject
Orlando (Fla.)
Florida Technological University
Schools
Colleges
Universities and colleges--Florida
Description
A newspaper article published by <em>The Oviedo Outlook</em> on May 26, 1977. The article lists the local graduates of Florida Technological University (present-day University of Central Florida) during the spring semester of 1977. Lee R. Scherer, Director of the John F. Kennedy Space Center, was the guest speaker at the commencement ceremony to be held on June 10.<br /><br />Florida Technological University (FTU) was founded by the Florida Legislature in 1963 and opened in 1968. The intended goal of the university was to train personnel to support the U.S. space program at the John F. Kennedy Space Center and Cape Canaveral Air Force Station. In 1978, Reubin Askew renamed FTU the University of Central Florida (UCF). By 2014, enrollment preacher over 60,000 students. While the main campus is located at 4000 Central Florida Boulevard in Orlando, there are also 12 satellite campuses.
Type
Text
Source
Original newspaper article: "FTU Grads Named." <em>The Oviedo Outlook</em>, Vol. 4, No. 40, May 26, 1977, page 3: <a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>, Oviedo, Florida.
Is Part Of
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/5659" target="_blank">The Oviedo Outlook, Volume 4, Number 40, May 26, 1977</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/5659.
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>, Oviedo, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/147" target="_blank">Oviedo Historical Society Collection</a>, Oviedo Collection, Seminole County Collection, RICHES of Central Florida.
Is Format Of
Digital reproduction of original newspaper article: "FTU Grads Named." <em>The Oviedo Outlook</em>, Vol. 4, No. 40, May 26, 1977, page 3.
Coverage
Florida Technological University, Orlando, Florida
Publisher
<em>The Oviedo Outlook</em>
Date Created
ca. 1977-05-26
Date Issued
1977-05-26
Date Copyrighted
1977-05-26
Format
image/jpg
Extent
153 KB
Medium
1 newspaper article
Language
eng
Mediator
History Teacher
Provenance
Originally published by <em>The Oviedo Outlook</em>.
Rights Holder
Copyright to this resource is held by <em>The Oviedo Outlook</em> 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://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://oviedohs.com/" target="_blank">Oviedo Historical Society</a>
External Reference
"<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/5523" target="_blank">A History of Central Florida, Episode 45: Diploma Plate</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/5523.
"<a href="http://www.ucf.edu/50/history/" target="_blank">History</a>." University of Central Florida. http://www.ucf.edu/50/history/.
Betty Ann Bledy Katzin
college
commencement
Cristie Elizabeth Cole
Cynthia Johnson Sloan
education
Elizabeth Buck Bradley
Florida Tech
Florida Technological University
Frank Kurtz Scharf, Jr.
FTU
George S. Eubanks, James R. Hall
Gerald Edward Fensch
graduate
graduations
Hanne Margret Lutken
higher education
James Andrew Burgess, Jr.
Joanne Elizabeth Aldrich
John F. Kennedy Space Center
June Etta Cone
KSC
Lee R. Scherer
Linda J. Stoothoff
Marcea Linda Stiver
orlando
Oviedo
Reba Kozette Day
Robert Eby Cummings
Steven Earl Brown
Susan Bravence Martin
The Oviedo Outlook
Thomas Earl Knickerbocker
university
William Mark Wise
-
https://richesmi.cah.ucf.edu/omeka/files/original/050e7cb9a14fae5b4e71c183a11d5e6f.pdf
4511571c967134208d658f3b8656d7b8
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
Lucile Campbell Collection
Alternative Title
Campbell Collection
Subject
Sanford (Fla.)
Teachers--Florida
Educators--Florida
Description
This collection features postcards kept by Lucile Campbell, a schoolteacher in Sanford, Florida, for 30 years. Campbell collected postcards from her travels around the world and used them as teaching aids in her classrooms. In 1931, she took advantage of a special rate for teachers and sailed to Europe, where she traveled for several months and is thought to have acquired many of these postcards.
Contributor
Campbell, Lucille
<a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">UCF Public History Center/Student Museum</a>
Language
eng
Type
Collection
Coverage
Sanford, Florida
Curator
Cepero, Laura
Raffel, Sara
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">UCF Public History Center/Student Museum</a>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photographic postcard
Physical Dimensions
3 x 5 inches
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
Patio de la Universidad-Antigua, Guatemala Postcard
Alternative Title
University of Antigua Postcard
Subject
Universities
Colleges
Schools
Description
A postcard depicting the patio of the University of Antigua. Built in 1763 to house the Universidad de San Carlos de Guatemala, the building was turned into a public school in 1832. At that point, the university was moved to its current location in Guatemala City.<br /><br />This postcard is part of a collection of postcards kept by Lucile Campbell, a schoolteacher in Sanford, Florida, for 30 years. In 1931, she took advantage of a special rate for teachers and sailed to Europe, where she traveled for several months and is thought to have acquired many of these postcards. During the 1940-1941 school year, Campbell taught at Sanford Grammar School. Before her retirement in 1970, she taught at many other area schools, including the Oviedo School, Westside Grammar School, and Pinecrest Elementary School. Campbell used these postcards as aids in her classrooms to teach advanced subjects, such as Shakespearean drama. The collection, along with her other teaching aids, papers, and photographs, was later found at Sanford Grammar School after it became the University of Central Florida's Public History Center. Campbell's postcard collection and photographs provide insight into the life of a respected Florida educator.
Type
Still Image
Source
Original 3 x 5 inch color postcard: ACC# SM-00-243, file folder 1A (non-U.S. blanks), box 10A, Lucile (Mary Lucile) Campbell Collection, <a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">UCF Public History Center</a>, Sanford, Florida.
Requires
<a href="http://www.adobe.com/products/reader.html" target="_blank">Adobe Acrobat Reader</a>
Is Part Of
File folder 1A (non-U.S. blanks), box 10A, Lucile (Mary Lucile) Campbell Collection, UCF Public History Center, Sanford, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/151" target="_blank">Lucile Campbell Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original 3 x 5 inch color postcard.
Coverage
University of Antigua, Guatemala City, Guatemala Department, Guatemala
Publisher
Foto-Biener
Contributor
Campbell, Lucile
Date Created
ca. 1947
Format
application/pdf
Extent
252 KB
Medium
3 x 5 inch color postcard
Language
eng
spa
Mediator
History Teacher
Geography Teacher
Provenance
Originally published by Foto-Biener.
Rights Holder
Copyright to this resource is held by the <a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">UCF Public History Center</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Contributing Project
Aphasia Project
Curator
Raffel, Sara
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.publichistorycenter.cah.ucf.edu/" target="_blank">UCF Public History Center/Student Museum</a>
External Reference
"<a href="http://whc.unesco.org/en/list/65" target="_blank">Antigua Guatemala</a>." http://whc.unesco.org/en/list/65.
college
Foto-Biener
Guatemala City, Guatemala Department, Guatemala
school
Universidad de San Carlos de Guatemala
Universidad-Antigua
university
University of Antigua
University of San Carlos of Guatemala