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                <text>University of Central Florida's Spirit Splash 2002 </text>
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                <text>Spirit Splash is a UCF homecoming tradition that began in 1995 with a pep rally around the Millican Hall Reflection Pond where student body president Miguel Torregrossa was thrown into the pond and other students followed by running in. &#13;
Today Spirit Splash is an extremely popular event in which thousands of students run into the reflection pond to show their school spirit and fight over the themed rubber ducks that volunteers throw into the crowds. &#13;
This photo shows a volunteer at the 2002 Spirit Splash throwing rubber ducks into the crowd. </text>
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                <text>2002 </text>
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                <text>4000 Central Florida Blvd, Orlando, FL 32816</text>
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                <text>UCF Special Collections and Archives </text>
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                <text>UCF Libraries </text>
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                <text>First Spirit Splash at UCF</text>
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                <text>Spirit Splash is UCF's current homecoming pep rally celebration for Homecoming week. It has grown from a typical pep rally to a full blown UCF specific tradition in which thousands of students run into the reflection pond at Millican Hall to show their UCF pride. &#13;
This photo is of the event that started it all where student body president Miguel Torregrossa was thrown into the reflection pond and other students joined him by running in.</text>
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                <text>November 3rd 1995</text>
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                <text>UCF Millican Hall Reflection Pond</text>
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                <text>4000 Central Florida Blvd, Orlando, FL 32816</text>
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                <text>Celebrating 50 Years </text>
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                <text>UCF Special Collections and Archives </text>
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                <text>UCF Libraries </text>
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                <text>"November 3, 1995" (1995). Celebrating 50 Years. Image 26.&#13;
http://stars.library.ucf.edu/fiftyyears/26</text>
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                <text>Letter from Raymond Thomas to Dr. Carrol B. Gambrell, Jr. (March 26, 1975) </text>
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                <text>An original letter of correspondence between the President of the Black Student Union Raymond Thomas to the Vice President for Academic Affairs Dr. Carrol B. Gambrell, Jr. The letter is itself an invite for Dr. Gambrel to attend a Black Awareness Week event thrown on by the Black Student Union from April 7-14th 1975. &#13;
The BSU (Black Student Union) was founded on 28 October 1969 and has been spreading a message of diversity and awareness ever since. The BSU’s purpose is to serve as the official voice for the black community on campus.&#13;
 </text>
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                <text>Raymond Thomas &#13;
President, Black Student Affairs&#13;
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                <text>University of Central Florida Office of the Vice-President for Academic Affairs: Carroll B. Gambrell, Jr. Records, 1964-1984&#13;
Series 3: Student Affairs, 1967-1978, Box 18, Folder 447-451, Sub-Series 1: Activities, 1969-1978, Box 18, Folder 447: Black Student Union, 1975-1979&#13;
</text>
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                <text>Collections and University Archives, University of Central Florida, Orlando, Florida.</text>
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                <text>March 26, 1975&#13;
Dr. Carroll B. Gembrell, Jr. &#13;
Vice President for Academic Affairs&#13;
Florida Technological University &#13;
Orlando, Florida&#13;
&#13;
Dear Dr. Gambrell:&#13;
The Black Student Union of Florida Technological University cordially invites you to attend a Black Awareness Week, April 7 – 14, 1975. The theme for the week is “Awareness and Understanding through Appreciation.”&#13;
NIKKI GIOVANNI and THE RAMSEY LEWIS TRIO will highlight a week of activities which will include an African Jazz Concert; the movie, “From Montgomery to Memphis”; a drama production, “The Gingham Dog”: and the formal introduction of prospective undergraduate chapters of Delta Sigma Theta Sorority and Omega Psi Phi Fraternity.&#13;
Enclosed is a calendar of events for the Black Awareness Week. We look forward to seeing you. &#13;
&#13;
Sincerely,&#13;
Raymond Thomas &#13;
President&#13;
Black Student Union &#13;
</text>
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                <text>C.W. Jennings Letter, concerning Black Awareness week, to UCF President Dr. Charles N. Millican</text>
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            <name>Description</name>
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                <text>Every year since October 29th, 1969, the Black Student Union has hosted a week in which events were held that displayed African-American Culture, Awareness, and social events. &#13;
&#13;
The following letter was written to President Millican as a request for supporting the event was the Black Student Union was growing at this point. The letter is crucial in understanding relationship between black students and UCF administration.&#13;
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                <text>1975-04-03</text>
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                <text>4000 Central Blvd.</text>
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                <text>C.W. Jennings</text>
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                <text>Special Collections and University Archives, University of Central Florida, Orlando, Florida.</text>
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                <text>University of Central Florida </text>
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                <text>University of Central Florida </text>
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                <text>CENTER FOR TOTAL EDUCATION&#13;
Admin. Bldg., Suite 118&#13;
April 3, 1975&#13;
Dr. Charles N. Millican, President&#13;
FLORIDA TECHNOLOGICAL UNIVERSITY&#13;
P.O Box # 2500&#13;
Orlando, Florida 32816&#13;
&#13;
Dear Dr. Millican&#13;
&#13;
	With all of the special consideration that was give the Black Student Union in planning the upcoming BLACK AWARENESS WEEK, one thing is prevalent: Florida technological University can function effectively as a community—minded institution—in all areas, including academic and civic.&#13;
	The cooperative spirit demonstrated by all levels of operation at the University and in the community, certainly, demonstrates the theme for that week, “Awareness and Understanding Through appreciation”.&#13;
&#13;
	We feel that, with your support and the assistance of administrators and Student Government, the BLACK AWARENESS WEEK will fulfill an educational and a civic need.&#13;
&#13;
	Thank you again for your incomparable support!&#13;
Sincerely&#13;
&#13;
C.W. Jennings&#13;
Faculty Advisor&#13;
Black Student Union&#13;
CWJ/jmb&#13;
Cc: Dr. C.B. Gambrell, Vice President For Academic Affairs&#13;
       Mr. J.P Goree, Vice President For Business Affairs&#13;
       Dr. W.K. Grasty, Vice President for Community Relations &#13;
       Dr. W.R Brown, Vice President for Student Affairs&#13;
       Mr, R.H. Potts, Student Body President &#13;
</text>
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                <text>Black Awareness Week, April 7th -14th, 1975</text>
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            <name>Description</name>
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                <text>Every year since October 29th, 1969, the Black Student Union has hosted a week in which events were held that displayed African-American Culture, Awareness, and social events. &#13;
&#13;
Every year there is a new theme in which the events during the awareness week are based upon.&#13;
</text>
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                <text>1975-04-07</text>
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                <text>BLACK AWARENESS WEEK&#13;
&#13;
APRIL 7 – 14, 1975&#13;
Theme— “Awareness and Understanding through Appreciation”&#13;
Monday, April 7, 1975                                                                                   &#13;
Day: Opening Program, Father Pinder, Speaker&#13;
Valencia Black Student Union Choir&#13;
Village Center Green, 12:00 noon&#13;
&#13;
Night: African Jazz Concert&#13;
Science Auditorium, 8:00 p.m.&#13;
&#13;
Tuesday, April 8, 1975&#13;
Day: Omega Psi Phi Day&#13;
Village Center Green, 12:00 Noon&#13;
&#13;
Night: Play – “The Gingham Dog”&#13;
Seminole Jr. College Drama Group&#13;
Science Auditorium, 8:00 p.m.&#13;
Wednesday, April 9, 1975&#13;
Day: Walt Disney World Steel Band&#13;
Village Center Green, 12:00 noon&#13;
&#13;
Night: Movie – “From Montgomery to Memphis”&#13;
Science Auditorium, 8:00 p.m.&#13;
Thursday, April 10, 1975&#13;
Day: Jones High School Chorus&#13;
Village Center Green, 12:00 noon &#13;
&#13;
Friday, April 11, 1975&#13;
Day: Delta Sigma Theta Day&#13;
Village Center Green, 12:30 p.m&#13;
&#13;
Night: Poetess – Nikki Giovanni*&#13;
Assembly Room (Village Center), 8:00 p.m.&#13;
&#13;
Monday, April 14, 1975&#13;
Night: Ramsey Lewis Trio*&#13;
Assembly Room (Village Center), 8:30 p.m. &#13;
(Sponsored by V.C. Performing Arts Comm.)&#13;
&#13;
presented by&#13;
Black Student Union&#13;
&#13;
* Limited Seating Capacity &#13;
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                <text>Mr. John Philip Goree, Vice President &#13;
Business Affairs (EEO Task Force)&#13;
Florida Technological University &#13;
Orlando, Florida 32816&#13;
&#13;
Dear Mr. Goree:&#13;
	Attached is a list of demands made by the Black Student Union of Florida Technological University. &#13;
	Also, Attached is a copy of the Registration for Demonstrating, Picketing, etc. form. The date is set for the demonstration to begin is November 6,1977, no later than 3:30 p.m.&#13;
	If you wish to discuss this matter with us, please contact the Black Student Union Office to set up an appointment.&#13;
Page 1&#13;
&#13;
	The Black Student Union of Florida Technological University do hereby demand the University immediately approve and implement the following:&#13;
	I. The Minority Student Service Department &#13;
	A. Minority Affairs Center Proposal submitted by the Black Student Union be fully implemented.&#13;
	B. Be given an operational budget.&#13;
	C. All Special Student Service Programs and Projects of the University be made centralized and placed under the Minority Student Service.&#13;
	D. The Director be given the authority to investigate the areas that are responsible for providing services to students to determine if these areas are making every possible effort to recruit, retain, and provide adequate services to minority students. Also, the Director be given the authority to make recommendations for improvement to the EEO Task Force. &#13;
	E. Assist Director be Hired (every effort be made to recruit qualified female applicants).&#13;
II. The University approve and implement the Affirmative Action Proposal &#13;
A. The University employ more Black Personnel:&#13;
	1.Administrators&#13;
	2. Faculty&#13;
	3. Supervisors &#13;
	4. Other academic areas&#13;
III. The University approve and implement Black Studies Proposal &#13;
IV. Adequate amount of money be allocated to the Black Student Union every year. &#13;
A. Provide funding for the implementation of the Black Student Union Programs and Projects submitted to the University.&#13;
V. EEO Task Force be redesigned:&#13;
	1. More Blacks &#13;
	2. Community member&#13;
	3. President of Black Student Union&#13;
	4. President of Student Government &#13;
	5. Black Employees Association &#13;
&#13;
Page 2&#13;
	6. Director of Minority Student Services &#13;
A. EEO Task Force set up periodic time for meetings&#13;
VI.  Student Government for the purpose of improving and developing programs and services for minority students. &#13;
VII. University, through the Minority Student Service Office, fund and implement a comprehensive orientation program for minority students entering the University.&#13;
VIII. A special committee should be established by the University to draw up plans for the implementation of the above demands.&#13;
IX. The participants of this committee will he selected by the University and representatives of the Black student Union.&#13;
Page 3&#13;
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The list of demands set forth by the BSU (Black Student Union) are concerning the immediate approval and implementation of specific programs that would benefit the student body, faculty and promote general equality for the student organization. &#13;
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                <text>Mr. John Philip Goree, Vice President &#13;
Business Affairs (EEO Task Force)&#13;
Florida Technological University &#13;
Orlando, Florida 32816&#13;
&#13;
Dear Mr. Goree:&#13;
	Attached is a list of demands made by the Black Student Union of Florida Technological University. &#13;
	Also, Attached is a copy of the Registration for Demonstrating, Picketing, etc. form. The date is set for the demonstration to begin is November 6,1977, no later than 3:30 p.m.&#13;
	If you wish to discuss this matter with us, please contact the Black Student Union Office to set up an appointment.&#13;
Page 1&#13;
&#13;
	The Black Student Union of Florida Technological University do hereby demand the University immediately approve and implement the following:&#13;
	I. The Minority Student Service Department &#13;
	A. Minority Affairs Center Proposal submitted by the Black Student Union be fully implemented.&#13;
	B. Be given an operational budget.&#13;
	C. All Special Student Service Programs and Projects of the University be made centralized and placed under the Minority Student Service.&#13;
	D. The Director be given the authority to investigate the areas that are responsible for providing services to students to determine if these areas are making every possible effort to recruit, retain, and provide adequate services to minority students. Also, the Director be given the authority to make recommendations for improvement to the EEO Task Force. &#13;
	E. Assist Director be Hired (every effort be made to recruit qualified female applicants).&#13;
II. The University approve and implement the Affirmative Action Proposal &#13;
A. The University employ more Black Personnel:&#13;
	1.Administrators&#13;
	2. Faculty&#13;
	3. Supervisors &#13;
	4. Other academic areas&#13;
III. The University approve and implement Black Studies Proposal &#13;
IV. Adequate amount of money be allocated to the Black Student Union every year. &#13;
A. Provide funding for the implementation of the Black Student Union Programs and Projects submitted to the University.&#13;
V. EEO Task Force be redesigned:&#13;
	1. More Blacks &#13;
	2. Community member&#13;
	3. President of Black Student Union&#13;
	4. President of Student Government &#13;
	5. Black Employees Association &#13;
&#13;
Page 2&#13;
	6. Director of Minority Student Services &#13;
A. EEO Task Force set up periodic time for meetings&#13;
VI.  Student Government for the purpose of improving and developing programs and services for minority students. &#13;
VII. University, through the Minority Student Service Office, fund and implement a comprehensive orientation program for minority students entering the University.&#13;
VIII. A special committee should be established by the University to draw up plans for the implementation of the above demands.&#13;
IX. The participants of this committee will he selected by the University and representatives of the Black student Union.&#13;
Page 3&#13;
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                <text>Victor Thomas to BSU Advisors, Student Government Senators and Administrators, December 10th, 1981, H. Trevor Colbourn papers 1948-2005, Box 14, Folder 6, Presidents Office: Black Students, 1976-1983&#13;
&#13;
 "Black Student Union Constitution" Black Student Union - About Us, Accessed April 06, 2017. https://ucf.collegiatelink.net/organization/blackstudentunion/about.</text>
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The list of demands set forth by the BSU (Black Student Union) are concerning the immediate approval and implementation of specific programs that would benefit the student body, faculty and promote general equality for the student organization. &#13;
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                <text>Mr. John Philip Goree, Vice President &#13;
Business Affairs (EEO Task Force)&#13;
Florida Technological University &#13;
Orlando, Florida 32816&#13;
&#13;
Dear Mr. Goree:&#13;
	Attached is a list of demands made by the Black Student Union of Florida Technological University. &#13;
	Also, Attached is a copy of the Registration for Demonstrating, Picketing, etc. form. The date is set for the demonstration to begin is November 6,1977, no later than 3:30 p.m.&#13;
	If you wish to discuss this matter with us, please contact the Black Student Union Office to set up an appointment.&#13;
Page 1&#13;
&#13;
	The Black Student Union of Florida Technological University do hereby demand the University immediately approve and implement the following:&#13;
	I. The Minority Student Service Department &#13;
	A. Minority Affairs Center Proposal submitted by the Black Student Union be fully implemented.&#13;
	B. Be given an operational budget.&#13;
	C. All Special Student Service Programs and Projects of the University be made centralized and placed under the Minority Student Service.&#13;
	D. The Director be given the authority to investigate the areas that are responsible for providing services to students to determine if these areas are making every possible effort to recruit, retain, and provide adequate services to minority students. Also, the Director be given the authority to make recommendations for improvement to the EEO Task Force. &#13;
	E. Assist Director be Hired (every effort be made to recruit qualified female applicants).&#13;
II. The University approve and implement the Affirmative Action Proposal &#13;
A. The University employ more Black Personnel:&#13;
	1.Administrators&#13;
	2. Faculty&#13;
	3. Supervisors &#13;
	4. Other academic areas&#13;
III. The University approve and implement Black Studies Proposal &#13;
IV. Adequate amount of money be allocated to the Black Student Union every year. &#13;
A. Provide funding for the implementation of the Black Student Union Programs and Projects submitted to the University.&#13;
V. EEO Task Force be redesigned:&#13;
	1. More Blacks &#13;
	2. Community member&#13;
	3. President of Black Student Union&#13;
	4. President of Student Government &#13;
	5. Black Employees Association &#13;
&#13;
Page 2&#13;
	6. Director of Minority Student Services &#13;
A. EEO Task Force set up periodic time for meetings&#13;
VI.  Student Government for the purpose of improving and developing programs and services for minority students. &#13;
VII. University, through the Minority Student Service Office, fund and implement a comprehensive orientation program for minority students entering the University.&#13;
VIII. A special committee should be established by the University to draw up plans for the implementation of the above demands.&#13;
IX. The participants of this committee will he selected by the University and representatives of the Black student Union.&#13;
Page 3&#13;
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                <text>Sgt. John B Hancock was born in 1913 in Georgia. He was enlisted into the 179th Infantry Regiment in the 45th Division. He was enlisted and trained in Georgia and Florida. He participated in the Africa campaign in 1943. After this campaign, he participated in the invasion of Sicily. During this time, he was able to infrequently communicate with people back home. He then went on the storm the Italian Peninsula. After fighting through 1944, he was injured in Southern France. After recovering from his minor wounds, he fought through 1944. On November 1, 1944, he went missing in action. He was eventually buried in Epinal Cemetery in Dinoze, France.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/exhibits/show/epinalcemeteryproject"&gt;Epinal American Cemetery Collection&lt;/a&gt;, RICHES of Central Florida</text>
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            <name>Mediator</name>
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                <text>History Teacher; Civics/Government Teacher</text>
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                <text>Originally created by Dwight Anderson.</text>
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                <text>Copyright to this resource is held by Dwight Anderson and is provided here by RICHES of Central Florida for educational purposes only.</text>
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                <text>Lyons, Amelia: Cepero, Laura</text>
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            <name>Title</name>
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                <text>An original Letter by Henry Smith congratulating Mary Monroe for the Theatrical play, The Night Thoreau Spent, in Jail which she directed. Harry Smith states the success the play had accomplished. Furthermore, he communicates to Mary Monroe the importance of planning plays early, since it takes time to build the stage and bring all the parts together. Mary Monroe was one of the pioneer students to study theater at FTU. When she transfer to FTU in 1973 the Theater  &#13;
 club only had 12 students. Harry smith was the department chair and a very dedicated professor. &#13;
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                <text>December 10, 1975</text>
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                <text>Harry Smith</text>
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                <text> Special Collections and University Archives, University of Central Florida, Orlando, Florida.</text>
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                <text>Memorandum &#13;
December 10, 1975&#13;
To: Mary Monroe &#13;
From: Harry Smith &#13;
Congratulations on the accomplishments in your production of The Night Thoreau Spent in Jail. We are especially pleased with the degree of public enthusiasm the production seems to have generated. &#13;
It is my understanding from the “University Theater Staff” that you will be the designer of the next student production, Another Part of the Forest. I urged you to consult with me at your earliest convenience about the design plans so the last week in April. I am sure you understand the necessity for early planning such an elaborate project. &#13;
Thank you very much.&#13;
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                <text>An original picture of Harry Smith a professor and early director of FTU theatrical plays. He took part in all early productions, but was only an adjunct. Harry Smith became the tenure Theater director in 1981. He has been regarded by former FTU graduates as a life changing Professor who impacted the lives of many theatrical students. He was a pioneer in the Theater program at FTU, when only a handful of students were part of the Theater club in 1969. Mary Moore was one of Harry Smith students who went on to have a long 35 year theatrical career. &#13;
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                <text>Michael J. Berman</text>
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                <text> Special Collections and University Archives, University of Central Florida, Orlando, Florida.</text>
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                  <text>&lt;div class="element-text"&gt;&lt;a href="https://richesmi.cah.ucf.edu/"&gt;RICHES MI&lt;/a&gt;&lt;/div&gt;
&lt;div class="element-text"&gt; &lt;/div&gt;</text>
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                  <text>Dance--United States</text>
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                  <text>The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community. </text>
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                <text>Oral History, Emmanuel J. Agon Kresky</text>
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                <text> Mass shootings</text>
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                <text>An oral history interview of Emmanuel J. Agon Kresky, a member of the Orlando Gay Chorus. The interview was conducted by Sarah Schneider at the University of Central Florida Center for Emerging Media in Orlando, Florida, on November 17th, 2016. Some of the topics covered include joining the Orlando Gay Chorus, his favorite productions, the 2012 and 2016 Gay and Lesbian Association of Choruses festivals, the mass shooting at Pulse nightclub, the Orlando Gay Chorus’s response to the Pulse tragedy, the community, national and international responses to the Pulse tragedy, the significance of Pulse before and after the tragedy, the role of social media in the aftermath of the tragedy, and the long-term consequences of the tragedy.</text>
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                <text>0:00:00 Joining the Orlando Gay Chorus and favorite productions &lt;br /&gt;0:02:51 Gay and Lesbian Association of Choruses festival &lt;br /&gt;0:05:12 Mass shooting at Pulse nightclub &lt;br /&gt;0:09:43 Orlando Gay Chorus’s response to Pulse tragedy &lt;br /&gt;0:20:11 Community response to Pulse tragedy &lt;br /&gt;0:22:31 National and international response to Pulse tragedy &lt;br /&gt;0:24:57 2016 Gay and Lesbian Association of Choruses festival &lt;br /&gt;0:29:10 Significance of Pulse before and after tragedy &lt;br /&gt;0:32:57 Role of social media in aftermath of tragedy &lt;br /&gt;0:36:23 Long-term consequences of Pulse tragedy &lt;br /&gt;0:38:52 Closing remarks</text>
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                <text>Oral history interview of Emmanuel J. Agon Kresky. Interview conducted by Sarah Schneider in Orlando, Florida, on November 17, 2016.</text>
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                <text>Kresky, Emmanuel J. Agon. Interviewed by Sarah Schneider, November 17, 2016. Audio record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/206" target="_blank"&gt;Orlando Gay Chorus Collection&lt;/a&gt;, LGBTQ+ Collection, RICHES of Central Florida.</text>
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                <text>Originally created by Emmanuel J. Agon Kresky and Sarah Schneider and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
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                <text>Boedeker, Hal. "&lt;a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank"&gt;Orlando Gay Chorus marks 25 years&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, October 18, 2016. Accessed October 18, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.</text>
              </elementText>
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                <text>Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
              </elementText>
              <elementText elementTextId="632674">
                <text>Hyman, Jamie. "&lt;a href="http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/" target="_blank"&gt;Community rises up after mass shooting at Orlando gay nightclub kills 49&lt;/a&gt;." &lt;em&gt;Watermark&lt;/em&gt;, June 16, 2016. Accessed October 18, 2016. http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/.</text>
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                <text>&lt;a href="https://youtu.be/KGGSKVhkBrg" target="_blank"&gt;Oral History of Emmanuel "Manny" J. Agon Kresky&lt;/a&gt;</text>
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                <text>&lt;p&gt;&lt;strong&gt;Schneider &lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;beep&lt;/em&gt;] Today is Thursday, November 17&lt;sup&gt;th&lt;/sup&gt;, 2016. My name is Sarah Schneider and I am conducting an oral history interview with Manny [Emmanuel J.] Agon Kresky of the Orlando Gay Chorus. The interview is being conducted at the UCF [University of Central Florida] Center for Emerging Media in Orlando, Florida.&lt;/p&gt;
&lt;p&gt;So thank you for being here today.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And can you start off by telling us your name please?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, my—my full name is Emmanuel. Emmanuel J. Agon Kresky.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Thank you. And to start off, can you tell us where were you born and how long have you lived in Orlando?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I was born in South Florida. I was born—born in Hollywood, um—Hollywood, Florida. My parents lived in Dania Beach[, Florida]. Um, grew up in South Florida and went to college in [Washington,] D.C. After college, I went back to South Florida. And then moved to Orlando[, Florida] in, um, maybe 1998 or so. 1998 or 1999.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Okay. And how long have you been a part of the Orlando Gay Chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Since, um, early 2000s. So maybe like 2003. I’d have to double check, but I think around 2002, 2003.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;And what brought you to join the chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] Um, let’s see. I had—I had sung with, um, Candlelight—uh, the Candlelight, uh, Processional over at Epcot. I sang with cast choir there. And after performing with Disney, I kind of wanted to continue singing after the holidays. And I had attended one or two OGC[1] concerts. And, um, I auditioned after maybe the second time seeing them perform.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Okay. And, um, can you tell us about some of your favorite productions or…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…performances you had?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, sure. So the—the—the holiday concerts always[sic] the most popular ones. The ones that people get, uh, most excited about. Um, I think my personal favorite was the one that had the format of a radio show. And so there was an MC[2] and, um, it was like a broadcasted concert. It was like a, um—it was—it was more structured. Um, it was a more structured concert.&lt;/p&gt;
&lt;p&gt;Another one that I—that—that sticks out in my mind was one of the earlier ones. And it was called, um, “From Sissies to Superstars”. And it told the story of Oliver Button. I think that was his name. Oliver Button. And, um, it told of a story of a—of a—of a kid who was a little different. Um, and how he navigated through some challenges in his life.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm. Um, and have you participated in the GALA[3] events?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yes. I go—for whatever reason, I did not go to the ones that were actually closer to home. So there’s one in Tampa[, Florida] and there was one in Miami[, Florida]. Uh, I didn’t go to those. Um, my first GALA festival was in Denver in 2012. And we returned this year, um, to—to Denver for the 2016 festival.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;So you—you have—you’ve been there twice for GALA events.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yes.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yes. Even though I have been in the chorus for longer, for whatever reason I, um, did not join the rest of the chorus members by doing the festival up until 2012.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. And, um, what has your experience at the GALA events be[sic] like—been like? Can you tell me a little bit more about what that event is like?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;2012 and 2016 were very different. Um, and a big part of that was because of Pulse[4]. Um, it was just very, eh—eh, [&lt;em&gt;sighs&lt;/em&gt;]—it was—it was affirming. It was humbling. Um, there were—there were just a lot of random people who’d come up to us. And because they knew that we were from Orlando, they would give us words of encouragement. They would hug us. Um, they would thank us for coming. Um, it was just very—very humbling.&lt;/p&gt;
&lt;p&gt;Um, 2012, being that it was my first GALA, was a different experience, where it was like, “Oh, my god. I can’t believe this is my first year coming. I don’t know why I didn’t go to the one in Tampa. I don’t know why I didn’t go to the one in Miami.” Um, we did a great set. It was just very uplifting to be surrounded by so many likeminded people. And i—in 2012, it was just a more joyous celeb—celebratory kind of feel to it. It was also when I started dating Nick [Nicholas Agon Kresky]. So, um, that will always have a very, um, you know—an important, uh, piece of my heart. Uh, 2012.&lt;/p&gt;
&lt;p&gt;But, yeah. Two very different experiences. Uh, both great experiences. Just very different.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so, getting to Pulse, um, can you tell us how you first heard about what happened?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So, um, I guess it was Sunday morning. Um, I—Nick had already gone—Nick, my husband, had already gone to work at Universal [Studios Florida]. We were having some work done upstairs in our house, so we were sleeping downstairs. For whatever reason, I checked my iPhone from work. Um, I don’t always do that on the weekends. Um, but for whatever reason, I did. I hope my boss isn’t watching this because I—I check my iPhone all the time [inaudible] [&lt;em&gt;laughs&lt;/em&gt;]. Um, so i—the —for whatever reason, I—I—I scroll through, uh, my messages. And I work for an online travel agency. And there was a message from one of our operational, um, departments—is—mi—mentioning that there was an incident. And, um, they were trying to ascertain whether or not any of the travelers that booked through our website were impacted by it.&lt;/p&gt;
&lt;p&gt;And so be—this was before we knew the extent of it. We knew that there was a shooting. We didn’t know that—how many people were injured. How many people were dead. Um, and then—so, um, I read it. I didn’t—again, not knowing that it was a terrorist or it’s somebody who is mentally disturbed, um, I—I knew that the operations people were looking, um—looking into it.&lt;/p&gt;
&lt;p&gt;Um, I didn’t think that anyone that I—I knew would have been at the club at the time of the day—or time of night. Um, and then—so I think I sent out a few emails to my hotel partners saying, “Hey. Um, I heard there was a shooting. I hope every—all of your guests are okay.” And then I—I didn’t really put that much thought into it.&lt;/p&gt;
&lt;p&gt;Um, later that same morning, I started getting texts and Facebook messages from—from my friends outside of Florida asking if I was alright. And, um, you know, wishing that I was safe. And, um, telling like that they hope I’m doing well. And just—you’re kind of like awestruck. It’s like I—why is this happening [&lt;em&gt;laughs&lt;/em&gt;]? Like who—uh, why are people reaching out? Again, not knowing the extent of how many people lost their lives. How many were injured at, um—at Pulse.&lt;/p&gt;
&lt;p&gt;Eh, gr—I grew up in South Florida. Went to school in [Washington,] D.C. So, sad to say, shootings were not unheard of. And so, again, not realizing the extent of the damage that was done to the patrons that were there. Um, to the community. Just mindboggling. And then, um, you know, I started watching the news. The—you know, it’s hard to go back to sleep. Right? So you [&lt;em&gt;laughs&lt;/em&gt;]—you watch the news. And then, um, just kept the TV on. And then, you know, more messages, um, about what’s going on.&lt;/p&gt;
&lt;p&gt;And, uh, I think I worked—I had to work that day, so, um, we were hearing about—I think one of the West Coast cities was having their pride event. And there might have been some hubbub about, um, somebody, eh, going to one of their pride events with maybe ammunition—with guns in their car. Wondering what the extent of this attack was going to be. Again, at—at this time, we don’t—I don’t think we knew that much information on—no—I don’t think we knew the—who the perpetrator was on Sunday afternoon.&lt;/p&gt;
&lt;p&gt;So just very—you know i—it was just not anything that I could relate to. Like 9/11[5], like I was—I was born. I mean I was—I was alive during 9/11. But it was—it was much more remote. Right? Um, and this one hit a lot closer to home. Because while—while I don’t think I knew anyone there that night, I knew that pe—other people did.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. And so can you tell me a little bit about the Orlando Gay Chorus’s response, um, in the days and weeks following the shooting?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So, um, I think Carol Studer,[6] um, and J.D. Casto[7] were just on top of it—on top of everything. So there were many requests for us to, um—to perform at various events. It was—you—there were so many—there was—it was—it was almost impossible if you had a, um—i—if you have a job or other commitments that you could actually make every event. Um, because the chorus was, eh, pretty much in high demand. And, um, y—you know, some were m—more uplifting than others. Right? So there were, eh—the—the ones—the—Cory [Connell]’s outside of Publix [Supermarkets, Inc.] was—was hard because, um, it was unlike some of the other ones where we were trying to raise awareness or create a sense of community or strengthen the sense of community or raise money or something like that. It was like, &lt;em&gt;We’re at somebody’s memorial service&lt;/em&gt;. Um, you know, quite—quite sobering for that.&lt;/p&gt;
&lt;p&gt;Um, so there was—there was Cory’s event. Um, there was the—there was prayer vigil at the cathedral that we go to. The Episcopal cathedral that we—we go to. [Cathedral Church of] St. Luke’s. We went to that. There were two events over at Dr. Phillips Center [for the Performing Arts]. One that was put on by the local arts community, um, and one that was actually, uh, Broadway folks. They came down from New York for a fundraiser. Um, more recently, there was a vigil, um, actually at Pulse. And, um, some of the survivors, uh, w—were—were invited. And it was the first time back at Pulse for many of them. Um, and up until that time, nobody could go through the fence. Um, but that night that we were there, uh, they opened up the fence and we actually, um, sang inside—inside the—the fence.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And what were you feeling and thinking as that was going on? What was that—the atmosphere like at that—what you just described?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I mean we can’t feel—I mean i—it’s like—it’s—it’s—I—I guess the only thing I can equate it to would be if you’re going to—if you’re going to a place of worship and regardless of whether it’s your church or somebody else’s church or synagogue, um, you—y—you j—you just know enough to be respectful. And then you, um, you know, talk in hushed tones. And you can smile at your friends, but you’re not—it’s not necessarily a time to be joyous per se. Or happy per se.&lt;/p&gt;
&lt;p&gt;Um, it was, um—they had—they had murals on the wall. They had, um, eh, i—th—I don’t think it was—it was a permanent mural. It was more like a canvas or paper. I’m not sure exactly what the material was. But people were saying their goodbyes or writing down the names of their loved ones. Um, and it was—we were honored to be there. Uh, but it was very, um—I don’t know if sobering is the word. It’s kind of—I hope your other interviewees are much more articulate than I am [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;I—it was—it was—it was—we were honored to be there. We were honored to be there. And we, um—we—we sang “True Colors”, which is fitting for the event. Um, another one that we didn’t sing that night, but, um, “You’ll Never Walk Alone”. Those seem to be the—the two most requested songs from us. Or—or the ones that we seemed to be the most appropriate for the type of event. [inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and do you have any other moments in those vigils or memorial services that stand out to you? Um, or things about them that you think—or you’d like to share?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;The, um—the—the church we go to—the cathedral—St. Luke’s Cathedral did a—did a wonderful, um—wonderful job, um, of—and I think there—there was media there, so there might be—there might be a t—a tape or something of it. Uh, of that night. But it was sh—they—they had one candle on the altar for each and every single victim. They had 49 candles. Each candle was—was different. No two candles were alike. Um, it was very—i—it was very nice. It was very, um—it was something that only like the cathedral could do because there was a sense of, um, kind of pageantry to it. But so tasteful. And so respectful. And just—just—it was—it—I felt that it was the right, um, um—th—the right, uh, feel to it. If that makes sense.&lt;/p&gt;
&lt;p&gt;Um, later that night, after we had cleared out of the cathedral, they had a vigil on Lake Eola. So this might have been [&lt;em&gt;sighs&lt;/em&gt;] a week. The Sunday after Pulse. Right? A week after. Um, the vigil at Dr. Phillips [Center for the Performing Arts] on the lawn the day after Pulse, um—I—I was not able to make it because I had to work. Uh, Nick [Nicholas Agon Kresky] went, but I was unable to make it. So, um, fo—for me, that was like the big, massive gathering event where you could actually—after leaving the cathedral, we walked over to Lake Eola, which is just maybe a block away. And then you could see the entire border of the lake surrounded with people with candles.&lt;/p&gt;
&lt;p&gt;Um, it was just very nice to see that many people come together. Whether it was the LGBT community. Whether it was the Latinx community, um, coming together. Whether it was just people who wanted to put an end to gun violence. It was just really nice to see the—the city coming together. That probably stuck out the most.&lt;/p&gt;
&lt;p&gt;Um, another one actually that sticks out—not a vigil. Much more, um, joyous, um, was actually Orlando City Soccer [Club]. Like I never thought I enjoyed soccer until we were invited to sing at the halftime show. And they had the entire, um, stadium decked out in a rainbow. So it was one section was red, next one was orange. All the way around. And they had 49 seats up in the bleachers left empty for, um, the victims of the shooting. And there was a candle—or not a candle, but a balloon on each of the seat[sic] to commemorate them. And you could see those balloons from anywhere in the stadium. It was just very—it was very nice to see. Um, I think it was 49 minutes into the game. They actually stopped the game for a moment of silence. So—never was interested in soccer before [&lt;em&gt;laughs&lt;/em&gt;]. It’s like, &lt;em&gt;Wow. I really like soccer now. And I really like this team&lt;/em&gt;. Because I think that was the first, um, major sports event after the Pulse shooting. I think it was the—I think it was the Saturday after Pulse that they did that. Then they had their—their game.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And what did you think about singing in the stadium? What was tha—what’d that feel like—the actual performance element?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, [&lt;em&gt;laughs&lt;/em&gt;] from a—from a technical standpoint, there were some learnings[sic]. Um, there was a—I guess there’s a delay. So I don’t know how we sounded. The people that saw us on TV soun—heard—uh, said th—that, uh—that we sounded—we sounded good. Um, i—it was very welcoming. I never—I’ve never necessarily been the victim of—of—of a hate crime. I’ve never, eh—I don’t believe that I’ve been discriminated before in the past because of my, um, sexual orientation as an adult. And I don’t—in Orlando, I don’t really expect that anyway. Um, but these soccer fans seemed very, very welcoming. And there were just so many rainbow flags that night at the soccer stadium you would have thought it was a Pride event. Um, it was just very uplifting. Very affirming. Uh, very welcoming. Yeah.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And what did you think about, um, the reaction of the community—the local community to what had happened? You touched on this a little bit already…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…but is there anything else you—you had thought or—or felt in the communi—in response—the community’s reaction?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Eh, um, i—it—it’s unfortunate it takes something like this to actually bring people together. Um, but—but in a—in a sense that’s—that’s what happened. People came together. And, um, I think, you know, i—the people at—the people at work kind of gave me my space, um, because [inaudible] go through all sorts of emotions. I think every day for a week I cried at some point. Listening to the radio. Watching TV. Talking to somebody. I would—I would cheer up inevitably. Um, in the car on my way to work. And—and occasionally, I’ll watch a clip or something on YouTube and I’ll start tearing up. People would just say, “Hey. If you need somebody to talk to, I’m here.”&lt;br /&gt;&lt;br /&gt;Um, the week following the incident, I reached out—well, I didn’t take any time off. I just continued my work. But I have some gay partners. I—I work for an online travel agency, so we have, uh, partners that are—that work in hotels. And I reached out to all my—my gay friends [&lt;em&gt;laughs&lt;/em&gt;] that worked in hotels. And it just been m—meet with them—one—one for lunch. Um, you know, ‘cause you never know when somebody’s not gonna be there anymore. So it was a—a nice time to reconnect and kind of, um—kind of reconnect. And then I—kind of like process together. And thank God for Nick. Because y—you know, we have each other to make—to try to make sense of it all. Um, not that we did make sense of it, but th—we have each other to—to lean on, which I was very grateful for.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um, what did you think about reactions to the Pulse shooting from people outside of the local community? So either nationally or even internationally. Um, did you s—did you feel any of that or think about that?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. I—I think w—[&lt;em&gt;sighs&lt;/em&gt;] you know, when I would cheer up in the car or watching TV or—or YouTube, it wasn’t really tears of sadness. I think it was just feeling the love from the other—the other cities. Um, seeing pictures of, you know, the White House decked out in rainbow colors. The Sydney Opera House. All these, um, landmarks. And seeing them as just from the people around the world sending their love to Orlando.&lt;/p&gt;
&lt;p&gt;Um, the other—I work for Expedia. That’s the online travel agency. I’m not sure if you have to edit it—that out. But, um, the other Expedia offices, um, sent us, you know, “We Love Orlando” signs. And they took a picture of their, um—of their team holding up rainbow flags, banners and stuff like that. It’s—it’s quite unfortunate that after—after Pulse, you know, we were doing the same thing for the offices in France. And I think there was—there was[sic] a few with gun violence and terrorist attacks in Europe that we—we did the same for them. Right? Um, because you never think it’s gonna happen to your—your—your own city. Right? There was New York. There was Boston. We might be a big—“big-ish” city, but we’re not the same par as the size of those cities. Right? So you don’t think that we would be a target for—for a terrorist attack.&lt;/p&gt;
&lt;p&gt;Um, but yeah. The—the f—oh, my God. And talk about Festival GALA, you know, just—the love that we got from there—from—from our fellow choruses from around the world. They had these huge banners. Um, “We Are With You, Orlando”. “We Are Orlando”. Just like huge banners. Um, I think one’s at the [Orange County Regional] History Center. But probably—I don’t know. It seems like the length of this—of this room out there in the other room on the—in the foyer area. Um, just lots of love from the other cities.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. And, um, what else did you i—I know you talked about how different 2012 and 2016 were at the GALA events, but can you say more about, um, what the 2016 event was like and—and, um, yeah—how Pulse impacted…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;…that experience?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;…um, we had—we had gone into, um—into rehearsals with a totally different set. Um, and Nick is actually probably a little better versed at talking about what we actually intended to sing originally before Pulse. After Pulse, it’s like, &lt;em&gt;Okay. W—we—this set does not—is not fitting anymore. We need to have a new set. &lt;/em&gt;And we came up with a new set.&lt;/p&gt;
&lt;p&gt;Um, so “True Colors” again. It was probably the song that we sung[sic] most often at the—at the events. And then we ended with, um, “You’ll Never Walk Alone”.[8] And I hope there’s a—I—I know there is on YouTube, um, our director speaking to the audience.[9] Packed audience. Um, when we performed there were people who tried to get in that couldn’t. Um, everyone wanted to see Orlando from what they tell us. But there was—we—we—he spoke about what it was like waking up that morning. Um, similar—similar experience. Like, &lt;em&gt;Why are these people contacting me? Why—why am I getting all these texts? Why am I getting all these Facebook messages?&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;Um, and we were just a mess. The chorus members [&lt;em&gt;laughs&lt;/em&gt;] were just like trying to hold it together. We had gotten through almost every song. We knew that “You’ll Never Walk Alone”, um, was—was gonna be the next song. And it was just—it was—it was very hard to—to—to get through his introduction of that song. Um, and then when we sang, he had invited the entire, um, audience to sing along with us. Because there was no way we were getting through that song without crying if we weren’t already crying. Um, and then we ended on a—on a different song after that to kind of show people that, y—you know, Pulse is not—I think Mayor [John Hugh “Buddy”] Dyer said that Pulse is not going to define us. We weren’t gonna end on a sad song. Right? “You’ll Never Walk Alone” can be a little, um, solitary. It’s a little melancholy. So we ended with up with, uh, “We Are Family”. And then we had pink boas and pink glasses and little things in our hair. And it was just a—a—a—a fun number to end on.&lt;/p&gt;
&lt;p&gt;Um, but yeah. Eh, tha—I think [&lt;em&gt;sighs&lt;/em&gt;], uh, that was, um—eh, I—they—they said that the s—our set was the set that everyone was trying to get into to see.&lt;/p&gt;
&lt;p&gt;And then the other—the other choruses actually—many of them made reference to, uh, the gun violence or homophobia or, um, something along those lines in their own set. And they made—a lot of times, they made mention of it. Um, now that I think about it—because while we performed, we’d also watch other people perform as well.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um, was there anything else you wanted to say about the interactions between you and members of the other gay—uh, the other choruses at that event, you know, outside of the performance?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Was there anything else…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;/strong&gt;       …you heard from people?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, just a lot of—a lot of hugs from random people [&lt;em&gt;laughs&lt;/em&gt;&lt;span style="text-decoration:underline;"&gt;]&lt;/span&gt;. I—so I, um—I’m not always the most “huggy” person [&lt;em&gt;laughs&lt;/em&gt;]. So it’s like, &lt;em&gt;Oh! Why are you hugging me?&lt;/em&gt; Um, but no. It was, um—I—I—I always appreciate when people say, “Can I hug you?” Or “May I…” It’s like, &lt;em&gt;Sure.&lt;/em&gt; You know? I know it’s coming. Um, but yeah. There was[sic] a lot of people who wanted to welcome us. To thank us for being there. Reaffirming.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm. And I’m curious what the, um—Pulse as a place—if it meant anything to you as a place before what happened. And if now i—it has any significance in your mind as a location and site.
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So, um, I was, um—I am acquainted with one of the old managers there. Uh, with Ron Legler. I—I met him through Florida Theatrical Association. And so, um, he—he moved to Baltimore[, Maryland] a—a little while ago. I don’t know that I’ve been to Pulse since he left Orlando. Um, so for me, I—I’ve been a few times. Usually as his guest. Um, it’s not a place where I f—I frequented. It was no—my—my place was actually Parliament—uh, not—well, Parliament House nowadays. But, um, back—back when I was younger, um, we used to go to Pleasure Island [Walt Disney World Resort] on Thursdays. So it was usually [&lt;em&gt;laughs&lt;/em&gt;] in—in my twenties—in my late-twenties, it was Pleasure Island on Thursday and Southern Nights on Friday. And then Saturday night: Parliament House. On those rotations that I went out every single night of the weekend. I don’t do that anymore. Um, now it’s like maybe once a month there’s a show over at Parliament House we wanna see. We’ll go to Parliament House.&lt;/p&gt;
&lt;p&gt;Um, so, eh, Pulse kind of opened up—kind of as—as—kind of off of that “go every weekend” kind of phase of my life. Um, but Ron’s partner, Andrew—Andrew Springer, had his birthday party there. So there was a reason to go to Pulse. Right? Um, so if there was a birthday party. If there were friends coming in from out of town, then we might go to Pulse.&lt;/p&gt;
&lt;p&gt;Um, I—I think some of the—some of the stuff that the newscasters said after Pulse could be true for any of the gay clubs. That it was a safe place. That for many in the community, it was, you know, their place of worship if you will. I thought that was a change—it was strange, um—a strange, uh, term to use. But I—I know that a number of people have used gay clubs in general as a—as a—as a—as their place of worship. As their church. Um, so I—I appreciate it for that. Um, for that aspect of it. While it wasn’t necessarily my place of worship, um, I do respect it for being a safe place where people would gather. Where people would feel safe. Um, where people can be their—themselves. Right? Um, yeah.&lt;/p&gt;
&lt;p&gt;And now that I’m older, it’s like I don’t know that I can stay out past midnight [&lt;em&gt;laughs&lt;/em&gt;]. So I—had I been out, I think I would’ve been in bed way before—way before 1:45 at that point.&lt;/p&gt;
&lt;p&gt;But if it was—you know, as you think about how if it wasn’t Pulse and if it was Parlia—and if it was Parliament House. And if it wasn’t 1:45, but it was twelve midnight or something like that, it could have been any one of us. Right? Um, you never know.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, you mentioned briefly, um, Facebook and things like that. People contacting you after it happened. Did you see social media playing any response in—or any, um, part in the time following the shooting in people’s response to the shooting? Or did you feel like that wasn’t really a big part of—of people’s reactions?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Before Pulse, I never knew that there was a feature on Facebook to mark yourself safe. And while I was appreciative of that so I can see which of my friends were, um—were safe, I was like, &lt;em&gt;Oh, my God. Why is this even necessary? Or like what kind of world to we live in that this is necessary that they built this?&lt;/em&gt; Um, I don’t know—eh, you know, I like to think that, for the most part, Facebook is—is neutral. And so I don’t know that they did anything to either, um, promote awareness about Pulse or downplay it. Um, obviously, so much of what we see on Facebook is just who we decide to follow on Facebook. Um, so lo—lots of posts from, um—lots—lots of posts about, um—from—from other—from other cities wishing us well. From other gay choruses wishing us well. Um, lots of that stuff, which was quite uplifting.&lt;/p&gt;
&lt;p&gt;Um, eh, there were th—you know, there were the—the pictures of—of the outside of Pulse. As people were driving by. Um, I—I never visited either the hospital or Pulse while the memorials were up. Before, eh, the [Orange County] Regional History Center started protecting the—the—the stuff left behind. Um, but there was[sic] many pictures of the memorials were laid out. Either—and there was actually—they were laying stuff out on the lawn, too, of Dr. Phillips. Um, so saw many pictures of that on Facebook as well.&lt;/p&gt;
&lt;p&gt;It was helpful to find out, you know—to promote certain things. Like, um, the little arts organizations did the “Beautiful Together” event over at Dr. Phillips. So there was lots of, um, you know, &lt;em&gt;We’re trying to—to—to promote the event. And then so, you know, we’re sharing stuff on Facebook.&lt;/em&gt; Um, [&lt;em&gt;laughs&lt;/em&gt;] I don’t know how much of it you could share for the—for the—“From Broadway with Love[: A Benefit Concert for Orlando]” because I think that the event sold out almost immediately. Um, but there was—there were[sic] lots of mention about who’s coming to the event and who confirmed. And, um, during the event and after the event, lots of pictures of—of—of, you know, the celebrities interacting with the—with the locals, which was nice to see.&lt;/p&gt;
&lt;p&gt;Yeah. But for the most part, I think that—I like to think that Facebook is pretty neut—neutral. And then, uh—it’s just a tool that we use, in that, you know, we’re—we’re—we see [&lt;em&gt;door closes&lt;/em&gt;] what we choose to see and who we choose to follow on Facebook.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Do you have any thoughts about the long-term impact of Pulse, um, and the shooting, whether the impact, um—what—let me—let me s—ask that question again. What would you think the long-term consequences of the shooting might be for the Orlando gay community and for the larger City of Orlando?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, gun control reform I think would be a big one. I—y—you know, the perpetrator wasn’t from Orlando. He came from outside of Orlando. So I think that just educating people I think would help. Um, but, you know—but then, you know, we wonder like, &lt;em&gt;Okay. Are—do we need to go outside of Orlando to educate people there? &lt;/em&gt;Um, you know, when somebody shoots somebody like what’s—in any fashion, it’s like, &lt;em&gt;What the heck’s going through their mind?&lt;/em&gt; Like &lt;em&gt;H—where did this come from? Where did this hate come from? Where’d this ignorance come—came—come from?&lt;/em&gt; And y—you like—we can’t always dictate how people think. I don’t think we should dictate what people think. But I think that we can—we—we can put laws in place that prevent massive harm through—through assault rifles. Through guns. Through gun violence. Whatever. Um, I think they go hand in hand. I think we need more [&lt;em&gt;sighs&lt;/em&gt;], um—I think we need gun control that makes sense. I think we need to—to reform some of the stuff that we have out there. Um, but at the same time, I think we need to continue to educate. Um, part of our mission statement for the—for the Orlando Gay Chorus is about changing people’s hearts and people’s minds. And I think that we need to continue doing that so that this doesn’t happen in the future.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, do you have any other reflections about the Pulse shooting or about your i—involvement in the Orlando Gay Chorus or anything else you’d like to talk about?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I w—I’m appreciative of you—being given the opportunity to do this. Um, the chorus has been—you know, it’s family.  It can be dysfunctional. We don’t always get along. There’s sibling rivalry. Um, but we’re lucky in the sense that we had a family to fall back on. And we had our own support group. I don’t know how many other people, um, have that luxury. Right? Um, that have the ability to—to seek the support of someone as easily as we had it. Um, we’re—we’re able to be there for each other. We’re—we’re definitely very appreciative of that. Um, you know? So i—this would’ve been totally different if it wasn’t for the chorus I think. And if it wasn’t for Nick. Um, yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Well, is there anything else you didn’t talk about that you’d like to share?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I’m sure I’ll think of something as soon as you turn off the camera. But [&lt;em&gt;laughs&lt;/em&gt;] for…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;…right now, I’m good.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Okay. Well, thank you so much for participating and sharing your story with us. We really appreciate it.&lt;/p&gt;
&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah.
&lt;div&gt;&lt;br /&gt;&lt;div&gt;
&lt;p&gt;[1] Orlando Gay Chorus&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[2] Master of Ceremonies&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[3] Gay and Lesbian Association of Choruses&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[4] 2016 Orlando nightclub shooting&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[5] September 11 attacks&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[6] Vice President of Orlando Gay Chorus&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[7] Public Relations and Marketing for the Orlando Gay Chorus&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[8] https://www.youtube.com/watch?v=ClS4TKtZMk4&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[9] https://www.youtube.com/watch?v=U1urPSxm7Gc&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;</text>
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                <text>An oral history interview of Nicholas Agon Kresky, a member of the Orlando Gay Chorus who serves on the chorus’s Music and Artistic Development Committee. The interview was conducted by Sarah Schneider at the University of Central Florida Center for Emerging Media in Orlando, Florida, on November 17th, 2016. Some of the topics covered include joining the Orlando Gay Chorus, his favorite productions, the 2012 Gay and Lesbian Association of Choruses (GALA) festival, the mass shooting at Pulse nightclub, the Orlando Gay Chorus’s response to the Pulse tragedy, the community response to the Pulse tragedy, pet therapy, the national response to the Pulse tragedy, the 2016 Gay and Lesbian Association of Choruses (GALA) festival, support from other gay choruses, the significance of Pulse before and after the tragedy, the role of social media in the aftermath of the tragedy, and the long-term consequences of the Pulse tragedy.</text>
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                <text>0:00:00 Joining the Orlando Gay Chorus and favorite productions &lt;br /&gt;0:02:15 2012 Gay and Lesbian Association of Choruses festival &lt;br /&gt;0:03:22 Mass shooting at Pulse nightclub and its aftermath &lt;br /&gt;0:06:03 Orlando Gay Chorus’s response to Pulse tragedy &lt;br /&gt;0:09:04 Community response to Pulse tragedy &lt;br /&gt;0:10:18 Pet therapy &lt;br /&gt;0:11:55 National response to Pulse tragedy &lt;br /&gt;0:14:05 2016 Gay and Lesbian Association of Choruses festival &lt;br /&gt;0:18:38 Support from other gay choruses &lt;br /&gt;0:19:49 Significance of Pulse before and after tragedy &lt;br /&gt;0:22:43 Role of social media in aftermath of tragedy &lt;br /&gt;0:23:54 Long-term consequences of Pulse tragedy &lt;br /&gt;0:25:45 Closing remarks</text>
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                <text>Oral history interview of Nicholas Agon Kresky. Interview conducted by Sarah Schneider in Orlando, Florida, on November 17, 2016.</text>
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                <text>Kresky, Nicholas Agon. Interviewed by Sarah Schneider, November 17, 2016. Audio record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Originally created by Nicholas Agon Kresky and Sarah Schneider and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
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                <text>Boedeker, Hal. "&lt;a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank"&gt;Orlando Gay Chorus marks 25 years&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, October 18, 2016. Accessed October 18, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.</text>
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                <text>Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text>Hyman, Jamie. "&lt;a href="http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/" target="_blank"&gt;Community rises up after mass shooting at Orlando gay nightclub kills 49&lt;/a&gt;." &lt;em&gt;Watermark&lt;/em&gt;, June 16, 2016. Accessed October 18, 2016. http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/.</text>
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                <text>&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Today is Thursday, November 17&lt;sup&gt;th&lt;/sup&gt;, 2016. My name is Sarah Schneider and I’m conducting an oral history interview with Nick [Nicholas] Agon Kresky of the Orlando Gay Chorus. The interview is being conducted at the UCF[1] Center for Emerging Media in Orlando, Florida.&lt;/p&gt;
&lt;p&gt;So thank you for being here today.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Thank you.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And can you start off by stating your name for us?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. My name is Nick Agon Kresky.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Thank you. And could you start off by telling us where you were born and how long you’ve lived in Orlando?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, I was born in Duluth, Minnesota. I grew up in the upper peninsula of Michigan and I moved to Orlando in 2010.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Great. And what brought you to the Orlando Gay Chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, looking for kind of an outlet. Something different. Um, when I was—when I was younger, growing up in—in Michigan, I was brought to Milwaukee Pride as kind of a celebration of my high school graduation. And I got to see the—I think they were the Brew City Chorus. Um, it was LGBT[2] chorus over in Milwaukee.&lt;br /&gt;&lt;br /&gt;And when I moved to Orlando, I was like, “Orlando’s big enough. They should have something.” So I went and I Googled it. And sure enough, there they were. Hm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so can you tell us about some of your favorite productions or performances…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…you’ve done through the chorus.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, my first performance was “Rainbows over Broadway”. It was a 2011 spring concert. And I really enjoyed that one because it was just a—a lot of campy fun. Just kind of ceb—celebrating the community. Um, and then I—I’m not a fan of the music from our “Pillow Talk” performance. I like the cohesion and the—we—it had a great storyline. Lots of, um—lots of [inaudible], so—and I—I like a show with good production.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. Um, and did—I’m not sure if I already—if you already said…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…how long have you been a part of the [Orlando] Gay Chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;I’ve been with the chorus for about five and a half years.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Okay. And, um, have you participated in any of the GALA[3] events?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Uh, yeah. I’ve been in two different GALA events.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Okay. And, um, where were those located?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;They were both in Denver[, Colorado]. So I think 2012 and 2016 as well.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Okay. And can you tell me more about the 2012 GALA event and what your experience was like there?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, in 2012, uh, I had needed a little bit of escape, too. And I’d—I finished relationship[sic] months and months prior. And I’d just kind of started a romantic interest with another chorus member. Um, and then we, uh—yeah. 2012 I guess was just more about learning about the—the gay choral movement. I never knew there was an actual movement. And, um, kind of learning about the sense of community that comes from gay choruses. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so, getting to Pulse. Could…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…you tell me a little bit about how you first heard about the Pulse shooting?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, my husband, Manny, and I were working on renovations at the house. So we’re stuck sleeping downstairs on these little [inaudible] beds. And we started getting f—like random phone calls and text messages. And it’s really early in the morning and we were trying to sleep. I had to work in the morning. I’m like, “I’m old and I’m tired [&lt;em&gt;laughs&lt;/em&gt;].” So I’m checking the messages and everybody’s checking to see if we’re okay. And I mean instantly, your mind is, “What’s—what’s going on?” It’s—that’s when we were going into Facebook and the media. Um, checking CNN.com. You realize that there’s an incident at Pulse happening. And then we’re having to reassure everybody at three o’clock in the morning that we’re okay. Please let us sleep. We did not really know the gravity of the situation ‘til much later.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um, what did you do the rest of that Sunday?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, that Sunday I actually had to turn—go into work. Um, and so I got in there, um—it was a[sic] early morning shift. So, of course, you had all those phone calls. And then you’re like, “I have to report to work.” And I work at a—a local theme park with lots of young people. People that have been out in the clubs all night. So, you know, would they—that’s when they started doing body counts. And we’re sitting in the break room, getting ready to start our day. And we didn’t know who was going to show up and who wasn’t.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what were your thoughts as sort of the rest of the day unfolded and as—in those few days following Pulse?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;It was completely surreal because when you’re out working with guests, you had to ignore that it even happened. It’s—that’s—you know, escapism is all—is all about the theme park industry. And as a—as a[sic] employee, you have to go out there and escape with them. Nothing bad ever happens at a theme park. And so you had to take that part of your brain and—and switch it off. And you’re really walking a fine line of fantasy and reality. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so, um, what was the Orlando Gay Chorus’s response like in those first few days and—and in weeks following?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;It was—it was insane. You just did—out of—out of nowhere, we started just getting emails and messages as—as members, um, from—from our leadership. And we’ve got—we’ve been asked to go in the first—the first night we were asked to do a vigil over at the church [Joy Metropolitan Community Church]. We were asked—um, over at [Joy] MCC. And we were asked not to advertise anything about it on social media because we didn’t really know really how dangerous the environment was going to be. And so this was—it was all kind of under wraps.&lt;/p&gt;
&lt;p&gt;And at that time, it was such a shock for—for myself that I had—had declined the invitation. But then, the following day, when they had decided to go and do the—the performance at, uh, Dr. Phillips Center [for the Performing Arts]. Then I decided, yes. It’s about time just to kind of gauge, you know, what—what community am I walking out into [&lt;em&gt;clears throat&lt;/em&gt;]?&lt;/p&gt;
&lt;p&gt;Um, the chorus’s response was just incredible though. It was very, uh—it was probably the most recognized I’ve ever seen us. You know? We—we’re—we’re all about singing. We’re all about going out and having fun with a message. And now, we’re expected to take all of these cats and herd them. And tell ‘em where to be and how to be. And we—we had just invested in this, um—oh, goodness—Chorus Connection, which is a—a really great app, um, and, uh, kind of organizational software for choruses. And so we were able to just, within an hour or two, respond to a vigil request. And, you know, you all of a sudden have representation. We’d never been that organized [&lt;em&gt;laughs&lt;/em&gt;] before that [inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm. And, um, so what was your experience, as a member of the [Orlando] Gay Chorus…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…um, participating in vigils and memorial services and other events?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, it was—it was a mixture of trying to find some sort of self-sooving[sic]—self-soothing and trying to project a—a message of caring and wanting to support the greater community. You know? You’re, eh—you’re, uh—in the end, you’re trying to figure out who’s actually supporting you. Um, and just kind of coming to a realization that, you know, we were all in it together. We were all supporting each other. Whether it be, you know, a person standing three hundred, four hundred people back. Or, you know, a person standing next to you onstage.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what did you think when you, um, participated and—and experienced the reaction of the local community? What did you think about the local reaction?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;It was extremely overwhelming. It—I—I grew up in a really rural, conservative area that’s—I mean I g—I grew up in a time where—or—and in a place where being gay could, you know, send you home in a black bag. Like that was—it was a dangerous time. You don’t talk about it. You don’t act on it. Um, and then I come into this community, where, you know, the—it was like the second night and we’re still trying to figure out how many people and what was going on. And then you have this huge gathering, you know, right on the lawn of the Dr. Phillips Center [for the Performing Arts]. And you look out there and there’s—there’s no more green space. There were so many people there. It was just—it was so surreal to see that level of support for the LGBT community. And then, you know, the city as a whole. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what other moments stand out for you, um, in that time period of—of all the vigils and events and things happening? Do any other moments come to mind?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I think, uh, you notice [&lt;em&gt;laughs&lt;/em&gt;] I won’t say. They had the—they had the, um—at the dogs. They had the, uh—I—I don’t know how many times that I—I was in human services for 10 years. And I really s—believed in pet therapy. I loved it. And I knew that in times of crisis, people would come in with these therapy dogs. And, you know, it was just to kind of bring a little soothing and maybe even kind of just ground you, if just for the moment.&lt;/p&gt;
&lt;p&gt;And I realized the gravity of the situation. And how much of a—how much of a tragedy on our community it is. Again, this was all surreal. I mean, there was—there was no reality to this. And I realized how bad it was when the therapy dogs were there. And they had traveled miles to get there. And they’re walking through the crowd with these dogs. Because this is something I had studied. This is something that I knew. And it felt great because in participating in the—you know, [inaudible] on the dog that’s there. But, again, to realize the reality of the situation that these dogs were there. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, did you—what did you think about or experience in terms of the national, maybe the international—but broader…
&lt;p&gt;&lt;strong&gt;Kreksy&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…reactions to the event beyond just the local community?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, can you rephrase the [inaudible]?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sorry.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…what did you think about the reaction of people beyond Orlando to the Pulse shooting?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I guess as the chorus traveled, we got to maybe s—witness, uh, a very la—a very large—I guess a greater view of that. I mean you he—you see—you see responses on CNN. You see responses on Facebook. You—and you’re—and you’re watching the feeds and whatnot. But, you know, you realize s—support, but you didn’t really feel it until you walked to the car rental desk. And they look at your driver’s license and they say, “Oh. Orlando.” And then they want to talk about it. And they want to—they’re looking for some sense of closure as well. You don’t realize that it hurt our community. It hurt our city. But it also impacted the nation pretty heavily for the couple weeks that it was running in the media.&lt;/p&gt;
&lt;p&gt;I think we, even after Denver, um—Manny and I—my husband and I went to, uh, California for a couple of days. And, you know, you couldn’t esc—we were trying to just escape Pulse for a little bit. We’re just gonna go have fun and unwind. But when you hand over your—your driver’s license or they ask you to fill in the visitor’s book and then they say, “Orlando,” or then they want to talk about it, you realize that it comes from a place of genuine warmth and kindness. But it’s, again, very overwhelming. You—you—you realize how big this was.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so can you tell me now about the GALA in Denver…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…in 2016—so after Pulse—and what that experience was like?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Whew. That’s—that’s a lot to tell [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, we—in 2—and we’re talking about 2012 or 2016?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, 2—whichever do you like.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;But I…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…I was thinking 2016.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;So in 2012, you know, we were just—we’re the campy little choir with the Mickey [Mouse] ears. And everybody loves to come see Orlando because we bring the fun. And we bring—you know, we bring the little silly with us. And—and, you know, we are—our songs tell a story. It’s a very kind of—you get the warm fuzz and you leave.&lt;/p&gt;
&lt;p&gt;This year—this time when we went, we didn’t—we didn’t even have to sing to—to get accolades. To get warmth through, um—the first day, we were—we were invited to a singalong with a couple of the choruses. And we’re basically just kind of backup. Right [&lt;em&gt;laughs&lt;/em&gt;]? It was walking in, uh, doing—doing our lines and then leave. And the crowd didn’t let us leave. The crowd—cr—crowd wouldn’t even let the concert start. Because we were—we’re the last people to walk into the hall. Nobody announced us. They just saw our shirts. And there was an immediate standing ovation. Just because we were walking [&lt;em&gt;cries&lt;/em&gt;] by. Just because we were walking to the hall.&lt;/p&gt;
&lt;p&gt;You could, um—I mean you could see—just our presence, you could see people crying. You could see them holding each other. And its hard—it—initially, it was hard because we were the group that was invoking tears. But then you realize we were the group that was [&lt;em&gt;clears throat&lt;/em&gt;]—we were the group that was invoking solidarity. [&lt;em&gt;sniffs&lt;/em&gt;] There were—there were banners everywhere that says[sic], you know, “We Stand with Orlando,” “Orlando Strong.” Um, you know, these are probably from people that may have never even been to our city. And there they are standing with us. All supporting us because, you know, their brothers and sisters were attacked.&lt;/p&gt;
&lt;p&gt;It was—we—we performed three different times when really we’re—initially s—we were supposed to only perform once. We were supposed to perform this cheesy little montage that we pulled over from our—our spring show. And it just—within moments of—of the incident, we realized we had to go ch—completely change the whole set. And pull from wherever we could to create something that was, uh, you know—that was heartfelt. That would maybe bring about some sort of healing.&lt;/p&gt;
&lt;p&gt;Um, w—we had—so we had our invitation for the first night. Then we did our performance. Um, and again, the—the—these performances are timed, so the minute you hit the stage, you have x amount of minutes to perform and get off. They moved our set to the end ‘cause they knew they couldn’t time us. They knew that just by walking on the stage we would have to wait for the applause to end. And it was right. We walked in. There was standing room only. We’ve never had that before [&lt;em&gt;laughs&lt;/em&gt;]. I mean we—the—the amount of—of support and warmth that outpoured was just incredible. And then—then there we were again, um, for, my goodness—it was En—was it “Engendered Species”? I can’t even remember. There were so many [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;And, again, it was just our presence that just kept on bringing the crowds of people wanting to feel like they were a part of—of us. And I—and I really hope that, you know, we were able to make that happen for them. That we were able to help them find some kind of closure or some sort of healing as well. Mmhmm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And how did people ac—interact with you from the other choruses on a personal level outside of the actual performance when you met people?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. The—the first night, I was afraid to even wear my Orlando shirt because I knew people would want to talk to us about it. And I personally wasn’t ready. I did not want to—I did not want to be Orlando. I just wanted to be a GALA singer. And then you run out—you run out of clothes. No. I’m kidding [&lt;em&gt;laughs&lt;/em&gt;]. No. Um, I—it just—I saw some of the other chorus members wearing their shirts. Realized it was going to be okay to wear mine. But as soon as I put it on, like random people would hug you. Even people that weren’t even going to the GALA conference, they’re just, you know, on the—the bus with you, trying to get somewhere downtown, want to hug you. And it was—it was—it was wild. I’m a hugger. Um, I—I’m not opposed to human touch. But, oh, my goodness [&lt;em&gt;laughs&lt;/em&gt;]. It was—it was a lot [&lt;em&gt;sniffs&lt;/em&gt;].&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and I’m also wondering if Pulse as a site meant anything…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…to you before the shooting. And, um, what, if anything, it represents for you now.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, before the shooting, it was a place where the kids go. And I—I’m really not that old. I’m, um, in my mid-thirties. Uh, but the crowd that attended Pulse was, you know, a younger crowd. A trendier crowd. Maybe a thinner crowd [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Scheider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;But, you know, they were, um—they—it wasn’t usually—it wasn’t typically a place that I would—I would go to. It wasn’t—it wasn’t my home bar I guess. Um, I knew of it. I drove by it. It looked like a great, you know, fun place. And I got—there were times where I—I intended to go and visit just because it was something different. But I don’t know. I felt like I would be a little out of place.&lt;/p&gt;
&lt;p&gt;Afterward, it just became, you know, just a—a living memorial. It just—it sits there and it—it, um—it almost reminds—it almost makes—it’s kind of a mark of this overcoming silly divisions that are even in our own community. In the LGBT community. You know? We create our little cliques. Our little groups. And you realize that, you know, we’re all dealing with the same struggles. And we’re all dressed in the same flesh. And to drive by the building anymore is sh—you know? The first time, it was horrific. You know? I s—I tried to—days—days upon days just avoiding streets to get around it and not having to pass it. But then the first time I passed it, you know, reality sank in that, yep, this is the place. And now, the building itself is almost like a—almost like a mausoleum. It’s—it—it’s hard to look at it. It’s hard to drive by it.&lt;/p&gt;
&lt;p&gt;Um, you know, I—we—we had coworkers from our company that—that had passed away in the tragedy. Um, and it just, you know—it really brings it home every time. You know? How much—how much hatred can really impact a community. And how much destruction can happen because of it. You know? It’s—it’s no longer, you know, the place that you might go on a Saturday. It’s now the site of the worst, you know, massacre in modern American history.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and did social media play any part in your, um, reaction to your experience with the aftermath of the shooting?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, social media became kind of an outlet to form your thoughts. You know? And we—you’re able to edit the words that you’re typing. You’re able to process things as you’re putting it out. So it almost becomes a live journal. Um, it was nice to see the support from others. Um, it also gave an opportunity to—to educate people. Pardon me. Um, you know, they immediately, as with any other, um—as with any other public shooting, you start having these discussions about gun control legislation. And you start having discussions about mental health. You i—it—it runs the whole gamut. And social media just came—became kind of a place to—a safe place to have those kinds of discussions. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and do have any thoughts about what the long-term consequences might be for the Orlando gay community or for the broader Orlando community or what you might hope the long-term impact of the shooting would be?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, the long-term consequences. Initially, I was afraid that we would be stuck going back into our little boxes. Um, and maybe being less out. Um, being less true to ourselves. Uh, obviously, it seems like the—the exact opposite has happened. You know? And [&lt;em&gt;laughs&lt;/em&gt;] you see this meme, you know, “You just pissed off the gay community. Watch out.” That kind of [&lt;em&gt;laughs&lt;/em&gt;]—we get stuff done. Um, and sure enough I—I strongly believe that I—it’s my hope that for our city, we develop a—a tolerance for each other. Um, it’s—it’s a big enough city to get lost in. But it’s small enough to know people. And so, really hoping that this gives us a chance to reach out and get to know people that you normally wouldn’t—you normally wouldn’t associate with. You normally wouldn’t talk with.&lt;/p&gt;
&lt;p&gt;Um, on a broader scale, you know, I—I don’t know how realistic it is, but I really do hope that we begin to fund, you know, better mental health treatment. We begin to look at, um, more sane gun legislation. You know? It’s—if 49 isn’t enough, then, you know, what is?&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what other reflections have you had about the Pulse shooting or about your involvement in the [Orlando] Gay Chorus or anything else that you’ve been thinking about that we haven’t talked about?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mm. Let’s see. Um, don’t forget h—how your actions affect others. You know? Uh, whether it’s, you know, considering—considering acting out on such a grand scale, uh, as the shooter did, or if it is, you know, just wanting to lash out at somebody, don’t—don’t forget, you know, how—how your actions affect other people. Step outside of the box. Step outside of the tunnel vision. And that’s—I hope that that’s one of our lasting legacies.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, is there anything else we didn’t talk about that you’d like to say or share?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;/strong&gt;            Um, not that I can think of. You know [&lt;em&gt;laughs&lt;/em&gt;]? Thank you.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;/strong&gt;       Okay. Well, thank you so much. We really…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;I appreciate it.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…appreciate you talking with us.&lt;/p&gt;
&lt;div&gt;&lt;br /&gt;&lt;div&gt;
&lt;p&gt;[1] University of Central Florida&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[2] Lesbian Gay Bisexual Transgender&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[3] Gay and Lesbian Association of Choruses&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;</text>
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                  <text>The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community. </text>
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                <text>0:00:00 Introduction &lt;br /&gt;0:03:06 Family &lt;br /&gt;0:07:24 Same-sex dancing and the Orlando Gay Chorus &lt;br /&gt;0:11:06 Living with rheumatoid arthritis &lt;br /&gt;0:13:43 Changing attitudes towards homosexuality in Japan &lt;br /&gt;0:18:05 History of same-sex dancing &lt;br /&gt;0:25:04 Dance Vision International Dancers Association (DVIDA) and the kinesiology of dance &lt;br /&gt;0:30:13 Joining the Orlando Gay Chorus &lt;br /&gt;0:36:00 Mass shooting at Pulse nightclub &lt;br /&gt;0:48:08 Achievements in computer science &lt;br /&gt;0:50:36 2016 GALA Choruses Festival and abuse against the LGTBQ+ community &lt;br /&gt;1:01:01 Singing at John F. Kennedy Space Center and gun control &lt;br /&gt;1:06:37 Community response to Pulse tragedy &lt;br /&gt;1:09:11 How the Orlando Gay Chorus can influence political and social change &lt;br /&gt;1:17:07 Closing remarks</text>
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                <text>Lamberty, Richard. Interviewed by Geoffrey Cravero, October 11, 2016. Audio record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Originally created by Richard Lamberty and Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Katalin, Lnyi. &lt;a href="http://www.worldcat.org/oclc/951006947" target="_blank"&gt;&lt;em&gt;Same-Sex Ballroom Dance - A Challenge to Patriarchal Gender Order&lt;/em&gt;&lt;/a&gt;. VDM Verlag, 2008.</text>
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                <text>PeRez, Robert. "&lt;a href="http://articles.orlandosentinel.com/2005-12-27/news/DANCER27_1_dance-instructors-professional-dancer-same-sex-dancing" target="_blank"&gt;Orlando native overcomes odds, rules dance floor&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, December 27, 2005. Accessed November 7, 2016. http://articles.orlandosentinel.com/2005-12-27/news/DANCER27_1_dance-instructors-professional-dancer-same-sex-dancing.</text>
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                <text>Shepherd, Lindy T. "&lt;a href="http://www.orlandoweekly.com/orlando/who-leads/Content?oid=2253395#" target="_blank"&gt;WHO LEADS?&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, March 30, 2006. Accessed November 7, 2016. http://www.orlandoweekly.com/orlando/who-leads/Content?oid=2253395#.</text>
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                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
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                <text>Boedeker, Hal. "&lt;a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank"&gt;Orlando Gay Chorus marks 25 years&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, October 18, 2016. Accessed October 18, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.</text>
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                <text>Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text>&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Alright. Let’s see. This is Geoffrey Cravero, and I’m conducting an oral history with Richard Lamberty of the Orlando Gay Chorus. The interview is being conducted in the conference room of the Center fo—of—Center for [&lt;em&gt;laughs&lt;/em&gt;] Humanities and Digital Research at the University of Central Florida in Orlando, Florida, on Tuesday, October 11&lt;sup&gt;th&lt;/sup&gt;, 2016 [&lt;em&gt;clears throat&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Which, by the way, happens to be National Coming Out Day.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;National Coming Out Day. I saw the s—I saw the sign earlier. Excellent, good timing. So, uh, Mr. Lamberty, thank you for speaking with us today. If you would, let’s start by having you state your name and telling us a little about where you’re from.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Richard Lamberty. L-A-M-B—as in boy—E-R-T-Y. Um, I was born in Chicago, Illinois, and we moved to Orlando when I was five. Um, we stayed here until I was 16, and then we briefly moved to Maryland, where I graduated high school, and then I came back to Orlando and attended Rollins [College], um, and then after Rollins, I actually came to UCF[1] for almost two years, during which time I was diagnosed with rheumatoid arthritis and they put me on a medication. Um, one of the side effects of that medication was I lost the ability to read, write, and speak, and so I was unable to complete my graduate degree at that time, um—ended[sic] up moving to New Mexico, where my parents had gone, and enrolled in the university out there to, uh, work in their computer science artificial intelligence department, which by the time I got there, was gone, and so there was not a single person left on campus that even knew that I existed, and there was no one to help me with paperwork or any of the transfers of credit or anything. It was start over.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] Um, continued to work on the degree out there, but got hired to work on a NASA[2] project that I did for five years, and then moved to California, where I stayed for another 18 years, before coming back to Orlando in 2005, um, basically, to be closer to family, and so I have lived here in Orlando ever since.&lt;/p&gt;
&lt;p&gt;Um, I started dancing—you were ask—gonna ask about the dancing thing—I started dancing when I was 10 years old, and I danced first with the Orlando Cloggers, which was a—a youth, square-dance clogging group that was sponsored by the City of Orlando, and from that I got involved in what’s called “round dancing,” which is kind of a hybrid between square dancing and ballroom dancing—ballroom dances and figures, but it’s cued in the same way that a square dance is called, and then directly involved in ballroom from that, and, uh—but because of the arthritis issues then it was like, &lt;em&gt;This is not gonna be what I do with my life.&lt;/em&gt; I have to have something else to do, but as long as I’m able I can dance, and I’ve continued to do so for most of my life, um, and that’s taken me all over the world. In fact, I just got back from two weeks in Europe, where I was teaching for the 22&lt;sup&gt;nd&lt;/sup&gt; year that I’ve been over there teaching at this event in Germany.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, you know, life in Orlando—mostly what my life about[sic] here is I’m taking care of my elderly mother. I am her primary caretaker, and, um, and then I do what work is available to me, in addition to that, and, you know, in my field if it can be, so designing software, computer systems and things, or doing people’s websites and such, but, um, mostly my life is about dealing with family, taking care of family.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;And, uh, what d—what did your family do? It was your—did your mother work? Or…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Uh, my father was an electrical engineer. Um, he had seven children. I’m the fifth of seven, and, uh, so my mother was basically a stay-at-home mom for a lot that, and then didn’t start really working until I was about 16, um, in Maryland, and then…&lt;/p&gt;
&lt;p&gt;[&lt;em&gt;phone rings&lt;/em&gt;]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Go away.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And don’t do that again.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;I’ll make that stop.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;I should’ve thought of that first.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Oh, that’s alright.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;The only person who can make my phone ring now is my mother.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;]. Okay, um, my father was an electrical engineer. He did a wide variety of things for Swift[?] Martin Marietta [Corporation]. Well, actually, in Chicago, we moved down here for a job at Martin—which was before it was Lockheed Martin—and then, um, up to Maryland. Hated it. Cold weather. Not a[sic] interesting job for him. Came back to Florida at Harris Corporation, where they got involved with the satellite project, um, and then eventually ended up with TRW [Inc.] Space and Defense and retired from them. Um, I worked with TRW Space and Defense—was my first real job in my industry, and then, um, that—on the same project as my father, which was an extraordinary privilege. My father was brilliant and exceedingly humble, um, but just this brilliant man, and I had the privilege of spending five years working with him, and just, you know, being around that mind every day and seeing how he viewed the world, which was fascinating because growing up I didn’t experience my parents quite that way. Um, I grew up in a household where debate was the normal form of communication [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You know, and I never knew what my parents thought about anything, because if one of ‘em would say something, the other one’d automatically take the opposite position, and so what did, you know—what did either of them actually believe about the world was almost impossible for me to determine, and, um, you know, in that time period, I actually got to learn about my father, and one of the things that I learned was that he wasn’t ashamed of me, because growing up, he never spoke to me, um, and I—I didn’t know why. It turned out he didn’t speak to me because he was partially deaf and he couldn’t hear me. So when my voice really changed then he could hear me, you know? Alone—the two of us, then he could hear me, and I walked into—he worked in a trailer in the desert, and I walked into his office one day for some reason, and on the wall was a framed poster of a dance exhibition that I had done when I was at Rollins, and I went home and I said to my mother, “Did you know that Dad has the poster from Rollins on the wall in—office?” And she said, “Oh, yes. Your father’s very proud of you,” and up until that very moment, what I had assumed was that he was embarrassed about me because I was a dancer and, you know, not like his other sons, and that really—that wasn’t true. So, you know, that was just—it was remarkable, and, you know, in an era where being gay was not okay, you know, having the security clearance and being gay was not okay, um, it was a very hard thing to do, um, and, you know, my parents were very Catholic. Uh, you know, like “know the pope” kind of Catholic. Um, there’s a photograph of my mother with John Paul II—just the two of them. You know, so it was a, you know—that was not okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And yet, there this poster was. It was an incredible experience.&lt;br /&gt;&lt;br /&gt;Um, but no. When I came back to Orlando, I continued to dance, and I had gotten involved with same-sex ballroom dancing. Uh, you know, two men dancing together, two women dancing together—which again, two women dancing together has always been socially acceptable; two men dancing together has not, and so, um—and I had a partner here in Orlando. We trained, we worked hard, we eventually won world titles together, and then he quit, and I didn’t have anything to do, so I had heard the [Orlando Gay] Chorus sing, and I thought, &lt;em&gt;I can try this. I don’t sing, but I can try this&lt;/em&gt;, you know? I was in chorus in seventh and eighth grade, but, um, I didn’t get a good grade, and when I asked the teacher why she told me I didn’t have a good voice, and so I quit singing, and I never sang again. I mean I wouldn’t sing “Happy Birthday” to people for 35 years. So I joined the chorus and then, you know, started singing with them, and it was fun. It was—I didn’t have to be good. There were [&lt;em&gt;laughs&lt;/em&gt;] zero expectations that I actually be good at anything. Not like work, not like dancing, you know—just show up, sing, gave a good time, and, you know, as it happens, apparently, I’ve gotten to the point where I’m okay as a singer, and, you know, had the—the privilege of being a part of the chorus now for six years, and it’s really—it is—it’s a lot of fun. Wonderful thing.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;That’s fantastic. Um, so, uh, can you tell us a little more about how you got involved in, uh, ballroom and Latin dancing? Um, what sort of work, uh, did you do as a board member on the—I saw that you did…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;The North American Same-Sex Partner Dance Association [NASSPDA]…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You Googled me.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I Googled.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yes.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Okay, my parents were square dancers. They had taken a square dance class here in Orlando, and they had what was called “hoedown,” which was in the parking lot of the, uh, um, uh, Colonial Plaza Mall in where—what now would be the—I guess the Walgreens or the CVS is in that corner—that was parking. They put up a tent one day and they just had the square dance callers with a whole bunch of people, and people were dancing in the parking lot [&lt;em&gt;door closes&lt;/em&gt;], and I saw the Orlando Cloggers perform, and that’s what I wanted to do. I wasn’t quite old enough yet. You had to be 10 and I wasn’t 10 yet, and so as soon as I turned 10, then I could start the classes, and it was amazing. It was run by the city. It was $5 per family for the season—not $5 a week, not $5 a person. It was $5 for the entire thing—for three of us to go and take the classes, and I loved it. I thought it was awesome. I loved the dancing, so, you know, I learned to clog, I learned to square dance, and then I learned the round dancing, which was like ballroom, and, um, we moved to Maryland when I was in high school, and I can dance, and I got a job at an independent ballroom dancing studio as a dance teacher at the age of 16. I—and this is 1975—’75 —’76 —and I was making $16 an hour, which is basically still what a—a beginning dance instructor makes—same—same thing—but I was making $16 an hour teaching dance lessons, and I think the minimum wage was $2.85 [&lt;em&gt;laughs&lt;/em&gt;]. So it’s like, &lt;em&gt;Woo hoo.&lt;/em&gt; I had money. It’s like I’m 16 years old, I’ve got this job that I can—that I love, and I have money. It was amazing and—and I loved the dancing.&lt;/p&gt;
&lt;p&gt;Um, when I developed [rheumatoid] arthritis and—you know, what they told me was I’d never walk again. I was 100 percent disabled, and that was while I was here at UCF. You know, the campus was not that big, as it is now, but I couldn’t walk across campus, and the medication had this profound effect on me. I—I couldn’t communicate, um, you know, I couldn’t write coherently, I couldn’t make sense of what I was reading, and I couldn’t—I could not talk intelligently, um, and fortunately, there was a professor here in the Computer Science Department who understood what was going on, and she advised me to, you know, get the medical records brought in and have my record expunged and sealed so that all of that failing grade stuff that showed up, because of that, would not show up on my transcript ever, and without that I would have simply just failed, uh, graduate school, and probably never been able to get back in, um, and then, you know, got enough better that I could move and get back into school and get a job that was, uh—that I loved, um, and tried to dance, you know, as best I could, and it wasn’t always easy physically.&lt;/p&gt;
&lt;p&gt;I was—I was allergic to the non-steroidal anti-inflammatories, and so any of them that I would take would cause some kind of a very unpleasant neurological side effect, so it was just better to be in pain. So basically, for 30 years—so I just lived in pain, and didn’t tell anybody. You didn’t talk about it. Um, you know, if it was a bad day, you just tried to dance with your partner not touching actually, you know? It’s like you’re s—and don’t say. Don’t s—never tell anybody why you can’t do anything, you know? Um, yeah, it was really horrible, um, pretending, you know—pretending about a lot of things—pretending about being okay, pretending about not being gay, pretending about, you know, that my brain was working normally when it wasn’t. Basically, life was a whole lot about pretending a lot of things, and very painful—physically, psychologically, emotionally painful experience to live that way all the time.&lt;/p&gt;
&lt;p&gt;But, yeah, I got, you know—I danced as much as I could, and slowly, slowly over time. Basically, most dancers peak in their late 20s or early 30. It’s like, &lt;em&gt;Mm, yeah. Not until I was in my late-40s&lt;/em&gt;, [&lt;em&gt;laughs&lt;/em&gt;] you know, and, um, you know, d—did what teaching I could over the years. I mean, I’ve been traveling to Europe for over 20 years and teaching there, um, uh, various places around the United States, Canada, Japan. Uh, we did—a couple years ago, we did a three week tour in Japan—six different teaching events while we were there. It was just amazing—which in and of itself was fascinating because, you know, there’s a large community of dancers in Japan, and they knew of me and they—they would—when they would come to the United States, there[sic] was[sic] always be at the events that I was at, um, and they brought people over all the time to teach, and I asked—was a big, big international convention that I was teaching at—there was a huge group of Japanese there, and I got invited to the room party with the Japanese—was the only white person at this party, and, um, so I asked, you know—it’s like, you know, “When will I get invited to Japan?” And this—there was this discussion. This rapid discussion in Japanese, and the woman who spoke English best took me into the—the bathroom in the connected hotel rooms and closed the door and said to me, “We cannot invite you.” I was like, “Well, why?” And she goes, “Because whoever invites you would have to accept your shame.” I was like, “Oh.”&lt;/p&gt;
&lt;p&gt;So when I got contacted a couple years ago about coming over, there was an American woman living in Japan—I didn’t know her history, but she was an American woman living in Japan with the dancing—and so I wrote to her and said, “I’d love to come, but, you know, you need to know,” and she said to me, you know, “It’s not how it is now.” Things changed. Things changed because finally, the Japanese government had to acknowledge that there were people in Japan dying of AIDS,[3] and so everything changed when they acknowledged that—that these are Japanese people; therefore, they’re Japanese, and the laws changed, and the way that people behaved changed, and now it was just not a problem, and this was like, you know, social change on this huge scale in a couple of years, you know? Things that we have been fighting for in this country for 20 or 30 years and still don’t have—that they could achieve because, as a society, it’s more important that you’re Japanese than it is that you’re gay, you know? So she arranged this trip, we went, we had this amazing time, and it didn’t matter at all, you know? It didn’t matter at all. It matters more here than it does there.  Um, you know, I mean I’m—and I still—I love dancing. Although at this point, I’m probably done. I don’t have a partner anymore.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And if I can’t dance on a regular basis then I lose the ability to dance, which anybody would. Any skill that you’ve developed, if you don’t use it, you lose it. It’s, you know—especially physical skills, but in my case, it’s not just that. Dancing’s what’s kept me well. Um, if I don’t move, I can’t move, and I’ve tried other things. I’ve, you know, gone to gyms, I’ve done swimming, I’ve done all kinds of things. The only thing that’s been really effective is the dancing that I do, and so basically, you know, 47 years of dancing and I don’t have a partner. If I don’t have a partner, I can’t dance. If I can’t dance, I don’t know how long it is that I can walk. That’s the equation. I mean, you know, we talked—I—walking over here from the parking garage was an ordeal, and that’s been, you know—it’s four—four months that I haven’t danced regularly. Going to Germany and having to dance all day, every day, you know? It’s like the first day was just horrible, and after that it was like, &lt;em&gt;Oh, dancing. My body is happy.&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;“It’s fine.” Yeah, so I get distracted easily. It’s okay [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Oh [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] I’m chatty.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Um, I was gonna—I have a question following up on that—is, um, what kind of—did you face any sort of challenges, um, early on, um, in a same-sex partner dance organization? Like what did you…
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, you were—asked about NASSPDA.[4] That was not the first.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, the first organization kind of disappeared. It[?] was the United States same-sex dance, uh, organization that I was one of the founders of. I was also a—a—an honorary founding member of the European same-sex dance organization,[5] and then, at the same time that those two were formed, there was a world organization that was formed that I was on the committee that help form it, write the bylaws, was an officer of, and then there was a dispute about, you know: was that the right way to do this? Did it happen too fast? All that. So that organization shut down. The North American one disappeared, and a couple years later, the, um—or the U.S. one disappeared. Then the—they decided to do—try again, and we created the North American Same-Sex Partner Dance Association—NASSPDA—and I was, again, one of the founders, uh—original co—co-president with a woman, um, Barbara Zoloth, was one—one of my students for many years, and, um, you know, then—actually, I was the first honorary member of the organization when I went off the board. They voted me in, and, uh, you know—so I—I’ve been involved in the history of same-sex dancing in the United States since essentially its beginning.&lt;/p&gt;
&lt;p&gt;Um, I ran the first, uh—well, not the first. The first same-sex dance competition was a long time ago in New York—the first one we know of—but it was a one-time thing, and then nothing happened for years and years, but I put one together with, uh, my partner that[sic] I went to the Gay Games in 1998 with—Tom Slater—and a woman—a straight woman that[sic] was helping us—Ava Kaye—and, um, then the three of us decided this was important, and we put together, um, it was—I think it was “March Madness”—might have been the first one. It was either “March Madness” or “April Follies,” and then, the next one, you know—we did series of them that—that I ran with the two of them for many years, starting around 2000—2001—and then, when I moved away, I ran the next year remotely, you know, went back for it, but it was too much. So I turned it over to this organization—a non-profit in the [San Francisco] Bay area that has run it ever since, and so it’s the longest-running same-sex, uh, dance competition in North America, and longer than many of the ones in Europe, um, and, uh, so there’s the—you know, very small community of people involved in that in this country. We don’t have a history of partner dancing in this country in the way they do in Europe and other places in the world, but there are people that are[sic] really love it. It’s this wonderful thing to do. It’s social, it’s engaging, it challenges the mind and the body, um, it’s great exercise in a gentle way, um, and it’s fun. It’s just a tremendous amount of fun.&lt;/p&gt;
&lt;p&gt;Um, competing in the same-sex world is so different than the mainstream world. The mainstream world is very cutthroat, and the same-sex world is, you know, the—the—the people who’ve been to mainstream competition that come to one of the same-sex events is like, “What? It’s like, “You s—you act like you like each other. You know, this isn’t like a competition. It’s like a party. It’s a celebration,” and that’s exactly what it feels like. We are celebrating something that we can’t have. I mean there were rules against same-sex couples competing, uh, in regular competitions. Some of that has changed now, but there were rules against it. You weren’t allowed, you know, a—and it’s not just that you, you know, could if you wanted to. Y—you weren’t allowed, and while I wasn’t directly involved in a lot of the politics in the mainstream world to do that, um, I was behind the people who were, you know? I wasn’t—they hated me in the mainstream world of ballroom dancing from day one because I was an out[-of-the-closet] gay man doing ballroom dancing, and there were none. It was like, “Y—you can’t do that.” I got told when I was trying to compete as an amateur, and then as a professional, “Sh—y—you can’t be ‘out.’ You ca—you have to stop talking about this. You can’t bring a boyfriend.” I was like, “Yeah. No, I don’t—I y—I don’t need you to dance. I don’t do this for a living. You can’t make me,” and so—oh, they did not like me [&lt;em&gt;laughs&lt;/em&gt;]. I mean I—when I was still trying to be an amateur, there were actually lawsuits filed against me. Try to keep me from dancing—trying to, you know, declare me “not an amateur.” I was—I had a sports lawyer. It was—I mean, I f—finally quit. I was spending about $5,000 a year defending my amateur status with the lawyer. It was like, &lt;em&gt;This is ridiculous.&lt;/em&gt; This thing’s already so expensive. I was spending $20-25,000 a year dancing, and on top of that, I’ve got to spend lawyers’ fees? Nobody else has to do this. So I just—I gave up. I let them m—make me go pro, and then, you know, dance in Europe more than the United States, because in Europe nobody knows who I am. They don’t care. Then you get judged on the dancing.&lt;/p&gt;
&lt;p&gt;Uh, you know—you know, this thing that I’m passionate about. I just love doing it. I love teaching, I love dancing, you know? The, um—the next world championships for same-sex dancing is gonna be in Miami in August of 2017 at the, uh—the World Outgames, and I won’t be dancing, you know? I’ve—I’ve danced at every Gay Game since 1998. I’m the only one. The Gay Games in 1998 was the first time they had dancing, and my partner and I took third. We danced in Sydney[, Australia], and then, let’s see—it was, uh, Amsterdam[, Netherlands], Sydney[, Australia], I wanna say Chicago[, Illinois], Cologne[, Germany], Cleveland[, Ohio]. The next one’s Paris[, France] in ’18, and, uh—and then the Outgames. We danced in Montreal[, Canada] for the first one. We didn’t go to the next ones, and then, um—and then it’ll be Miami. I don’t have a partner. I don’t get to dance. It’s like a four-hour drive from where I live, and I won’t be dancing. It’s just so miserable. I don’t have a partner, and it’s something—you can’t do it alone, you know, and it’s really—you know, it’s hard to reflect on—the 47 years is coming to an end, and I don’t have a say in that. It’s just gonna happen.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;It’s tough [&lt;em&gt;sighs&lt;/em&gt;]. Um, well, let me see. I—I—you already discussed, uh—I saw that you had to—you overcame rheumatoid arthritis, actually, in a profile I was reading online. Um…
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, was it the one in &lt;em&gt;The Orlando Sentinel&lt;/em&gt;?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I think it was, yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;With a picture of me and the dog.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;That’s right.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Then that was the one.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Um, oh…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You’ll see.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I also saw there that you did, um—you were a technical consultant on the rewrite of a DVIDA[6] American Smooth Bronze Syllabus manual. Could…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, yeah, DVIDA.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Could you explain what that is and describe the work you did on that?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, DVIDA is, uh, oh, Dance Vision—D—Dance Vision International—DVIDA—of—Dance Vision International is the company. DA—o I don’t remember what it stands for. A friend of mine, um, Diane Jarmolow, that I used to coach and have known forever, um, she got—she contacted me about helping with the manual, which was very nice. It was great. It was really lovely to be asked, but I’m very technical. People know that I have this profound very deep understanding of dancing, which happened while I lived in New Mexico. Um, I couldn’t dance much. It was, you know, a 60-mile drive to the closest dance studio, which I would do. There[?] was a—a woman there that did some dancing that I could do, but we were only allowed to dance after the studio closed at night, ‘cause the owner didn’t want people seeing us because we didn’t fit the profile—she was the teacher there, and he was afraid that we would scare people off, you know? It’s like wrong level, wrong kind of dancing for what the studio was about, and so two weeknights a week, I would drive to El Paso[, Texas], be there at 10 o’clock at night, and dance ‘til midnight, and drive home and have to be at work at seven in the morning.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, but, um, while I was there, I met this woman who did ballet, and her husband—fiancé was a PhD kinesiologist at New Mexico State University and he wanted a project, but, you know, at the time—this was when they were doing a lot of things with, you know, analyzing on video tape athletic performance, ‘cause they were looking at, you know, runners on treadmills or swimmers in float tanks or cyclists on stationary bicycles, and seeing, you know, how do you optimize the human body in motion—and he didn’t want to do any of that stuff. So what I did was taught his w—his fiancé how to ballroom dance while he analyzed what we were doing, which, basically, no one had ever done before. No one had ever looked at the—the—the actual human body while it was dancing in this way, and n—not just one body, but two—how two bodies worked together, and he did this analysis of it with—with knowing nothing about dancing. So all of the language of dancing that had been used for 80-90 years to teach it had nothing to do with what he wrote about…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Right.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Or what he analyzed. So not, “Here’s what somebody has always said about what we’re doing,” but, “This is what the bodies are doing,” and I—so he wrote about that and then I got all that information, and then I had that, so I could write about dancing in—in the dance world, and I wrote papers that would get published about here’s why the feet do what they do, here’s the way that your hold actually works in the frame—you know, not what Patrick Swayze says about it in &lt;em&gt;Dirty Dancing&lt;/em&gt;…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;But what’s actually going on, and that kind of revolutionized the way that dancing was looked at all over the world, and my—my work got spread all over, um, and so because of that I became well-known for this level of technical understanding, and when Diane needed help with the new manuals they were writing, then I got an email. It’s like, “You willing?” It’s like [&lt;em&gt;claps hands&lt;/em&gt;] yes.” [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;“I’ve been waiting for this.”&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;“Fix the stuff that’s wrong.”&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And so, yeah. I worked on those manuals, and, in fact, my former partner is now working on the new set. He’s up in, uh, Indiana, and he was actually just down here for three days to talk to me about it, ‘cause he’s actually—he’s now the consultant for the next set of stuff that’s being done, um, but yeah, I got a credit in the—in the—in the book and everything, and it’s like “technical consultant,” and it was all this weird stuff. What’s the difference between “brush to” and “brush toward”? What’s the difference between a “brush” and a “collect”? You know, it’s like how to—what’s the difference between “side and slightly forward” and “forward and slightly side,” and it’s like all this really technical stuff, which I’m well-suited to because I love language, you know, from my own issues with language—couldn’t speak for a long time. I love language. I’m a mathematician. So, you know, my—I had a double major at Rollins—mathematics and English—and the dancing is mathematical. The partner dancing is a—is a mathematical construct actually, and then I had all this understanding of what was going on because of this analysis that had been done by this PhD kinesiologist. It’s like, you know—it’s perfect. Love it.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;So cool.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] So, um, could you tell us, uh—so you joined the, uh, [Orlando] Gay Chorus. You talked a little bit about how you got involved. Um, do you have a favorite production that you did that you can recall?
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, no [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;It’s—it’s funny. I don’t have a sticky memory for lyrics. Lyrics are so hard for me to learn—that they don’t stick in my brain very well, and, uh, so, you know, people will say, “Oh, we sang this five years ago,” and I’m going, “Really? I was here then. Did we? I don’t remember,” um, but I—I love singing with the chorus. I—I have no interest in doing any of the solo stuff or anything like that. I have zero—I love singing with the chorus, and we do two major concerts a year—the spring and the holiday. Um, I like the spring concerts, but I tend to love the holiday stuff because the music is different, you know? The—the Christmas stuff, the holiday stuff in general—it’s just got this wonderful character, and, uh, learning—learning about music. I mean, I always had to know something about music because of the dancing. I played piano for several years and I—it was the first thing—I didn’t understand at the time, but it hurt. It got to the point where it hurt, and so I quit, and then I was a great believer in &lt;em&gt;I’m young and healthy. Park across campus and walk&lt;/em&gt;, and, uh, at Rollins, I was in the math program. The math courses were on the fourth floor of the [Archibald Granville] Bush Science Center. I always took the stairs. I got to the point where I couldn’t climb the stairs. So I didn’t know what was going on, um, but, you know, how did I get involved with the chorus? My partner quit, and I thought, &lt;em&gt;Well, I won’t be dancing. I need something to do that’s interesting, that will challenge my mind, that will be fun, that will get me out in the world&lt;/em&gt;, ‘cause I don’t have a regular job. I don’t meet people. I don’t, you know, have people at work. I don’t go out to lunch. I don’t meet people. &lt;em&gt;So I’ll join the chorus. It’ll be fun&lt;/em&gt;, and it has been. It’s really lovely, um, but—and I was afraid to sing, ‘cause I hadn’t—I’d been told I didn’t sing well. Well, they didn’t care, you know?&lt;/p&gt;
&lt;p&gt;Now, it’s a little different. The—the chorus actually is[sic] improved dramatically from then. Well, you know, the work of Jim Brown—here at UCF—was our director at the time that I joined, and he did great work with the chorus, and now we have a new director, who’s very, very choral. Very, you know—the sound is gonna be the sound kind of thing, and, uh, I don’t know that I could get in now. You know, if I had—if I tried to join now, I doubt that they would take me. Now, I’m okay. I mean I’ve learned, but, you know, between the two of them, I learned a lot. Understanding a music that’s fundamentally different. I love that. I love learning, and then being with the group and doing.&lt;/p&gt;
&lt;p&gt;So, you know, particular thing that we sing that I like the best? No, no. I mean, every concert there’s something that I end up really loving, which is usually a surprise. It’s not the thing that I think at first that I’m gonna like, and, you know, something that’s not my favorite, you know—sing it anyway, um, and most of the stuff is like, &lt;em&gt;Oh, this is fun or not&lt;/em&gt;, you know? Some things are more fun to sing. Some things—just the sound of them. We did, um, in the last concert before we went to Denver for GALA[7]—one of the things we sang was a song for—“A Prayer for Children,” and it’s an old s—piece. It was written, um, I think about Croatia during the [Croatian] War [of Independence] there, and it’s gorgeous. It’s hard, but it’s so beautiful. Um, when I first joined it was like I had to be surrounded by other people singing my part, and so it was—you know, it’s like, &lt;em&gt;Mm&lt;/em&gt;. I can’t stand next to somebody who’s doing anything different than me. I don’t sing that well, and now, normally, where I get placed is standing next to the altos. I sing bass—I sing low bass. So it’s like bass, baritone—we usually sing the same thing, but not always—and then the altos, and so I’m standing next to an alto and the—in the front, and I can hear the rest of the chorus, and it’s so beautiful sometimes. I mean, there’s pieces that we do—the fun stuff I love. It’s great and fun to sing, but the s—I love the things that the sound of them is—it’s amazing to experience, and that’s what I’ve always looked for in the dance music, you know—the sound of the music that I choose for my own choreography is what I’m interested in, but, you know, chorus is great.&lt;/p&gt;
&lt;p&gt;It’s—it’s always been interesting to belong, you know? There’s—like any other human endeavor and organization, there’s groups that form and factions, and the politics of it and all that. It’s normal. I’m used to that, but at the heart of it, there’s this thing that we’re doing something that matters as a group. Um, when the chorus was formed 26 years ago, you know, the—the small group of people that did that, they were risking, you know, employment. You know, to be associated with a gay group publicly like that, many of them could have been fired for it. Um, it was a brave thing to do then, um, and y—you know, it’s not like that n—now. We belong. It’s okay in Orlando.&lt;/p&gt;
But, you know, this summer’s been kind of insane. We had had our concert, and the—the weekend of the shooting at Pulse there were several things going on. Um, every year right around that time there is the Orange Blossom [Dance] Festival, which is a big country western dance competition, and I always try to go. Um, well, at least one night, go by, dance and visit with people, ‘cause I know a lot of people, and if like—convention friends—you see them once a year, and—‘cause I don’t go to the other stuff, and I’m not a country western dancer, but some of these people do other things. Some of them are involved in the same-sex ballroom, um, and it’s often my birthday, ‘cause my birthday’s June 11&lt;sup&gt;th&lt;/sup&gt;, and so, normally what would happen is I would go on the Saturday. It’s the better night. If you go Friday, people don’t stay up that late ‘cause a lot of them have to get up in the morning and compete—dance with their students or dance in some way, and Saturday’s better. A lot of the competition is over. The stuff on Sunday is different, and so, you know, go there, dance all evening. Around midnight or so, get a group of people and we’ll go out. Go someplace where there is music, um, and—music that you can dance to—partner dance to, and that has, in fact, been Pulse in the past, eh, when it matched up. Latin Night—if it was going on—e could go there and dance. That’d be great.
&lt;p&gt;Um, this year, I went on Friday because Saturday night we had one of our, uh, non-outreach—there’s another word—I—I forget this word every time I go to do it, uh—cabaret. We have three cabaret performances a year. One of them’s at the Parliament House. It’s called “Uncut.” It’s the raunchy one, and then we have the—the, um—the h—February Valentine’s Day one. That’s the love one, and then, the—we have the summer one, and this year, it was early in the summer. It’s often later, and, um—and it happened to be on that Saturday, and since it was my birthday weekend—I wasn’t singing. I—it was like, &lt;em&gt;I’ll go&lt;/em&gt;, and they had these VIP’s tickets with the reception and the dinner and then the thing, and it’s like, &lt;em&gt;I’ll go to that&lt;/em&gt;. So I had the ticket and I went. It was wonderful, had great time, and then it was done and nobody wanted to really go out, and I did not want to drive all the way out to this hotel and see what’s going on because it was late. Any other year, I would have been at the hotel with the dancers and we would have been going to Pulse and arriving about 12:30 and staying until they closed or later—make them stay open and play music. So I would have had, you know, 25-30 people from out of town, who just love to dance, be there with me, and I just, you know—when—&lt;em&gt;I’m tired. I think I’ll go home.&lt;/em&gt; That was the decision.&lt;/p&gt;
&lt;p&gt;So Sunday morning, I wake up. I look at my phone and I—there’s all these text messages. “Are you okay?” “Are you okay?” And I’m thinking, &lt;em&gt;It was one singer. Yes, I know we sing at The Plaza [Live]&lt;/em&gt;, you know, &lt;em&gt;People know we sing at The Plaza. I’m fine. I’m fine. I’m fine&lt;/em&gt;, and then I get into the shower and turn on the radio [&lt;em&gt;laughs&lt;/em&gt;]. It was like, &lt;em&gt;Turn off the shower, go back to the phone.&lt;/em&gt; It’s like, “Oh, my God. I—I had no idea,” you know—listening to the news. I was like, &lt;em&gt;Wow&lt;/em&gt;, you know, nut for being tired, I would have been there. I would[?], uh—bringing people.&lt;/p&gt;
&lt;p&gt;So I don’t—I’m not a Facebook person really, but I looked to see, and I saw that there was gonna be a special Mass. The, um—there’s a gay, Catholic group in Orlando, and the priest who runs that, uh, used to sing in the chorus with us, and so I take my mother to Mass every Sunday—very Catholic—in Winter Park—St. Margaret Mary [Catholic Church] —very affluent—and, you know—and after Mass and I was waiting to see would[sic] they say anything, and they—and they did. Um, it wasn’t hugely specific, but it was, you know—they acknowledged what had happened, and the violence. Not that it was a gay attack or anything, but—but at least they acknowledged it at Mass, and we left immediately from there and went to the—to the place, which is a bar, you know? St. Matthew’s [Tavern at the Orlando Beer Garden]. Is—it used to be I wanna say Revolution—on Mills[Avenue]…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Right.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Next to the [Lesbian, Gay, Bisexual, Transgender Community] Center [of Central Florida]. Alright, that’s where they have Mass, and so we went, and, you know, we s—we went to Mass there, and, you know, at some point in the afternoon, there was a message that came out about—we had been invited to sing at, um, Joy MCC,[8] and I was like, “Absolutely, I’ll be there.” It was massive. When[?] you show up and there’s all these cameras, and they have relegated them to this corner in the back, and there’s[sic] way too many people, and there’s some seating reserved in the front for the chorus, and there’s not enough. There’s so many of us that showed up, and I felt terrible. I had to sit, ‘cause I—I couldn’t stand. My hip hurt, my knee hurt. I couldn’t—I couldn’t stand for the whole thing. I had to take a chair away from somebody else, you know, but—and then, it came time to sing. So we lined up in the front and, um, we had “True Colors” and, um, “You’ll Never Walk Alone,” and we sang, and, um, by the time I got home, you know, I looked at Facebook and there was a video that had been posted. It was CBS News, and the CBS newsman thought he was so clever. He had gotten the camera spot that was right in the center aisle, and so when we went to do “True Colors,” of course, that’s where the conductor stood, and right in front of him was the soloist, Caitlyn[sp], and so he had a completely blocked view [&lt;em&gt;laughs&lt;/em&gt;] of the soloist. He couldn’t get her face—couldn’t get her face, but there’s the camera and there am I.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And out of this like two and a half minute video, about 60 seconds of it is on my face, and this got posted on Facebook, and re-p—tagged, and posted and posted, and by the time I got home, I had messaged from 11 countries, and it was overwhelming. I mean, you know—we didn’t know a lot yet. We didn’t even know really how many people were dead yet. I didn’t know whether or not I knew anybody. I did—nobody well, no close friends, but it’s a small community. You know—you don’t know what to do. You know what there was to do? Sing. As it happens, I don’t have a day job. So when we get asked to go and sing and—I can say, “Yes.” I can show up at one o’clock at UCF across town for something, or drive out to the [Orange County] Convention Center at crack of dawn and not worry about being late to work, or—I could show up. That’s what I could do, and it was fascinating to see.  &lt;/p&gt;
&lt;p&gt;We had the Sunday night there and then Monday night at Dr. Phillips [Center for the Performing Arts] on the lawn, which was not supposed to be what it was, but turned into this thing, and—and it just started happening, and we had GALA [Choruses Festival] coming. We knew—and that was gonna change. Everything was gonna change. So we got invited to the—to sing at the formal thing at Dr. Phillips on the 28&lt;sup&gt;th&lt;/sup&gt;.[9] I was flying out. I was going early. I have an ex-boyfriend that lives in Denver[, Colorado], and four years ago, I got to visit with him. This year, I was going to do the same. Go early, spend some time with him, meet the husband—you know, of 11 years that I had never met, um—and so I wasn’t—I wasn’t at the first concert at Dr. Phillips inside, um, and I had a few days. I mean, there had been so many things. I think Carol said that between June 20&lt;sup&gt;th&lt;/sup&gt;—the 12&lt;sup&gt;th&lt;/sup&gt; and the 28&lt;sup&gt;th&lt;/sup&gt;, there were 20 outreach things that we did, and I lost count how many I did. You know, some of them were just the ensemble things and s—one or two people, but—but, you know, 20 things that the chorus was involved in, and I had like at least nine that I did in those few days, and I got to Denver, and I had time away from all of it, you know? It was no longer in the news every day, and not what everybody’s talking about. Just time—and, uh, people talk about processing. It was like, &lt;em&gt;Oh, this is what that means.&lt;/em&gt; Time to really think—to—to stop and feel, and then GALA would come, and I knew—I knew what it was gonna be like. I mean, GALA’s crazy anyway, and it was gonna be different. We were gonna, you know—kind of like, if you’re gonna be a part of this, you accept an obligation about certain things.&lt;/p&gt;
I’m used to—I’m used to being a public figure. Mm—I’m a—I’m well-known in the world of dancing. In the world of same-sex dancing, I’m the grandfather. I’m known. Um, I was well-known in my work in California. I mean, we didn’t talk about it, but I’ve—I’ve done things that people don’t understand, you know? I worked on—when you type on the computer and it offers you the corrected spelling[10] or look ahead,[11] I developed that for the very first system that ever had it—was the—the satellite control system that I did for NASA in the [19]80s. That didn’t become available for a very, very long time. I developed that. The very first clickable interface to purchase—“online shopping” is what we call it now—I developed that. The—the idea that you can get credit by filling out an online form, that was revolutionary. I did that. I designed that. Um, then when you go to an ATM[12] and you put in your money or your check, and it just reads it and tells you—instead of putting that in an envelope and writing on the envelope, and a person has to open it and count it. I did that—not—not for ATMs. Didn’t fit in an ATM when I did it.
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;But that technology was something I developed. That’s what I worked on. I’ve done all these things with computers that have transformed the world as we know it, and that are now a part of everybody’s existence in the Western world, and how we just interact all the time, and my name is not on any of it. I have no patents. I’m not famous for any of it, but the people who were there, they all knew, you know? I walked into a room of computer nerds in the Bay area. Everybody knew who I was. I was the guy that had won a congressional award for software. There wasn’t anybody else that had done that and never has been, you know? I was the guy that walked up to Steve Jobs and told him he was wrong.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] He was not happy with me. Um, and I—I know what it’s like to be public, and what the chorus was facing was—we were gonna be the face of Orlando—the face of Pulse at this huge thing. When somebody comes walking up and they have to say something to you, or they have to express how they feel, the obligation is listen. Let them. Let them feel what they feel. Let them share what they have to say. Because at that point, it’s no longer about us. People need the space to be able to express, to—to grieve, to process, and we were gonna be their outlet for doing that.&lt;strong&gt;&lt;br /&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;James [A. Rode] was not exactly the kind of director that was used to talking a lot, especially in a performance. The first time he was involved with a performance of the chorus, we sang. He probably said six words to the audience. Not his thing. We were in the waiting area backstage and he spoke to us. We had this set of songs, carefully chosen—changed from what it was supposed to be. I mean, we had—our—our set for GALA was celebratory when we started. Had to change—the message had to change, and some of the music was not music that people wanted to necessarily be singing, um, but it told a story, and he talked to us. “We have an obligation. Find a connection to that music. Relay the message that we’re bringing. It’s hard,” you know, “There’s suffering, there’s pain, and there’s hope. It’s up to us. Create hope, create love.” Like it was beautiful.&lt;/p&gt;
&lt;p&gt;So we all walk onstage and we start to sing, as we [inaudible] the ovation, and, you know, you just have to stand there and take it. I used to teach people, “You just gotta stand there and take it.” I made my staff learn to be acknowledged. It’s not easy holding up. It’s not easy, and what did we do? Well, we have to live in Orlando and sing [&lt;em&gt;sniffles&lt;/em&gt;]. [inaudible] cause is[?] [inaudible], and then, James read his statement to the audience. None of us had a clue what it said, and then—I mean—oh, God. The man’s eloquent, you know? He’s a schoolteacher, he’s educated, he knows how to write. It was good. It was devastating. It was like—and then, “Let’s sing.” It was like, &lt;em&gt;Oh, no. You’ve gotta be kidding.&lt;/em&gt; It’s like—like—I—but, you know, at that point, it didn’t matter. We could’ve stood there and flapped our arms like birds and nobody would’ve cared, and so—but we tried. I mean, by the second verse—it was “You’ll Never Walk Alone”—by the second verse, we—we could maybe sort of sing, and the walkout into that crowd of people.&lt;/p&gt;
&lt;p&gt;I remember being in Washington, D.C., you know, mid-[19]90s in like the second March on Washington [for Lesbian, Gay, and Bi Equal Rights and Liberation]. Being on the subway when I lived in the Bay area—you know, one of gay centrals—it’s like, “No.” You know when you ride on BART,[13] you’re not safe. Doesn’t matter that it’s San Francisco[, California], you know? You—y—y—there’s a way of being circumspect, and I’m—I spent my whole childhood being abused because I was different. I didn’t understand that “different” meant “gay,” but they did. I went[?], you know—I—it was a normal part of my experience to be physically attacked on a regular basis. Thrown into lockers, you know, punched and hit—and that was just normal, and n—there was[sic] no adults who really cared. My mother asked me the other day it was like, “Where—wa—was I affectionate as a mother?” And I said, “Not to me,” And she was shocked—just shocked. It’s like, “I’m the wrong one to ask.” I didn’t let anyone touch me. From—from the day—first day of first grade—new school, you know, didn’t know anybody, new city—and the first thing that happened to me was to be attacked. Yeah, I didn’t let people touch me. Dancing was my way of touch. Other than that, no one touched me, you know? Not hug people, barely would shake hands. Not allowed to touch, and you walk out to this—wanting to hug you. I’m not good at hugging. You have to let people, and I had scheduled my flights that I would actually not stay to the very end. I was so grateful. I couldn’t take it anymore [&lt;em&gt;sniffs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;At GALA, they have “coffee concerts” in the morning. They, um—a longer time slot to do something with. A very small, Canadian group had one of ‘em. It was very crowded. I managed to get a seat. It was marvelous. It was funny. Almost every one of the choruses added something in to acknowledge. you know, It was very—uh, um, I don’t want to seem callous, but it was like, you know, one more—“Thanks,” you know, [&lt;em&gt;laughs&lt;/em&gt;] but—and the Canadians change theirs—program too a little bit, but what was fascinating to me was they had this woman in a hijab singing with them [&lt;em&gt;sniffs&lt;/em&gt;]. She was fascinating. Soaring soprano voice, phenomenally animated—just, you know, capture everyone’s eye when she was onstage, and they—they sang a song in, um, not Farsi, but, um, Arabic, because of her, and, you know, it’s normal, you know? People are leaving the stage and you line the hallways and everybody comes in. Everybody [inaudible]. So I just waited. I waited. I waited.&lt;/p&gt;
&lt;p&gt;We had—we had, uh, you know—people had ribbons that we had made and stickers and the Pulse logos and there was like [inaudible], and I wanted to talk to this woman, and everybody wanted to talk to this woman. She had friends there—all this—and I waited, and finally. Finally, there was a camera crew following her around, and I just waited until she was kind of done and all settled down, and she saw me in the shirt—the shirt, and she looked at me and I looked at her, and I put out my hand and it had one of the Pulse stickers in it, and I said to her, “I want you to have this,” and it was extraordinary. Here’s this woman, who turns out isn’t a woman. She’s—she’s a transsexual in process, who is a convert to Islam, who decided to be Orthodox, found an organization in Canada that would accept her for who she is, you know? Coming to America to a major city after a shooting that’s related to, you know, an Islamic fundamentalist supposedly—not really, but that’s the perception—and as we stood there, we talked—I don’t know—20 minutes. It was amazing, and, you know, the stories that she had to tell. Just m—this is—this is what bravery looks like. I was like, “Let’s get the picture,” you know? I don’t do pictures. I always forget, but I have my picture with her. You know, put it on Facebook. It’s mine.&lt;/p&gt;
There were—there’s been a lot of things. Um, one of the outreaches was at, um, [John F.] Kennedy Space Center, and not many people could go. It was like, workday, Tuesday, all day, have to be able to get on base. Not everybody would pass the minimal clearance requirements, um, but I could go, and, um, I was like, &lt;em&gt;Oh, this’ll be interesting&lt;/em&gt;, you know? &lt;em&gt;I wonder in anybody will know my project&lt;/em&gt;, and that was—it was—and, you know, when I worked with TRW Space and Defense, being gay was not a good thing, um, and when we show up it’s gonna be this auditorium full of people, who— ‘cause they have an organization now. It’s like NASA has an organization for gay people. Different world, and—and, yes, you know—people know the project that I worked on. It’s still a meaningful thing. People actually, you know, there were people who know my father’s name. It was amazing, and that was hard. That was—for me, that was the hardest one to sing there.
&lt;p&gt;There’s still—I just—we just went Sunday to the movie theater, ‘cause Tony Romero—I don’t know what his last name is—invited the chorus and a few other people, ‘cause Ellen [DeGeneres] gave him a showing of &lt;em&gt;Finding Dory&lt;/em&gt;, which I did not see, and it’s like, &lt;em&gt;Okay, this is lovely. Get to go&lt;/em&gt;—it’s changing. We get to reflect differently. We get to look to a future. The obligation to create something meaningful is on those who survive, who are after. It’s like funerals aren’t for the dead. They’re for the living. We’re living. We get to choose what this means. We get to choose what happens. I want—I want there to be a difference. I want the world to wake up and know, and I don’t want it to be because it was a gay club in Orlando, but something has to do it.&lt;/p&gt;
&lt;p&gt;You know, you take the populations of Great Britain, and Australia, Denmark, and Sweden, and, you know, several other countries combined—is less than the population of the United States, and we have, you know, up 50 times the murder rate that they do. It’s not just because we’re stupid; it’s because they have gun laws that are meaningful and we don’t. You know, Australia had a mass shooting[14] and they changed their world. It was sane. We’re insane. We’re living in an insane society. I want sanity. I’m tired of it costing lives.&lt;/p&gt;
&lt;p&gt;I don’t look forward to my birthday next year, ‘cause it’s gonna be, you know, the weekend of the one-year anniversary. I don’t want there to be a one-year anniversary. There will be. I’ll be there. I wish I didn’t have to. It’s so preventable. We have to be responsible for what happens next. I have to be responsible for what happens next.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;clears throat&lt;/em&gt;]. Well, I guess, what sort of, uh—what would you hope the long-term consequences will be for the Orlando gay community, and really just for the city—the larger city or the—just maybe even society from this?
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You know, [&lt;em&gt;sighs&lt;/em&gt;] it was interesting. Um, after this, it’s like you’re driving around town and there’s rainbow lights everywhere, and like, you know, it was August. W—my brother was in town for the weekend or the day with this wife. They live in Melbourne[, Florida], and we were gonna go to brunch up in Longwood. Driving and getting off at the exit in I[nterstate] 4, it was raining, and it’s—and below it is the banner—“Orlando Untied”—with the rainbow flag. I was looking at it, it’s like [inaudible]. I took a picture out of the window of the car, and we got to the restaurant and, you know, had this wonderful brunch, and leaving the restaurant, they have one of those chalkboard things, you know—two-sided, and on the front side g—walking in is all the specials, and on the back side was the “Orlando Strong”—“Orlando United,” but, you know, I don’t—where was I? Longwood somewhere. Casselberry, and there is the CVS [Pharmacy] with the electronic sign out front that cycles through its set of stuff. One of which was “Orland Strong.” I was like—I think it would be beautiful if what would just happen is that we could be the “City of Rainbows.” W—let’s, you know, that—somehow [&lt;em&gt;laughs&lt;/em&gt;] the gay community got the rainbow flag. It’s like, &lt;em&gt;Wow, that was smart&lt;/em&gt; [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;I don’t know if they were actually planning that far in advance, but it was like, &lt;em&gt;Wow, we co-opted the rainbow&lt;/em&gt; [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;It’s like, &lt;em&gt;That’s awesome&lt;/em&gt;. It’s like “The City Beautiful.” It’s like “The City of Rainbows.” Wow, I would—I would love for all of these city buildings and—and banks and everything else just like keep putting up rainbows. They’re beautiful. We can create all the meaning we want from them. They’re beautiful. That would be a wonderful thing to have happen.&lt;/p&gt;
Um, I would—I want gun control that makes sense. I don’t know that we’re gonna get it. I don’t know how we’re gonna get it, because we—our society is literally insane, but I would like that to be an outcome.
&lt;p&gt;I would like that, you know—we have this political season that we’re dealing with. We’re dealing with the rise of fundamentalism. People don’t understand what that means. Fundamentalism is a particular thing in philosophy. It’s—it’s not just an extreme point of view—that’s orthodoxy. It’s not just that “I’m right and you’re wrong.” It is: “I’m right, you’re wrong,” and the existence of other ideas, other beliefs cannot be tolerated, and must be suppressed or eliminated by whatever means necessary. That’s fundamentalism. We’ve seen it in religions—not just Islam. I mean, you know, American Christianity is full of its fundamentalism. “You will believe the way that I say it’s supposed to be or”—and when, you—political fundamentalism—“I’ll get what I want in this bill or this bill will never happen.” There is no such thing as compromise in fundamentalism. Nationalism is a form of fundamentalism. Brexit is fundamentalism. The rise of these nationalistic parties in Europe—that’s fundamentalism. You know, even the idea that the news doesn’t tell us the facts. They tell us how we’re supposed to feel about what happens. No, you don’t get to tell me how to feel, but somehow that’s become part of news. No, but that’s representive[sic] of fundamentalism. It’s, “You don’t get to have your opinion.” There is “the opinion” and that’s it.&lt;/p&gt;
&lt;p&gt;As long as that’s true, we’re not gonna see gun control. We’re not gonna see a society where it’s truly safe to be gay. We’ve made huge progress, but that doesn’t change the way that people think, or believe—believe is worse. Belief takes no foundation. There’s—doesn’t have to be proved, and anything that stands in the way of it can be discounted.&lt;/p&gt;
&lt;p&gt;We sing, you know—you know, we talk about the—what is our purpose? We’re gonna change hearts and minds from musical excellence. The opportunity that’s been presented to the Orlando Gay Chorus because of this horrific thing is phenomenal. We get an audience that we would never have had, and we get to stand up, and we get to sing, and we get to do it as a gay group, and people get to hear good music, good singing, and it has a message, and we’re gay. I—you know, I talked to the leadership in the chorus and said, “Don’t be afraid. It’s—you’re not—there’s nothing wrong—there’s nothing wrong with capitalizing on this moment.” We’ve said for a long time that we want to stand up and mean something. The opportunity’s been handed to us. The mistake would be to not take it. Say, “Yes.” Do these things. Put the message out there, and do it for the right reasons.&lt;/p&gt;
&lt;p&gt;I said to Tony the other day—the business manager—“You know, there are a lot of survivors in a lot of ways. Most of them can’t—can’t stand up and talk to the world. It’s not a part of who they are,” but he can, and I remember eighth grade. There was this thing happening, you know—one of the kids in school—and I went home and I complained to my mother about it, and she said, “Who did you talk to?” I was like, “No one. Not me,” You know, and she’s, “Well, you know? You should.” I was like, “Why?” It’s like, “Well, because you can.” So the next day, I marched myself into the principal’s office and complained on behalf of somebody who couldn’t. Those who can need to. Tony can stand up and talk to the world about his experience, and maybe change the world’s thinking—little bit by little bit by doing that. he should. He’s not opportunistic. He has a message that needs to be heard, and he’s capable of delivering it, and he can do that on behalf of victims everywhere. He should. The chorus has an opportunity. We should. We can. It’s not opportunistic. Yes, does it move our agenda forward—the agenda we’ve had f—long before this happened? Absolutely, but it’s still the right thing to do, and it’s for the right reasons, and that’s what we should do. We should keep saying “yes” to the opportunities that arise, and over time—it’s already happening—that they’re—they’re not about that anymore. We got to sing with the Second Harvest Food Bank [of Central Florida], because I go to their dinners, and I know the organizer there, and she likes me.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And after this happened, she said to me, “You sing with the Gay Chorus.” I was like, “Yes, I do.” “I wanna talk to you about it.” I was like, “Not the right one to talk to, but, boy, can I get you in touch with the person who is,” and we got to do this amazing event for an audience who we would otherwise never touch. Changed the perception of a lot of things.&lt;/p&gt;
&lt;p&gt;We got to sing the national anthem[15] at the First Responders’ Breakfast. This is not a group of people who are gonna just suddenly say, “Oh, gosh. We need to have the Orlando Gay Chorus come and sing.” We’re gonna sing for the AFL-CIO.[16] It’s like Jimmy Hoffa’s[17] union.[18]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;We’re gonna sing for them. The gay chorus in Orlando is gonna sing for Jimmy Hoffa’s union.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;That was not gonna happen before, and now, it is. So, you know, what’s gonna come of this? I hope that. I hope lots of things like that. I hope a dialogue, in music for us, that lets people have a different experience of what “gay” means, and then, maybe the world really can change.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Thank you so much for sharing that with us today, Richard. I really appreciate it. Is there anything else you’d like to add? I mean I—that was a great—that was a great place to end, I think.
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;No, you don’t—you don’t want to get me started on Lucy.[19] It’s okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] Read the blog.[20]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;We can always do a second interview.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Read—read the blog on Lucy.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Did you find my blog?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I did.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I did.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Well, that’s an interview for another time.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;This—thank you. You know, it’s like—this’ll go into an archive, and—and who knows? Maybe some researcher a hundred years from now will look at it, but probably, other than that, nothing.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Aw.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;That’s okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;It’s fantastic. Well, this is, uh—this has been Geoffrey Cravero with Richard Lamberty in the conference room of the Center for Digital Humanities and Research at UCF in Orlando, Florida, on Tuesday, October 11&lt;sup&gt;th&lt;/sup&gt;, 2016.&lt;/p&gt;
&lt;br /&gt;&lt;div&gt;
&lt;div&gt;
&lt;p&gt;[1] University of Central Florida.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[2] National Aeronautics and Space Administration.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[3] Acquired immune deficiency syndrome.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[4] North American Same-Sex Partner Dance Association.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[5] European Same-Sex Dancing Association (ESSDA).&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[6] Dance Vision International Dancers Association.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[7] Gay and Lesbian Association of Choruses.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[8] Joy Metropolitan Community Church.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[9] Of June.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[10] Spell check.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[11] Typeahead.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[12] Automatic teller machine.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[13] Bay Area Rapid Transit.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[14] Port Arthur massacre.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[15] The Star-Spangled Banner.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[16] American Federation of Labor and Congress of Industrial Organizations.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[17] Born James Riddle Hoffa.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[18] Correction: Jimmy Hoffa was the president of the International Brotherhood of Teamsters (IBT).&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[19] Lamberty’s now-deceased dog.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[20] http://rexl.org/.&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
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&lt;li&gt;perform the work publicly&lt;/li&gt;
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
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&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
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&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
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This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
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This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
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                  <text>&lt;p&gt;&lt;span&gt;The &lt;/span&gt;Florida-France Soldier Stories&lt;span&gt;project seeks to tell the stories of the Florida soldiers buried in the American Battle Monuments Commission cemeteries in France. Our goal is to honor and commemorate the brave individuals who gave their lives supporting the Allied forces, liberating France, and defeating Germany in the Second World War. Simultaneously, our goal is to teach the students who participate in this research project about the history of France and Florida during World War II, about the history of individual servicemen, and about how to implement historical research methods in their work.&lt;/span&gt;&lt;/p&gt;</text>
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This specific draft registration was for First Lieutenant Frank B. Morgan, and list him at 5'10" and 200 lbs, with a scar on his left leg and above his right eye.  1st LT. Frank B. Morgan was born in Greensburg, Pennsylvania on January 28, 1920, to Samuel and Edna Grace Morgan. Samuel Morgan was a first generation American of Northern Irish descent, working in the publishing industry as an editor and linotype operation. Edna Grace Morgan (née Black) was a native of Pennsylvania and appeared to be a housewife based on census evidence. Frank was the youngest of three boys, his siblings were Samuel Cree Morgan (1909-1990) and James Alexander Morgan (1912-1982). The Morgan’s owned a home on 17 Clopper Street in Greensburg, where Frank would reside until he entered active service. On December 6th 1939, Frank’s father passed at the age of 71; he was 19 at the time. Available records do not reveal whether 1st LT. Morgan (O-750431) entered the military by draft or enlistment; however, records reveal that he entered active service on April 27, 1942, out of Pittsburgh, Pennsylvania at the age of 22. Leaving out of McDill, 1st LT. Morgan served with the 555th Bomber Squadron, a unit within the 386th Bomber Group. 1st LT. Morgan served his country with distinction, earning an Air Medal with Eight Oak Leaf Clusters. He died on December 20, 1944, four days into the Ardennes campaign. His death is listed as non-battle related, suggesting that he may have been one of the many B-26 crashes at takeoff, or upon landing. 1st LT. Morgan died just before the of the war at the age of 24. Morgan rest at Plot B Row 39 Grave 46 in Epinal American Cemetery France; a second memorial was organized by his family is at Parker Presbyterian Cemetery in Pennsylvania. </text>
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                <text>Morgan, Samuel, 1868-1939. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed October 15 October 2016.) &#13;
Morgan, Frank, 1920-1944. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed 15 October 2016.)&#13;
United States, Bureau of the Census (20 April 1910).1910 U.S. Federal Census: Samuel &#13;
Morgan Jr. Family. p.10 Edna G. Morgan, Samuel Cree Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; dwelling 71, family 71. Page: 5B; Enumeration District: 0127; FHL microfilm: 1375442. Ancestry.com (http://ancestry.com: accessed 15 October 2016). &#13;
United States, Bureau of the Census (16 April 1930). 1930 U.S. Federal Census: &#13;
Samuel Morgan Jr. Family. p.18 Edna G. Morgan, Samuel Cree Morgan, James A Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 196, family 224. Page: 9B; Enumeration District: 0032; Image: 19.0; FHL microfilm: 2341890. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, Bureau of the Census (15 April 1940). 1940 U.S. Federal Census: &#13;
Edna G. Morgan Family. p.23, Samuel Cree Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 281, Page: 12A; Enumeration District: 65-46. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, European Theater Office of Theater Censor (3 July 1945). A History of a &#13;
Bombing Outfit: The 386th Bomb Group. B26.com (https://b26.com: accessed 15 October 2016).&#13;
United States, Headstone Inscription and Interment Records for U.S. Military Cemeteries on &#13;
Foreign Soil, 1942–1949. Series A1 43, NAI ID: 7408555. Records of the American Battle Monuments Commission, 1918–ca. 1995. Record Group 117. The National Archives at Washington, D.C. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, The National Archives. World War II Honor List of Dead and Missing Army and Army &#13;
Air Forces Personnel from Florida, 1946. Fold3.com (http://fold3.com: accessed 15 October 2016).&#13;
United States, Selective Service System. Selective Service Registration Cards, World &#13;
War II: Fourth Registration. Draft Registration Cards for Pennsylvania (1940-1947); Frank B. Morgan. Records of the Selective Service System, Record Group Number 147. National Archives and Records Administration. Fold3.com (http://fold3.com: accessed 15 October 2016). &#13;
United States, World War Two Veterans’ Compensation Bureau. World War II Veterans &#13;
Compensation Applications, circa 1950s: Records of the Department of Military and Veterans Affairs, Record Group 19, Series 19.92 (877 cartons). Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania. Ancestry.com (http:ancestry.com: accessed 15 October 2016).</text>
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                <text>This image is of a second memorial for First Lieutenant Frank B. Morgan.  1st LT. Frank B. Morgan was born in Greensburg, Pennsylvania on January 28, 1920, to Samuel and Edna Grace Morgan. Samuel Morgan was a first generation American of Northern Irish descent, working in the publishing industry as an editor and linotype operation. Edna Grace Morgan (née Black) was a native of Pennsylvania and appeared to be a housewife based on census evidence. Frank was the youngest of three boys, his siblings were Samuel Cree Morgan (1909-1990) and James Alexander Morgan (1912-1982). The Morgan’s owned a home on 17 Clopper Street in Greensburg, where Frank would reside until he entered active service. On December 6th 1939, Frank’s father passed at the age of 71; he was 19 at the time. Available records do not reveal whether 1st LT. Morgan (O-750431) entered the military by draft or enlistment; however, records reveal that he entered active service on April 27, 1942, out of Pittsburgh, Pennsylvania at the age of 22. Leaving out of McDill, 1st LT. Morgan served with the 555th Bomber Squadron, a unit within the 386th Bomber Group. 1st LT. Morgan served his country with distinction, earning an Air Medal with Eight Oak Leaf Clusters. He died on December 20, 1944, four days into the Ardennes campaign. His death is listed as non-battle related, suggesting that he may have been one of the many B-26 crashes at takeoff, or upon landing. 1st LT. Morgan died just before the of the war at the age of 24. Morgan rest at Plot B Row 39 Grave 46 in Epinal American Cemetery France; a second memorial was organized by his family is at Parker Presbyterian Cemetery in Pennsylvania. </text>
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                <text>Morgan, Samuel, 1868-1939. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed October 15 October 2016.) &#13;
Morgan, Frank, 1920-1944. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed 15 October 2016.)&#13;
United States, Bureau of the Census (20 April 1910).1910 U.S. Federal Census: Samuel &#13;
Morgan Jr. Family. p.10 Edna G. Morgan, Samuel Cree Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; dwelling 71, family 71. Page: 5B; Enumeration District: 0127; FHL microfilm: 1375442. Ancestry.com (http://ancestry.com: accessed 15 October 2016). &#13;
United States, Bureau of the Census (16 April 1930). 1930 U.S. Federal Census: &#13;
Samuel Morgan Jr. Family. p.18 Edna G. Morgan, Samuel Cree Morgan, James A Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 196, family 224. Page: 9B; Enumeration District: 0032; Image: 19.0; FHL microfilm: 2341890. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, Bureau of the Census (15 April 1940). 1940 U.S. Federal Census: &#13;
Edna G. Morgan Family. p.23, Samuel Cree Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 281, Page: 12A; Enumeration District: 65-46. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, European Theater Office of Theater Censor (3 July 1945). A History of a &#13;
Bombing Outfit: The 386th Bomb Group. B26.com (https://b26.com: accessed 15 October 2016).&#13;
United States, Headstone Inscription and Interment Records for U.S. Military Cemeteries on &#13;
Foreign Soil, 1942–1949. Series A1 43, NAI ID: 7408555. Records of the American Battle Monuments Commission, 1918–ca. 1995. Record Group 117. The National Archives at Washington, D.C. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, The National Archives. World War II Honor List of Dead and Missing Army and Army &#13;
Air Forces Personnel from Florida, 1946. Fold3.com (http://fold3.com: accessed 15 October 2016).&#13;
United States, Selective Service System. Selective Service Registration Cards, World &#13;
War II: Fourth Registration. Draft Registration Cards for Pennsylvania (1940-1947); Frank B. Morgan. Records of the Selective Service System, Record Group Number 147. National Archives and Records Administration. Fold3.com (http://fold3.com: accessed 15 October 2016). &#13;
United States, World War Two Veterans’ Compensation Bureau. World War II Veterans &#13;
Compensation Applications, circa 1950s: Records of the Department of Military and Veterans Affairs, Record Group 19, Series 19.92 (877 cartons). Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania. Ancestry.com (http:ancestry.com: accessed 15 October 2016).</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;.</text>
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                  <text>&lt;a href="https://projects.cah.ucf.edu/fl-francesoldierstories/" target="_blank" rel="noreferrer noopener"&gt;Florida-France Soldier Stories Project&lt;/a&gt;.</text>
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                  <text>"&lt;a href="http://history.wisc.edu/epinal_project.htm" target="_blank" rel="noreferrer noopener"&gt;The Epinal Project- by Students of History 357: The Second World War&lt;/a&gt;." University of Wisconsin-Madison. http://history.wisc.edu/epinal_project.htm (accessed January 3, 2015).</text>
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                  <text>&lt;p&gt;&lt;span&gt;The &lt;/span&gt;Florida-France Soldier Stories&lt;span&gt;project seeks to tell the stories of the Florida soldiers buried in the American Battle Monuments Commission cemeteries in France. Our goal is to honor and commemorate the brave individuals who gave their lives supporting the Allied forces, liberating France, and defeating Germany in the Second World War. Simultaneously, our goal is to teach the students who participate in this research project about the history of France and Florida during World War II, about the history of individual servicemen, and about how to implement historical research methods in their work.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>This document lists War Department casualties (Army and Army Air Force personnel) from World War II. Entries in the list are arranged by name of county and thereunder alphabetically by name of deceased. Information provided includes serial number, rank and type of casualty. The birthplace or residence of the deceased is not indicated. An introduction explaining how the list was compiled, a statistical tabulation, and the descriptions of the types of casualties incurred are also included.  &#13;
&#13;
A notable name listed was First Lieutenant Frank B. Morgan (ca. 1920-1944); there is little evidence linking him to Florida.  1st LT. Frank B. Morgan was born in Greensburg, Pennsylvania on January 28, 1920, to Samuel and Edna Grace Morgan. Samuel Morgan was a first generation American of Northern Irish descent, working in the publishing industry as an editor and linotype operation. Edna Grace Morgan (née Black) was a native of Pennsylvania and appeared to be a housewife based on census evidence. Frank was the youngest of three boys, his siblings were Samuel Cree Morgan (1909-1990) and James Alexander Morgan (1912-1982). The Morgan’s owned a home on 17 Clopper Street in Greensburg, where Frank would reside until he entered active service. On December 6th 1939, Frank’s father passed at the age of 71; he was 19 at the time. Available records do not reveal whether 1st LT. Morgan (O-750431) entered the military by draft or enlistment; however, records reveal that he entered active service on April 27, 1942, out of Pittsburgh, Pennsylvania at the age of 22. Leaving out of McDill, 1st LT. Morgan served with the 555th Bomber Squadron, a unit within the 386th Bomber Group. 1st LT. Morgan served his country with distinction, earning an Air Medal with Eight Oak Leaf Clusters. He died on December 20, 1944, four days into the Ardennes campaign. His death is listed as non-battle related, suggesting that he may have been one of the many B-26 crashes at takeoff, or upon landing. 1st LT. Morgan died just before the of the war at the age of 24. Morgan rest at Plot B Row 39 Grave 46 in Epinal American Cemetery France; a second memorial was organized by his family is at Parker Presbyterian Cemetery in Pennsylvania. </text>
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                <text>ca. 1946</text>
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                <text>St. Lucie, Florida</text>
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                <text>World War II Honor List of Dead and Missing Army and Army Air Forces Personnel, 6/1946 - 6/1946&#13;
Record Group 407: Records of the Adjutant General's Office, 1905 - 1981. National Archives Identifier:	305285</text>
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&#13;
https://www.fold3.com/image/310763078/?terms=Frank%20B.%20Morgan&#13;
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                <text>Morgan, Samuel, 1868-1939. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed October 15 October 2016.) &#13;
Morgan, Frank, 1920-1944. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed 15 October 2016.)&#13;
United States, Bureau of the Census (20 April 1910).1910 U.S. Federal Census: Samuel &#13;
Morgan Jr. Family. p.10 Edna G. Morgan, Samuel Cree Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; dwelling 71, family 71. Page: 5B; Enumeration District: 0127; FHL microfilm: 1375442. Ancestry.com (http://ancestry.com: accessed 15 October 2016). &#13;
United States, Bureau of the Census (16 April 1930). 1930 U.S. Federal Census: &#13;
Samuel Morgan Jr. Family. p.18 Edna G. Morgan, Samuel Cree Morgan, James A Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 196, family 224. Page: 9B; Enumeration District: 0032; Image: 19.0; FHL microfilm: 2341890. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, Bureau of the Census (15 April 1940). 1940 U.S. Federal Census: &#13;
Edna G. Morgan Family. p.23, Samuel Cree Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 281, Page: 12A; Enumeration District: 65-46. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, European Theater Office of Theater Censor (3 July 1945). A History of a &#13;
Bombing Outfit: The 386th Bomb Group. B26.com (https://b26.com: accessed 15 October 2016).&#13;
United States, Headstone Inscription and Interment Records for U.S. Military Cemeteries on &#13;
Foreign Soil, 1942–1949. Series A1 43, NAI ID: 7408555. Records of the American Battle Monuments Commission, 1918–ca. 1995. Record Group 117. The National Archives at Washington, D.C. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, The National Archives. World War II Honor List of Dead and Missing Army and Army &#13;
Air Forces Personnel from Florida, 1946. Fold3.com (http://fold3.com: accessed 15 October 2016).&#13;
United States, Selective Service System. Selective Service Registration Cards, World &#13;
War II: Fourth Registration. Draft Registration Cards for Pennsylvania (1940-1947); Frank B. Morgan. Records of the Selective Service System, Record Group Number 147. National Archives and Records Administration. Fold3.com (http://fold3.com: accessed 15 October 2016). &#13;
United States, World War Two Veterans’ Compensation Bureau. World War II Veterans &#13;
Compensation Applications, circa 1950s: Records of the Department of Military and Veterans Affairs, Record Group 19, Series 19.92 (877 cartons). Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania. Ancestry.com (http:ancestry.com: accessed 15 October 2016).</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://history.wisc.edu/epinal_project.htm" target="_blank" rel="noreferrer noopener"&gt;The Epinal Project- by Students of History 357: The Second World War&lt;/a&gt;." University of Wisconsin-Madison. http://history.wisc.edu/epinal_project.htm (accessed January 3, 2015).</text>
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                  <text>&lt;p&gt;&lt;span&gt;The &lt;/span&gt;Florida-France Soldier Stories&lt;span&gt;project seeks to tell the stories of the Florida soldiers buried in the American Battle Monuments Commission cemeteries in France. Our goal is to honor and commemorate the brave individuals who gave their lives supporting the Allied forces, liberating France, and defeating Germany in the Second World War. Simultaneously, our goal is to teach the students who participate in this research project about the history of France and Florida during World War II, about the history of individual servicemen, and about how to implement historical research methods in their work.&lt;/span&gt;&lt;/p&gt;</text>
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      <name>Still Image</name>
      <description>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.</description>
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            <elementText elementTextId="631159">
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          <name>Physical Dimensions</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="631160">
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                <text>World War II Veterans Compensation Application</text>
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            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="631155">
                <text>This image of the Veterans Compensation Application provides information on the redress provided to Edna G. Morgan for the loss of her son, 1 LT. Frank B. Morgan.&#13;
&#13;
1st LT. Frank B. Morgan was born in Greensburg, Pennsylvania on January 28, 1920, to Samuel and Edna Grace Morgan. Samuel Morgan was a first generation American of Northern Irish descent, working in the publishing industry as an editor and linotype operation. Edna Grace Morgan (née Black) was a native of Pennsylvania and appeared to be a housewife based on census evidence. Frank was the youngest of three boys, his siblings were Samuel Cree Morgan (1909-1990) and James Alexander Morgan (1912-1982). The Morgan’s owned a home on 17 Clopper Street in Greensburg, where Frank would reside until he entered active service. On December 6th 1939, Frank’s father passed at the age of 71; he was 19 at the time. Available records do not reveal whether 1st LT. Morgan (O-750431) entered the military by draft or enlistment; however, records reveal that he entered active service on April 27, 1942, out of Pittsburgh, Pennsylvania at the age of 22. Leaving out of McDill, 1st LT. Morgan served with the 555th Bomber Squadron, a unit within the 386th Bomber Group. 1st LT. Morgan served his country with distinction, earning an Air Medal with Eight Oak Leaf Clusters. He died on December 20, 1944, four days into the Ardennes campaign. His death is listed as non-battle related, suggesting that he may have been one of the many B-26 crashes at takeoff, or upon landing. 1st LT. Morgan died just before the of the war at the age of 24. Morgan rest at Plot B Row 39 Grave 46 in Epinal American Cemetery France; a second memorial was organized by his family is at Parker Presbyterian Cemetery in Pennsylvania. </text>
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                <text>2640 Dartmouth Avenue, St. Petersburg, Florida</text>
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              <elementText elementTextId="631161">
                <text>Pennsylvania (State). World War II Veterans Compensation Applications, circa 1950s. Records of the Department of Military and Veterans Affairs, Record Group 19, Series 19.92 (877 cartons). Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania.</text>
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                <text>Ancestry.com. Pennsylvania, Veteran Compensation Application Files, WWII, 1950-1966 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2015.&#13;
&#13;
&#13;
http://interactive.ancestry.com/3147/43191_647350_0732-00879?pid=1434764&amp;backurl=//search.ancestry.com//cgi-bin/sse.dll?indiv%3D1%26dbid%3D3147%26h%3D1434764%26ssrc%3Dpt%26tid%3D3857707%26pid%3D553995909%26usePUB%3Dtrue&amp;ssrc=pt&amp;treeid=3857707&amp;personid=553995909&amp;hintid=&amp;usePUB=true&amp;usePUBJs=true</text>
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                <text>Morgan, Samuel, 1868-1939. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed October 15 October 2016.) &#13;
Morgan, Frank, 1920-1944. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed 15 October 2016.)&#13;
United States, Bureau of the Census (20 April 1910).1910 U.S. Federal Census: Samuel &#13;
Morgan Jr. Family. p.10 Edna G. Morgan, Samuel Cree Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; dwelling 71, family 71. Page: 5B; Enumeration District: 0127; FHL microfilm: 1375442. Ancestry.com (http://ancestry.com: accessed 15 October 2016). &#13;
United States, Bureau of the Census (16 April 1930). 1930 U.S. Federal Census: &#13;
Samuel Morgan Jr. Family. p.18 Edna G. Morgan, Samuel Cree Morgan, James A Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 196, family 224. Page: 9B; Enumeration District: 0032; Image: 19.0; FHL microfilm: 2341890. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, Bureau of the Census (15 April 1940). 1940 U.S. Federal Census: &#13;
Edna G. Morgan Family. p.23, Samuel Cree Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 281, Page: 12A; Enumeration District: 65-46. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, European Theater Office of Theater Censor (3 July 1945). A History of a &#13;
Bombing Outfit: The 386th Bomb Group. B26.com (https://b26.com: accessed 15 October 2016).&#13;
United States, Headstone Inscription and Interment Records for U.S. Military Cemeteries on &#13;
Foreign Soil, 1942–1949. Series A1 43, NAI ID: 7408555. Records of the American Battle Monuments Commission, 1918–ca. 1995. Record Group 117. The National Archives at Washington, D.C. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, The National Archives. World War II Honor List of Dead and Missing Army and Army &#13;
Air Forces Personnel from Florida, 1946. Fold3.com (http://fold3.com: accessed 15 October 2016).&#13;
United States, Selective Service System. Selective Service Registration Cards, World &#13;
War II: Fourth Registration. Draft Registration Cards for Pennsylvania (1940-1947); Frank B. Morgan. Records of the Selective Service System, Record Group Number 147. National Archives and Records Administration. Fold3.com (http://fold3.com: accessed 15 October 2016). &#13;
United States, World War Two Veterans’ Compensation Bureau. World War II Veterans &#13;
Compensation Applications, circa 1950s: Records of the Department of Military and Veterans Affairs, Record Group 19, Series 19.92 (877 cartons). Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania. Ancestry.com (http:ancestry.com: accessed 15 October 2016).</text>
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                  <text>&lt;p&gt;&lt;span&gt;The &lt;/span&gt;Florida-France Soldier Stories&lt;span&gt;project seeks to tell the stories of the Florida soldiers buried in the American Battle Monuments Commission cemeteries in France. Our goal is to honor and commemorate the brave individuals who gave their lives supporting the Allied forces, liberating France, and defeating Germany in the Second World War. Simultaneously, our goal is to teach the students who participate in this research project about the history of France and Florida during World War II, about the history of individual servicemen, and about how to implement historical research methods in their work.&lt;/span&gt;&lt;/p&gt;</text>
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&#13;
A notable resident listed in this census was First Lieutenant Frank B. Morgan (ca. 1920-1944). 1st LT. Frank B. Morgan was born in Greensburg, Pennsylvania on January 28, 1920, to Samuel and Edna Grace Morgan. Samuel Morgan was a first generation American of Northern Irish descent, working in the publishing industry as an editor and linotype operation. Edna Grace Morgan (née Black) was a native of Pennsylvania and appeared to be a housewife based on census evidence. Frank was the youngest of three boys, his siblings were Samuel Cree Morgan (1909-1990) and James Alexander Morgan (1912-1982). The Morgan’s owned a home on 17 Clopper Street in Greensburg, where Frank would reside until he entered active service. On December 6th 1939, Frank’s father passed at the age of 71; he was 19 at the time. Available records do not reveal whether 1st LT. Morgan (O-750431) entered the military by draft or enlistment; however, records reveal that he entered active service on April 27, 1942, out of Pittsburgh, Pennsylvania at the age of 22. Leaving out of McDill, 1st LT. Morgan served with the 555th Bomber Squadron, a unit within the 386th Bomber Group. 1st LT. Morgan served his country with distinction, earning an Air Medal with Eight Oak Leaf Clusters. He died on December 20, 1944, four days into the Ardennes campaign. His death is listed as non-battle related, suggesting that he may have been one of the many B-26 crashes at takeoff, or upon landing. 1st LT. Morgan died just before the of the war at the age of 24. Morgan rest at Plot B Row 39 Grave 46 in Epinal American Cemetery France; a second memorial was organized by his family is at Parker Presbyterian Cemetery in Pennsylvania. </text>
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&#13;
http://search.ancestry.com//cgi-bin/sse.dll?indiv=1&amp;dbid=2442&amp;h=18723898&amp;ssrc=pt&amp;tid=40096744&amp;pid=28880016023&amp;usePUB=true&#13;
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                <text>Morgan, Samuel, 1868-1939. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed October 15 October 2016.) &#13;
Morgan, Frank, 1920-1944. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed 15 October 2016.)&#13;
United States, Bureau of the Census (20 April 1910).1910 U.S. Federal Census: Samuel &#13;
Morgan Jr. Family. p.10 Edna G. Morgan, Samuel Cree Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; dwelling 71, family 71. Page: 5B; Enumeration District: 0127; FHL microfilm: 1375442. Ancestry.com (http://ancestry.com: accessed 15 October 2016). &#13;
United States, Bureau of the Census (16 April 1930). 1930 U.S. Federal Census: &#13;
Samuel Morgan Jr. Family. p.18 Edna G. Morgan, Samuel Cree Morgan, James A Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 196, family 224. Page: 9B; Enumeration District: 0032; Image: 19.0; FHL microfilm: 2341890. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, Bureau of the Census (15 April 1940). 1940 U.S. Federal Census: &#13;
Edna G. Morgan Family. p.23, Samuel Cree Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 281, Page: 12A; Enumeration District: 65-46. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, European Theater Office of Theater Censor (3 July 1945). A History of a &#13;
Bombing Outfit: The 386th Bomb Group. B26.com (https://b26.com: accessed 15 October 2016).&#13;
United States, Headstone Inscription and Interment Records for U.S. Military Cemeteries on &#13;
Foreign Soil, 1942–1949. Series A1 43, NAI ID: 7408555. Records of the American Battle Monuments Commission, 1918–ca. 1995. Record Group 117. The National Archives at Washington, D.C. Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, The National Archives. World War II Honor List of Dead and Missing Army and Army &#13;
Air Forces Personnel from Florida, 1946. Fold3.com (http://fold3.com: accessed 15 October 2016).&#13;
United States, Selective Service System. Selective Service Registration Cards, World &#13;
War II: Fourth Registration. Draft Registration Cards for Pennsylvania (1940-1947); Frank B. Morgan. Records of the Selective Service System, Record Group Number 147. National Archives and Records Administration. Fold3.com (http://fold3.com: accessed 15 October 2016). &#13;
United States, World War Two Veterans’ Compensation Bureau. World War II Veterans &#13;
Compensation Applications, circa 1950s: Records of the Department of Military and Veterans Affairs, Record Group 19, Series 19.92 (877 cartons). Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania. Ancestry.com (http:ancestry.com: accessed 15 October 2016).</text>
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&#13;
A notable resident listed in this census was First Lieutenant Frank B. Morgan (ca. 1920-1944).  1st LT. Frank B. Morgan was born in Greensburg, Pennsylvania on January 28, 1920, to Samuel and Edna Grace Morgan.  Samuel Morgan was a first generation American of Northern Irish descent, working in the publishing industry as an editor and linotype operation.  Edna Grace Morgan (née Black) was a native of Pennsylvania and appeared to be a housewife based on census evidence.  Frank was the youngest of three boys, his siblings were Samuel Cree Morgan (1909-1990) and James Alexander Morgan (1912-1982). The Morgan’s owned a home on 17 Clopper Street in Greensburg, where Frank would reside until he entered active service.  On December 6th 1939, Frank’s father passed at the age of 71; he was 19 at the time.  Available records do not reveal whether 1st LT. Morgan (O-750431) entered the military by draft or enlistment; however, records reveal that he entered active service on April 27, 1942, out of Pittsburgh, Pennsylvania at the age of 22. Leaving out of McDill, 1st LT. Morgan served with the 555th Bomber Squadron, a unit within the 386th Bomber Group.  1st LT. Morgan served his country with distinction, earning an Air Medal with Eight Oak Leaf Clusters. He died on December 20, 1944, four days into the Ardennes campaign.  His death is listed as non-battle related, suggesting that he may have been one of the many B-26 crashes at takeoff, or upon landing. 1st LT. Morgan died just before the of the war at the age of 24.  Morgan rest at Plot B Row 39 Grave 46 in Epinal American Cemetery France; a second memorial was organized by his family is at Parker Presbyterian Cemetery in Pennsylvania. &#13;
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&#13;
http://search.ancestry.com//cgi-bin/sse.dll?indiv=1&amp;dbid=6224&amp;h=56801276&amp;ssrc=pt&amp;tid=40096744&amp;pid=28880016023&amp;usePUB=true</text>
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Morgan, Samuel, 1868-1939.  Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed October 15 October 2016.) &#13;
Morgan, Frank, 1920-1944. Find A Grave - Millions of Cemetery Records and Online Memorials. Findagrave.com (http://findagrave.com: accessed 15 October 2016.)&#13;
United States, Bureau of the Census (20 April 1910).1910 U.S. Federal Census: Samuel &#13;
Morgan Jr. Family.  p.10 Edna G. Morgan, Samuel Cree Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; dwelling 71, family 71. Page: 5B; Enumeration District: 0127; FHL microfilm: 1375442. Ancestry.com (http://ancestry.com: accessed 15 October 2016). &#13;
United States, Bureau of the Census (16 April 1930).  1930 U.S. Federal Census: &#13;
Samuel Morgan Jr. Family.  p.18 Edna G. Morgan, Samuel Cree Morgan, James A Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 196, family 224. Page: 9B; Enumeration District: 0032; Image: 19.0; FHL microfilm: 2341890.  Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, Bureau of the Census (15 April 1940).  1940 U.S. Federal Census: &#13;
Edna G. Morgan Family.  p.23, Samuel Cree Morgan, Frank B. Morgan. Greensburg Ward 1, Westmoreland, Pennsylvania; house 17, dwelling 281, Page: 12A; Enumeration District: 65-46.  Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, European Theater Office of Theater Censor (3 July 1945).  A History of a &#13;
Bombing Outfit: The 386th Bomb Group. B26.com (https://b26.com: accessed 15 October 2016).&#13;
United States, Headstone Inscription and Interment Records for U.S. Military Cemeteries on &#13;
Foreign Soil, 1942–1949. Series A1 43, NAI ID: 7408555. Records of the American Battle Monuments Commission, 1918–ca. 1995. Record Group 117. The National Archives at Washington, D.C.  Ancestry.com (http://ancestry.com: accessed 15 October 2016).&#13;
United States, The National Archives. World War II Honor List of Dead and Missing Army and Army &#13;
Air Forces Personnel from Florida, 1946. Fold3.com (http://fold3.com: accessed 15 October 2016).&#13;
United States, Selective Service System. Selective Service Registration Cards, World &#13;
War II: Fourth Registration. Draft Registration Cards for Pennsylvania (1940-1947); Frank B. Morgan. Records of the Selective Service System, Record Group Number 147. National Archives and Records Administration.  Fold3.com (http://fold3.com: accessed 15 October 2016). &#13;
United States, World War Two Veterans’ Compensation Bureau.  World War II Veterans &#13;
Compensation Applications, circa 1950s: Records of the Department of Military and Veterans Affairs, Record Group 19, Series 19.92 (877 cartons). Pennsylvania Historical and Museum Commission, Harrisburg, Pennsylvania.  Ancestry.com (http:ancestry.com: accessed 15 October 2016).&#13;
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                <text>Headstone of PFC Solomon Sturdivant at Epinal American Cemetery, Epinal, France 1915-04-25 to 1945-03-05</text>
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                <text>This is the headstone of Solomon Sturdivant, located in Plot B Row 28 Grave 15 at Epinal American Cemetery in Dinozé, France. PFC Solomon Sturdivant was born to James and Mary Sturdivant on April 25, 1915 in Wytheville, Virginia. He was drafted by the US Army on December 29, 1942. During World War II, he served as a member of the 231st AAA Searchlight Battalion. He was killed March 5, 1945. He is one of 85 Florida residents interned at Epinal.</text>
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                <text>2015-02-19</text>
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                <text>Epinal American Cemetery.</text>
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                <text>88000 Dinozé, France</text>
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                <text>Dwight "Andy" Anderson </text>
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                <text>http://www.findagrave.com/cgi-bin/fg.cgi?page=pv&amp;GRid=56375799&amp;PIpi=117199502</text>
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                <text>Findagrave</text>
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        <src>https://richesmi.cah.ucf.edu/omeka/files/original/e5bf78c0813f2c3bff47d21331445630.pdf</src>
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                  <text>Florida-France Soldier Stories Project Collection</text>
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                  <text>Florida-France Soldier Stories Project</text>
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                  <text>Cemeteries--Europe</text>
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                  <text>Veterans--Florida</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;.</text>
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                  <text>&lt;a href="https://projects.cah.ucf.edu/fl-francesoldierstories/" target="_blank" rel="noreferrer noopener"&gt;Florida-France Soldier Stories Project&lt;/a&gt;.</text>
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                  <text>eng</text>
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                  <text>Epinal American Cemetery and Memorial, Dinozé, France</text>
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                  <text>Florida-France Soldier Stories Project</text>
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              <name>Curator</name>
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                  <text>Barnes, Mark </text>
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                  <text>Cepero, Laura</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://history.wisc.edu/epinal_project.htm" target="_blank" rel="noreferrer noopener"&gt;The Epinal Project- by Students of History 357: The Second World War&lt;/a&gt;." University of Wisconsin-Madison. http://history.wisc.edu/epinal_project.htm (accessed January 3, 2015).</text>
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                  <text>&lt;p&gt;&lt;span&gt;The &lt;/span&gt;Florida-France Soldier Stories&lt;span&gt;project seeks to tell the stories of the Florida soldiers buried in the American Battle Monuments Commission cemeteries in France. Our goal is to honor and commemorate the brave individuals who gave their lives supporting the Allied forces, liberating France, and defeating Germany in the Second World War. Simultaneously, our goal is to teach the students who participate in this research project about the history of France and Florida during World War II, about the history of individual servicemen, and about how to implement historical research methods in their work.&lt;/span&gt;&lt;/p&gt;</text>
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              <text>Newspaper</text>
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                <text>John Hancock Missing Newspaper Article</text>
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                <text>Sgt. John B Hancock was born in 1913 in Georgia. He was enlisted into the 179th Infantry Regiment in the 45th Division. He was enlisted and trained in Georgia and Florida. He participated in the Africa campaign in 1943. After this campaign, he participated in the invasion of Sicily. During this time, he was able to infrequently communicate with people back home. He then went on the storm the Italian Peninsula. After fighting through 1944, he was injured in Southern France. After recovering from his minor wounds, he fought through 1944. On November 1, 1944, he went missing in action. He was eventually buried in Epinal Cemetery in Dinoze, France.</text>
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            <name>Date Created</name>
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                <text>ca. 1940s</text>
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                <text>Aurburndale City</text>
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                <text>Linda Hughes's scrapbook</text>
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                <text>Linda Hughes's scrapbook</text>
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                <text>Linda Hughes</text>
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