Ben Ward, Jr. at the Mead Manor subdivision in Downtown Oviedo, Florida. This photograph from a newspaper article about the history of Mead Manor and Ward, a real estate developer, and his involvement in the project, as well as other ongoing development projects, such as Grove Hill. Named for horticulturalist Dr. Theodore Luqueer Mead, Mead Manor was developed by the Oviedo Land Company, which was formed by B. F. Wheeler, John Evans, Bill Martin, Ben Ward, Rex Clonts, Robert Lee, Bernie Blackwood, and Bob Williams. With the advent of Florida Technological University (present-day University of Central Florida) during the 1960s, development began in order to take advantage of the arrival of faculty and staff from the university. Mead Manor is credited with beginning the land development boom in Oviedo, leading to other residential subdivisions, such as Alafaya Woods and Grove Hill.
Photocopy of original 4 x 3 inch black and white newspaper photograph: Private Collection of Colene Ward.
A newspaper article that examines Oviedo's growth through the creation of number of subdivisions, most notably Mead Manor. Named for horticulturalist Dr. Theodore Luqueer Mead, Mead Manor was developed by the Oviedo Land Company, which was formed by B. F. Wheeler, John Evans, Bill Martin, Ben Ward, Rex Clonts, Robert Lee, Bernie Blackwood, and Bob Williams. With the advent of Florida Technological University (present-day University of Central Florida) during the 1960s, development began in order to take advantage of the arrival of faculty and staff from the university. Mead Manor is credited with beginning the land development boom in Oviedo, leading to other residential subdivisions, such as Alafaya Woods and Grove Hill.
Photocopy of original newspaper article: "Oviedo." Homebuyer, Spring 2000: Private Collection of Colene Ward.
The funeral program for Harry "Big Newt" Homer, Sr. Boston, who was an integral part of Oviedo's African-American community. Originally from Valdosta, Georgia, he graduate from Valdosta State College (now Valdosta State University). After college, he joined the U,S, Army, where he served as a medic during World War II. After migrating to Oviedo, Florida, Boston built a baseball diamond where local black youths played. The teams were known as the Oviedo Black Hawks for boys and Oviedo Lady Black Hawks for girls. On his bus, affectionately nicknamed the "Big Newt Bus," Boston would take the teams to games across Florida and other states as far north as Tennessee. The City of Oviedo honored him by naming Boston Hill Park, located at 777 South Central Avenue, in his honor. On May 21, 1994, the city also proclaimed that date Harry "Big Newt" Boston Day. Boston passed away on October 3 of that same year at the Winter Park Memorial Hospital in Winter Park.
Original 6-fold program, 1994: Private Collection of Jacqueline Morgan.
Golden's Funeral Homes, Inc., Winter Park, Florida
Hal McIntosh at Exhibit at the Truro Public Library
Hal McIntosh at an exhibit of his artwork at the Truro Public Library, located at 7 Standish Way in North Truro, Massachusetts, during the summer of 2011. The painting to the left of McIntosh depicts his cottage on the beachfront. Born in 1927, McIntosh began his formal studies at the Detroit Art Institute in Detroit, Michigan, and the Toledo Museum of Art in Toledo, Ohio. At age 18, the Art Research Studio (present-day Maitland Art Center) in Maitland, Florida, selected him as the institution's youngest-ever artist in residence. His talent later earned him the Directorship of the Academy of Fine Arts in Lynchburg, Virginia, where he served as a museum director and teacher for five years. As a resident of Central Florida, McIntosh taught at the Loch Haven Art Center in Orlando and ran his own institution known as the McIntosh School in Winter Park for 30 years. McIntosh splits his time between his Cape Cod, Massachusetts, and Winter Park studios. With an artistic career lasting over 60 years, Hal McIntosh's influence on our community is profound. His bold abstractions, tranquil waterscapes, and stirring portraiture, all masterfully painted with a touch of McIntosh's signature Orientalism, have been widely exhibited in the area and are part of numerous regional collections, both private and public. Deep connections with the people and places of Orange County have allowed McIntosh to join the ranks as one of the greats and to be remembered eternally as an Art Legend.
Original color photograph: Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida.
Truro Public Library, North Truro, Massachusetts
The stage times for Ralphfest 2. Ralphfest is an annual concert festival in Downtown Orlando, Florida, that celebrates the memory and musical influence of Ralph Ameduri, Jr. Ameduri was an Orlando musician who was murdered on September 10, 2011, in a robbery attempt on a patio behind Jessie's Bar, a Winter Haven music club where he was filling in for a member of local band, Thomas Wynn &amp
the Believers. The inaugural concert was arranged to cover his funeral expenses and, since then, proceeds from the events have gone to the Ralph Ameduri, Jr. Music Scholarship Fund, which operates through the Foundation for Seminole County Public Schools, awarding a musical instruments to graduating high school students. Ralphfest 2 took place on November 24, 2012, on three different stages: one at The Beacham Theater, one at The Social, and one at The Outside Elixir Stage on Washington Street. The benefit features 26 bands that Ameduri was part of, worked with, had close ties to, or enjoyed, as well as multiple DJs. Some of the performers included Thomas Wynn &amp
the Believers, The Ludes, Music's Milka Ramos, SUNNY, The Downgetters featuring Kaleigh Baker, Riverbottom Nightmare Band, The Legendary JC's, funkUs, and The Woolly Bushmen. Ralphfest 2 raised $10,000.
Original 1-page schedule, November 2012: Archive: Concerts Archive, Alicia Lyman.
The Beacham Theater, Downtown Orlando, Florida
Antioch Missionary Baptist Church of Oviedo
The Antioch Missionary Baptist Church, located at 311 East Broadway Street in Oviedo, Florida, sometime between 1875 and 1950. In 1875, members of the African-American community came together to build a small place of worship. Adjacent to the church was a traditional one room "Red School House." By 1913, another room was added due to the increase in students. In the "little room," first through fourth grades were taught, while fifth through eighth grades were taught in the "big room." By 1923, the building had begun to deteriorate and $2,000 were appropriated to renovate. However, plans were made to purchase a building that was formerly used for white students on South Division Street. For 10 years, three teachers taught with little to no resources. By 1950, a number of classrooms were added and the ninth and tenth grades were added to the school. During the 1950s, all of the Oviedo area colored schools were consolidated. A new site was built where the younger grades were held, while the older grades remained at the old site. The school went through a variety of names: Orange Academy, Seminole Academy, Oviedo Junior High School, and Oviedo Elementary School. On December 8, 1961, the Seminole County School Board officially approved the name chosen by students and the Parent-Teacher Association (PTA) members: Jackson Heights.
Original black and white photograph: The World Outside Reunion, "A Written and Pictorial History of the Oviedo Area Colored Schools": Judith Smith Publishing: Private Collection of Ida Boston.
Antioch Missionary Baptist Church, Oviedo, Florida
Born in 1927, Hal McIntosh began his formal studies at the Detroit Art Institute in Detroit, Michigan, and the Toledo Museum of Art in Toledo, Ohio. At age 18, the Art Research Studio (present-day Maitland Art Center) in Maitland, Florida, selected him as the institution’s youngest-ever artist in residence. His talent later earned him the Directorship of the Academy of Fine Arts in Lynchburg, Virginia, where he served as a museum director and teacher for five years. As a resident of Central Florida, McIntosh taught at the Loch Haven Art Center in Orlando and ran his own institution known as the McIntosh School in Winter Park for 30 years. McIntosh splits his time between his Cape Cod, Massachusetts, and Winter Park studios. With an artistic career lasting over 60 years, Hal McIntosh’s influence on our community is profound. His bold abstractions, tranquil waterscapes, and stirring portraiture, all masterfully painted with a touch of McIntosh’s signature Orientalism, have been widely exhibited in the area and are part of numerous regional collections, both private and public. Deep connections with the people and places of Orange County have allowed McIntosh to join the ranks as one of the greats and to be remembered eternally as an Art Legend.
Original black and white photograph: Orange County Regional History Center, Orlando, Florida.
The Power of Passage, a sculpture created by Johann Eyfells in 1987. Eyfells was born in Reykjavík, Iceland, in 1923. Eyfells works with a variety of media, including metal, wood, paper, plastic, and cloth, in an effort to document the interaction between time, space, and gravity. Many of his sculptures are minimal and non-objective, resembling lava or geological formations. In the 1960s, he developed the concept of Receptualism, the practice of portraying original ideas visually using non-representative and abstract forms. Eyfells considers himself more of an experimental chemist than a sculptor. Eyfells worked as an architect, artist, and teacher in Iceland before relocating to the United States. During his studies at Berkeley, Eyfells met Kristin Halldorsdottir, a former Icelandic model and dress designer. They married in 1949 and moved to Florida together to complete their studies in 1969. Eyfells finished his degree in architecture in 1953, and in 1964, he earned a master’s degree in fine arts. In 1969, he joined the art department of the Florida Technological Institute (present-day University of Central Florida) and taught there for over 30 years. On retirement, he moved to Fredericksburg, Texas.
Original color photograph: University of Central Florida, Orlando, Florida.
University of Central Florida, Orlando, Florida
Johann Eyfells was born in Reykjavík, Iceland, in 1923. Eyfells works with a variety of media, including metal, wood, paper, plastic, and cloth, in an effort to document the interaction between time, space, and gravity. Many of his sculptures are minimal and non-objective, resembling lava or geological formations. In the 1960s, he developed the concept of Receptualism, the practice of portraying original ideas visually using non-representative and abstract forms. Eyfells considers himself more of an experimental chemist than a sculptor. Eyfells worked as an architect, artist, and teacher in Iceland before relocating to the United States. During his studies at the University of California, Berkeley, Eyfells met Kristin Halldorsdottir, a former Icelandic model and dress designer. They married in 1949 and moved to Florida together to complete their studies in 1969. Eyfells finished his degree in architecture in 1953, and in 1964, he earned a master’s degree in fine arts. In 1969, he joined the art department of the Florida Technological University (present-day University of Central Florida) and taught there for over 30 years. On retirement, he moved to Fredericksburg, Texas.
Original color photograph: Orange County Commission Chambers, Orlando, Florida.
Receptualistic Pyramid by Johann Eyfells
Receptualistic Pyramid, a sculpture by Johann Eyfells. Eyfells was born in Reykjavík, Iceland, in 1923. Eyfells works with a variety of media, including metal, wood, paper, plastic, and cloth, in an effort to document the interaction between time, space, and gravity. Many of his sculptures are minimal and non-objective, resembling lava or geological formations. In the 1960s, he developed the concept of Receptualism, the practice of portraying original ideas visually using non-representative and abstract forms. Eyfells considers himself more of an experimental chemist than a sculptor. Eyfells worked as an architect, artist, and teacher in Iceland before relocating to the United States. During his studies at the University of California, Berkeley, Eyfells met Kristin Halldorsdottir, a former Icelandic model and dress designer. They married in 1949 and moved to Florida together to complete their studies in 1969. Eyfells finished his degree in architecture in 1953, and in 1964, he earned a master’s degree in fine arts. In 1969, he joined the art department of the Florida Technological University (present-day University of Central Florida) and taught there for over 30 years. On retirement, he moved to Fredericksburg, Texas.
Original color photograph: Crealdé School of Art, Winter Park.
Mary Louise Curtis Bok and Jules André Smith
Zimbalist, Mary Louise Curtis Bok, 1876-1970
Mary Louise Curtis Bok (1874-1970) with Jules André Smith (1880–1959) in the main garden of the Research Studio (now the Maitland Art Center) in Maitland, Florida, in the 1940s or 1950s. Born in 1874, Bok was the only child of wealthy Philadelphia-based businessman Cyrus H. K. Curtis and Louisa Knapp Curtis, whose Curtis Publishing Company produced two of the most popular magazines in America: The Saturday Evening Post and The Ladies' Home Journal. Bok's early interests included music and writing for the magazine her father founded under the pen name of Mary L. Knapp. Recognized for countless philanthropic pursuits, Mary Louise Curtis Bok provided J. André Smith with sufficient patronage to establish The Research Studio in the early 1930s. As heiress to the Curtis Publishing Company, she is noted for establishing the Curtis Institute of Music in Philadelphia, funding the Annie Russell Theatre at Rollins College in Winter Park, and the construction of Bok Tower Gardens near Lake Wales, along with her husband Edward W. Bok. After Edward Bok’s death in 1930, Mary Louise married Efrem Zimbalist and was thereafter known as Mary Louise Curtis Bok Zimbalist. Born in 1880 to American parents in Hong Kong, raised in New York and Connecticut, and educated at Cornell University, Smith worked for several years as an architect, never giving up on his first love of art. His early passion was printmaking, specifically etching. In 1915, he was awarded a gold medal at the Panama-Pacific Exposition in San Francisco, California. During World War I, Smith continued to work in both drawing and printmaking, selected as one of eight artists by the U.S. government to go to France in 1918 to record military activities. He would later publish those works in a book titled In France with the American Expeditionary Forces. While travelling to Miami in the 1930s, Smith made an unplanned stop in Maitland, Florida. Having experienced a stunning sunset on nearby Lake Sybelia, he decided to travel no further and would go on to build his winter home and studio here, which is now the Maitland Art Center. Frustrated and disappointed with the area’s lack of support for contemporary art, Smith began plans for a residential "Lab-Gallery" that would encourage artistic exploration and experimentation in a sheltered studio environment. The studio compound, later known as The Research Studio, was the winter residence of prominent American artists such as Ralston Crawford, David Burlick, Ernest Roth, Milton Avery, Arnold Blanch, Doris Lee, and Hal McIntosh. André Smith’s vision continued to thrive for over two decades under the generous financial support from his patron, philanthropist Mary Curtis Bok. Smith’s legacy is alive and well today at the Art & History Museum’s Maitland Art Center through its residency programs and exhibitions.
Original color photograph: Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.
Curtis Institute of Music, Philadelphia, Pennsylvania
Annie Russell Theatre, Winter Park, Florida
Atillio Banca and Bill Orr (1925-) at the Maitland Art Center in Maitland, Florida. Banca, photographed on the left, was the Gallery Director of the Research Studio and a close, personal friend of artist Jules André Smith. The painting in the photograph is a portrait of Smith. The portait was painted by Orr, who is photographed on the right. Growing up in Michigan, Orr worked breaking in mustang ponies. When World War II broke out, Orr joined the U.S. Army and was a member of the cavalry regiment. Later seeing action on Okinawa in the Pacific Theater, he was among the first servicemen to serve in Japan after the war. Orr found his way to the Research Studio in 1961 after applying for a position through a newspaper advertisement. Orr, along with Maury Hurt, was instrumental in leading the movement to save the Art Center from developers in the 1960s. As an artist he made a living doing life-size portraits of horses. He would go on to establish himself as a leading equine artist, a tribute to his lifetime love of horses.
Original black and white photograph: Art & History Museums - Maitland, Maitland, Florida.
Smith, J. André (Jules André), 1880-1959
Jules André Smith sitting in the courtyard outside his art studio on the Research Studio campus (now the Maitland Art Center) around the 1940s or 1950s. Born in 1880 to American parents in Hong Kong, raised in New York and Connecticut, and educated at Cornell University, J. André Smith worked for several years as an architect, never giving up on his first love of art. His early passion was printmaking, specifically etching. In 1915, he was awarded a gold medal at the Panama-Pacific Exposition in San Francisco, California. During World War I, Smith continued to work in both drawing and printmaking, selected as one of eight artists by the U.S. government to go to France in 1918 to record military activities. He would later publish those works in a book titled In France with the American Expeditionary Forces. While travelling to Miami in the 1930s, Smith made an unplanned stop in Maitland, Florida. Having experienced a stunning sunset on nearby Lake Sybelia, he decided to travel no further and would go on to build his winter home and studio here, which is now the Maitland Art Center. Frustrated and disappointed with the area’s lack of support for contemporary art, Smith began plans for a residential "Lab-Gallery" that would encourage artistic exploration and experimentation in a sheltered studio environment. The studio compound, later known as The Research Studio, was the winter residence of prominent American artists such as Ralston Crawford, David Burlick, Ernest Roth, Milton Avery, Arnold Blanch, Doris Lee, and Hal McIntosh. André Smith’s vision continued to thrive for over two decades under the generous financial support from his patron, philanthropist Mary Curtis Bok. Smith’s legacy is alive and well today at the Art & History Museum’s Maitland Art Center through its residency programs and exhibitions.
Original black and white photograph: Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.
Known to many as "Doc," Doris Marie Leeper was a trailblazing abstract painter and sculptor based in Eldora, Florida, near New Smyrna Beach. Originally from North Carolina, Leeper found an artistic oasis in Central Florida. The region provided her with the space to buy a house and work in relative isolation, but also augmented her interest in natural preservation. Today, the Doris Leeper Spruce Creek Preserve remains a testament to her environmental dedication. Leeper’s impact on Central Florida also became apparent through her support for institutions; for example, she was a founder of the Atlantic Center for the Arts in New Smyrna Beach. Leeper’s local legacy manifests itself most profoundly through her artistic production. Her bold lines, strong color palette, and propensity for clean lines aesthetically aligned her with minimalism. Leeper’s painting evolved from representational to non-objective over time. She embraced a language of abstraction more typical of the prevailing New York art world in the 1960 and 1970s, as opposed to the dominant aesthetic in Florida during the same time period. She showed her work locally and regionally with regularity. Her work was celebrated by significant solo exhibitions at the Hunter Museum of American Art in Chattanooga, Tennessee, and the Mint Museum of Art in Charlotte, North Carolina. The process of mining local histories yields the legacies of talented artists who have often been discarded from mainstream narratives. When one engages deeper with Leeper’s work, it is not difficult to conclude that her myriad two- and three-dimensional works are worthy of not only a local, but a national story.
Original black and white photograph: Cornell Fine Arts Museum, Winter Park, Florida.
Atlantic Center for the Arts, New Smyrna Beach, Florida
The venerable Grady Kimsey enjoys critical and popular success as a sculptor, potter, painter and instructor, with eight decades of life experiences to draw upon for inspiration. Kimsey was born in Knoxville, Tennessee, in 1928. He earned his Bachelor of Arts in Fine Arts from the University of Tennessee in 1950, and then completed his master's In Education from Rollins College in Winter Park in 1969. Kimsey remains modest about his many accomplishments, which began in his high school days and have continued throughout his career. He has received the Council of Arts and Sciences for Central Florida Award for "Outstanding Achievement in the Arts" in 1982, the Richard A. Florsheim Art Grant in 1992, and a State of Florida Individual Artist Fellowship in 1990 and again in 1996. Kimsey's influence was extensive on budding artists in the community, having served as a professor of art for 20 years at Seminole Community College (present-day Seminole State College of Florida). Among his many other contributions to that institution, Kimsey founded the Fine Arts Gallery in 1980. As an instructor, he was known to guide his students to explore all media and styles. When ready, his students had the confidence to stand behind their work, and many are still creating and exhibiting with the same devotion as their mentor.
Original color photograph: Crealdé School of Art, Winter Park, Florida.
University of Tennessee, Knoxville, Tennessee
Seminole Community College, Sanford, Florida
Hugh F. McKean (1908-1995) moved to Orlando, Florida, from College Hill in Beaver Falls, Pennsylvania, where he was raised. He earned his bachelor's degree from Rollins College in Winter Park in 1930 and joined its faculty in 1932, later heading its art department. He studied art at the Pennsylvania Academy of the Fine Arts in Philadelphia, Art Students League in New York City, the École des Beaux-Arts at Fontainebleau in France, and Harvard University. The Tiffany Foundation also selected him in 1930 to join other artists at Laurelton Hall, Louis Comfort Tiffany's mansion at Cold Spring Harbor, Long Island, New York, under Tiffany's tutelage. In 1940, he received his master's degree from Williams College in Williamstown, Massachusetts. He married Jeannette Genius , the granddaughter of Charles Hosmer Morse, in 1945. McKean then served as the president of Rollins College from 1951 to 1969 and the director of the Charles Hosmer Morse Museum of American Art from 1942 until his death in 1995.
College Hill, Beaver Falls, Pennsylvania
Williams College, Williamstown, Massachusetts
Charles Hosmer Morse Museum of American Art , Winter Park, Florida
Jeannette Genius McKean (1909-1989) was a painter, interior designer, and trustee, and benefactor of Rollins College in Winter Park, Florida. Born in Chicago, Illinois, she visited her grandfather, Charles Hosmer Morse, in Winter Park. On one summer visit in 1926, she enrolled in a course at Rollins, touching off a lifelong interest in the college. In 1942, Jeannette Genius founded the Morse Gallery of Art (present-day Charles Hosmer Morse Museum of American Art) on the Rollins College campus, naming it for her grandfather. She appointed Rollins art professor Hugh McKean as the gallery's director, and in 1945, she married him.
Born in Fleyh, Czechoslovakia, in 1931, pop artist Dr. Walter Gaudnek is known for his blend of his bold colors, philosophy, religious symbolism, labyrinth installations, and mixtures of performance and art. He also draws heavy inspiration from Bohemia, Caravaggio, Kazimir Malevich, and Pablo Picasso. A 1957 Fulbright Scholar who received his doctorate from New York University, he joined the art faculty of the Florida Technological University (present-day University of Central Florida) in Orlando, Florida, in 1970. Dr. Gaudnek previously taught at universities in Los Angeles, New York, and Ohio. He founded the Long Island University's Hillwood Art Museum in Greenvale, New York. His honors from UCF include Distinguished Researcher of the Year (1990), the Teaching Incentive Program Award (1995 and 2005), the Professional Excellence Program Award (1997), the President's Award (1999), and the Research Incentive Award (2002). In 1994, the Sudetendeutecher Landsmannschaft, an organization dedicated to recognizing the achievements of the Czech-German diaspora, awarded him the Kulturpreis for Fine Art and Architecture. Dr. Gaudnek's work can be seen at the Gaudnek Europe Museum (GEM) in Altomnster, Germany, as well as the UCF Library, which contains a retrospective of his work from 1945 to 2007. He has participated in more than 200 solo and group exhibitions, installations, and performances in Germany, Italy, Spain, England, Colombia, the Czech Republic, and the United States. His works have also been exhibited in museums in New York, San Francisco, Los Angeles, Virginia, Arizona, Florida, Europe, and Brazil, as well as schools, banks, office buildings, libraries, theaters, museums, and private homes in Europe and the United States. He has been featured in documentaries in San Francisco, New York, Munich, Sใo Paolo, and Paris.
Original color photograph: City of Orlando Terrace Gallery, Orlando, Florida.
Florida Technological University, Orlando, Florida
Hillwood Art Museum, Long Island University, Greenvale, New York
Gaudnek Europe Museum, Altomnster, Dachau, Bavaria, Germany
Judy Albertson was active in the art community when she met gallery owner Louise Peterson. Fifteen years later, they established the Albertson-Peterson Gallery as a unique fine arts crafts gallery. Together, the pair developed a dialogue that led to greater interest in the importance of a solid link between business and the art community. Independent of the commercial gallery, the Art Consulting Program Planning Division helped give direction and dedication to corporations through the acquisition of visual arts. Albertson was involved in helping University of Central Florida develop its educational and arts programs from its early years. She has served on the UCF Board of Trustees and the UCF Foundation and helped establish Friends of UCF (a nonprofit organization dealing with the arts, humanities and culture). She has been a member of the Board of Trustees of the Orlando Museum of Art, a member of the Board of Visitors of the Cornell Fine Arts Museum at Rollins College and was on the board of the Cultural Alliance.
Albertson-Peterson Gallery, Winter Park, Florida
Doris Marie Leeper in her studio in 1956. Known to many as "Doc," Leeper was a trailblazing abstract painter and sculptor based in Eldora, Florida, near New Smyrna Beach. Originally from North Carolina, Leeper found an artistic oasis in Central Florida. The region provided her with the space to buy a house and work in relative isolation, but also augmented her interest in natural preservation. Today, the Doris Leeper Spruce Creek Preserve remains a testament to her environmental dedication. Leeper’s impact on Central Florida also became apparent through her support for institutions; for example, she was a founder of the Atlantic Center for the Arts in New Smyrna Beach. Leeper’s local legacy manifests itself most profoundly through her artistic production. Her bold lines, strong color palette, and propensity for clean lines aesthetically aligned her with minimalism. Leeper’s painting evolved from representational to non-objective over time. She embraced a language of abstraction more typical of the prevailing New York art world in the 1960 and 1970s, as opposed to the dominant aesthetic in Florida during the same time period. She showed her work locally and regionally with regularity. Her work was celebrated by significant solo exhibitions at the Hunter Museum of American Art in Chattanooga, Tennessee, and the Mint Museum of Art in Charlotte, North Carolina. The process of mining local histories yields the legacies of talented artists who have often been discarded from mainstream narratives. When one engages deeper with Leeper’s work, it is not difficult to conclude that her myriad two- and three-dimensional works are worthy of not only a local, but a national story.
Original black and white photograph, 1956: Atlantic Center for the Arts, New Smyrna Beach, Florida.
Ralph L. Bagley (ca. 1914-2008) with his paintings. Bagley was an artist and instructor who taught in Central Florida from the 1950s until his death in 2008, when he was 94 years old. He was born in Bertrand, Missouri, and attended the Flint Institute of Art in Flint, Michigan, continuing his studies in New York and Washington, D.C. Bagley and his wife, Marianne Bagley, moved to Orlando, Florida in 1950, where Bagley founded the Orlando Institute of Art, the city’s first fine-arts school. Bagley depicted landscapes, still lifes, and portraits in a variety of media, including oil, watercolor, and charcoal. Bagley also taught at Orlando Junior College, becoming head of the school’s art department in 1965. After the college closed in 1971, he taught at Lake-Sumter Community College in Leesburg, the Maitland Art Center in Maitland, and the Loch Haven Art Center (now the Orlando Museum of Art). He toured the nation with at least 30 one-man art shows featuring his paintings. Among many positions he held in art organizations, Bagley was president of the Orlando Art Association and a founding member and president of the Artists’ League of Orange County. The works of his many students sustain his legacy.
Original black and white photograph: City of Orlando Terrace Gallery, Orlando, Florida.
Orlando Institute of Art, Orlando, Florida
Orlando Junior College, Orlando, Florida
Lake-Sumter Community College, Leesburg, Florida
Albin Polasek Chiseling Man Carving His Own Destiny
Sculptor Albin Polasek chisteling Man Carving His Own Destiny from limestone, with his assistant, Robert A. Baille, around 1960. Polasek sculpted his first version of Man Carving His Own Destiny while studying under Charles Grafly at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania, in 1907. Reminisicent of Michaelangelo's Slaves, the sculpture depicts a man chiseling himself out of stone. Polasek has sculpted 53 different variations of Man Carving His Own Destiny throughout his lifetime. His various recreations depict differences in arm positions, the look of the hair, and how much of the man's body is emerged from the rock. Polasek was born in 1879 in Frenštát pod Radhoštěm, Moravia (now part of the Czech Republic). He apprenticed as a woodcarver in Vienna, Austria, and immigrated to the United States in 1901. After working in the Midwest for nearly four years, Polasek finally began his formal training at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania. In 1910, Polasek won the Prix de Rome competition, spending three years at the American Academy of Art in Rome, Italy. Once he completed his studies in Rome, Polasek moved to New York City, New York, and set up a studio there. In 1916, the Art Institute of Chicago invited him to head its sculpture department, where he remained for nearly 30 years. In 1949, Polasek retired to Winter Park, Florida, building a home on Lake Osceola. In spite of suffering a stroke in 1950 that left him confined to a wheelchair and his left side paralyzed, Polasek continued to paint, draw, sculpt clay, and carve wood, creating a total of 18 major works before his death in 1965. In 1961, Polasek established the Polasek Foundation, designating his personal galleries, chapel, and gardens as a museum. Each year, thousands of local and international guests come to Winter Park to visit Polasek’s historic home and studio at the Albin Polasek Museum & Sculpture Gardens. Polasek’s works can be found in Europe, all over the United States, and locally in Winter Park and Orlando.
Original black and white photograph: Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida.
Born in Fleyh, Czechoslovakia, in 1931, pop artist Dr. Walter Gaudnek is known for his blend of his bold colors, philosophy, religious symbolism, labyrinth installations, and mixtures of performance and art. He also draws heavy inspiration from Bohemia, Caravaggio, Kazimir Malevich, and Pablo Picasso. A 1957 Fulbright Scholar who received his doctorate from New York University, he joined the art faculty of the Florida Technological University (present-day University of Central Florida) in Orlando, Florida, in 1970. Dr. Gaudnek previously taught at universities in Los Angeles, New York, and Ohio. He founded the Long Island University's Hillwood Art Museum in Greenvale, New York. His honors from UCF include Distinguished Researcher of the Year (1990), the Teaching Incentive Program Award (1995 and 2005), the Professional Excellence Program Award (1997), the President’s Award (1999), and the Research Incentive Award (2002). In 1994, the Sudetendeutecher Landsmannschaft, an organization dedicated to recognizing the achievements of the Czech-German diaspora, awarded him the Kulturpreis for Fine Art and Architecture. Dr. Gaudnek’s work can be seen at the Gaudnek Europe Museum (GEM) in Altomünster, Germany, as well as the UCF Library, which contains a retrospective of his work from 1945 to 2007. He has participated in more than 200 solo and group exhibitions, installations, and performances in Germany, Italy, Spain, England, Colombia, the Czech Republic, and the United States. His works have also been exhibited in museums in New York, San Francisco, Los Angeles, Virginia, Arizona, Florida, Europe, and Brazil, as well as schools, banks, office buildings, libraries, theaters, museums, and private homes in Europe and the United States. He has been featured in documentaries in San Francisco, New York, Munich, São Paolo, and Paris.
Original color photographs: City of Orlando Terrace Gallery, Orlando, Florida.
Louise Peterson (1920-2009) opened Galleries International in Winter Park, Florida, in 1969 with an impetus on exhibiting emerging artists and introducing the original print medium to the Central Florida market. These "educational practices" were well received by the community, both in the private sector and especially those with corporate interests. A relationship with the Orlando Museum of Art and the Council of Arts and Sciences soon developed. In 1984, Galleries International became the Albertson-Peterson Gallery when she partnered with long-time friend Judy Albertson. Louise Peterson was a member of the Council of 101 of the Orlando Museum of Art, advisory to the Committee of Acquisition of the 20th Century American prints for that museum and also a lecturer and juror for community and collegiate competitions.
Original color photograph: Private Collection of Judy Albertson.
Galleries International, Winter Park, Florida
Texann Ivy Buck is a graduate of Edgewater High School in Orlando, Florida, and Baylor University in Waco, Texas. Specializing in 20th Century American prints, sculpture, and in the Federal Works Progress Administration (WPA) prints, Buck established Texann Ivy Fine Arts, located at 818 Ellwood Avenue in Orlando, in 1977. In the 1980s, she curated an exhibition on 1930s American printmaking at the Cornell Museum of Art at Rollins College in Winter Park. In 2013, she created a display honoring Dr. Jerry B. Callahan, which is on permanent display at the Callahan Neighborhood Center, located on Parramore Avenue in Orlando. She remains involved with Orange County art, history, and cultural institutions.
Original color photograph: Orange County Regional History Center, Orlando, Florida.
Homestead Documentation for Benjamin James
The homestead documentation for Benjamin James. James' homestead was located in the southwestern portion of present-day Oviedo. James was born Savannah, Georgia, and migrated to Hastings, Florida, where he met his wife, Esther James. The couple married on January 24, 1913, at what then was called The Woods, on the eastern side of the town of Gabriella, near Bear Gully Lake. The couple had nine children, in addition to the four children from Esther's previous marriage. On July 8, 1921, James filed a homestead for 160 acres for his growing family at The Woods. Following a hurricane devastated Miami on September 11, 1926, the James family opened their property to Floridians left homeless in the aftermath. These refugees became the first settlers of the Jamestown and included Bob and Flossie Wells, George and Nettie Davis, and Morris J. "Preacher" and Margaret Williams, the Nails, the Olivers, the Perrys, the Bryants, the Evans, the Brannons, the Walkers, and the Ryans. James is the only African American to have a Central Florida town named after him.
Original homestead document: Private Collection of Kathy Parry.
Benjamin James Homestead, Jamestown, Oviedo, Florida
Homestead Documentation for Colnel B. Holmes
The homestead documentation for Colnel B. Holmes. Holmes' homestead was located in Oviedo, Florida. According to the documentation, Holmes was born in Marietta, Georgia, and grew potatoes and corn were on his homestead. Little else is known of this homesteader.
Homestead Documentation for Henry Jackson
The homestead documentation for Henry Jackson. Jackson, an African American raised by a white family, homesteaded 40 acres on both sides of Long Lake in Oviedo, Florida. The area became a predominantly black settlement, now known as Jackson Heights. For 25 years he worked for Oliver P. Swope and N. F. Lezette clearing land.
Henry Jackson Homestead, Jackson Heights, Oviedo, Florida
Richard Radloff Performing with Buckwheat
Richard Radloff performing on drums with the band, Buckwheat. Known for their spontaneous blues-based jams and the pyrotechnics of their guitarist, Danny Richard, Buckwheat was a three-piece high energy rock band that performed in the Tampa Bay area from the late 1960s through the mid-1970s. In addition to Richard on guitar and vocals, and Radloff on drums, Dwight Saunders played bass. The band performed at Battle of the Bands and teen venues throughout the region, including the "Star Spectacular concert series" at Clearwater Auditorium, Indian Rocks Beach, Rowlett Park, and the old "Quest Inn" Coffee House in Downtown Clearwater.
Original black and white photograph: Buckwheat, Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Tampa Bay Music Scene Historical Society
Black and white photographs of Danny Richard performing on electric guitar with the band, Buckwheat. Known for their spontaneous blues-based jams and the pyrotechnics of Richard, Buckwheat was a three-piece high energy rock band that performed in the Tampa Bay area from the late 1960s through the mid-1970s. In addition to Richard on guitar and vocals, Richard Radloff played drums and Dwight Saunders played bass. The band performed at Battle of the Bands and teen venues throughout the region, including the "Star Spectacular concert series" at Clearwater Auditorium, Indian Rocks Beach, Rowlett Park, and the old "Quest Inn" Coffee House in Downtown Clearwater.
Danny Richard and Dwight Saunders of Buckwheat
Danny Richard and Dwight Saunders of the band, Buckwheat. Known for their spontaneous blues-based jams and the pyrotechnics of Richard, Buckwheat was a three-piece high energy rock band that performed in the Tampa Bay area from the late 1960s through the mid-1970s. In addition to Richard on guitar and vocals, and Saunders on bass, Richard Radloff played drums. The band performed at Battle of the Bands and teen venues throughout the region, including the "Star Spectacular concert series" at Clearwater Auditorium, Indian Rocks Beach, Rowlett Park, and the old "Quest Inn" Coffee House in Downtown Clearwater.
Dwight Saunders Performing with Buckwheat
Black and white photographs of Dwight Saunders performing on bass guitar with the band, Buckwheat. Known for their spontaneous blues-based jams and the pyrotechnics of their guitarist, Danny Richard, Buckwheat was a three-piece high energy rock band that performed in the Tampa Bay area from the late 1960s through the mid-1970s. In addition to Richard on guitar and vocals, and Saunders on bass, Richard Radloff played drums. The band performed at Battle of the Bands and teen venues throughout the region, including the "Star Spectacular concert series" at Clearwater Auditorium, Indian Rocks Beach, Rowlett Park, and the old "Quest Inn" Coffee House in Downtown Clearwater.
Business card for the band, Buckwheat. The names of the band members appear at the top of the card, with "Buckwheat for live entertainment" printed in the center. The name Randy Stone and a phone number appear at the bottom. Known for their spontaneous blues-based jams and the pyrotechnics of their guitarist, Danny Richard, Buckwheat was a three-piece high energy rock band that performed in the Tampa Bay area from the late 1960s through the mid-1970s. In addition to Richard on guitar and vocals, Dwight Saunders played bass and Richard Radloff played drums. The band performed at Battle of the Bands and teen venues throughout the region, including the "Star Spectacular concert series" at Clearwater Auditorium, Indian Rocks Beach, Rowlett Park, and the old "Quest Inn" Coffee House in Downtown Clearwater.
Original business card: Buckwheat, Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
"Diamond Teeth" Mary McClain (born Mary Smith), an African-American blues, gospel, and vaudeville singer who performed from the 1910s through the 1990s. "Diamond Teeth" Mary was the half-sister of blues legend, Bessie Smith, and was present at her death following an automobile accident. Performing in various minstrel shows through the 1920s and 1930s, she was known as "Walking Mary" until the 1940s. She had diamonds removed from a bracelet and set into her front teeth, giving her famous moniker, but eventually removed them to pay for her mother's medical bills. Often promoted as "Queen of the Blues," she performed with some of the biggest names in African-American music, including Billie Holiday, Bessie Smith, Sarah Vaughan, Ray Charles, Count Basie, Nat 'King' Cole, Charlie Parker, and Duke Ellington. "Diamond Teeth" Mary moved to Bradenton, Florida, in 1960, where she began performing gospel music, rather than secular blues, and remained there until her death in April 2000. She was given national exposure in the late 1970s, when Steven Zeitlin of the Smithsonian Institution tracked her down and convinced her to perform at the American Folklife Festival. She performed for President Ronald Reagan at the White House in 1980, appeared in an off-Broadway production in 1981, became one of the first recipients of the Florida Folk Heritage Award in 1986, recorded her first album, If I Can't Sell It, I'm Gonna Sit On It, in 1993, and continued to perform at blues festivals in the United States and Europe until her death at age 97. A play about her life premiered at the Florida Folk Festival in 2000.
Original color photograph: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Original black and white photographs: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Promotional photograph of the band, White Witch, featuring its five members, lead singer Ronald "Ronn" Goedert, guitarist Charles "Buddy" Richardson, keyboardist Hardin "Buddy" Pendergrass, bassist Loyall "Beau" Fisher, drummer Robert "Bobby" Shea, and another unidentified man. Ronn Goedert is dressed in a wizard costume. The band's name is listed on the bottom left of the photograph and the record label, Capricorn Records, is listed on the bottom right. Formed in Tampa, Florida, in 1971, White Witch was a glam, psychedelic, hard rock band that recorded two albums with Capricorn Records in the early 1970s. Pendergrass and Shea had once belonged to the popular Tampa area rock band, The Tropics, in the mid to late 1960s. Their name was a paean to "white magic," contrary to the "black magic" of groups such as Black Sabbath. The band would announce before their shows, "To bring good where there once was evil, to bring love where there once was hate, to bring wisdom where there once was ignorance—this is the power of White Witch." They toured to support their two records, opening for such established acts as Alice Cooper, Grand Funk Railroad, and Billy Preston. The group was inducted into the Florida Musicians Hall of Fame's Florida Music Honor Roll.
Original black and white photograph: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Album cover for White Witch's 1972 self-titled debut. The color photograph features the five members of the band: lead singer Ronald "Ronn" Goedert, guitarist Charles "Buddy" Richardson, keyboardist Hardin "Buddy" Pendergrass, bassist Loyall "Beau" Fisher, and drummer Robert "Bobby" Shea. Formed in Tampa, Florida, in 1971, White Witch was a glam, psychedelic, hard rock band that recorded two albums with Capricorn Records in the early 1970s. Pendergrass and Shea had once belonged to the popular Tampa area rock band, The Tropics, in the mid to late 1960s. Their name was a paean to "white magic," contrary to the "black magic" of groups such as Black Sabbath. The band would announce before their shows, "To bring good where there once was evil, to bring love where there once was hate, to bring wisdom where there once was ignorance—this is the power of White Witch." They toured to support their two records, opening for such established acts as Alice Cooper, Grand Funk Railroad, and Billy Preston. The group was inducted into the Florida Musicians Hall of Fame's Florida Music Honor Roll.
Photograph of the band, White Witch, featuring its five members, including lead singer Ronald "Ronn" Goedert, guitarist Charles "Buddy" Richardson, keyboardist Hardin "Buddy" Pendergrass, bassist Loyall "Beau" Fisher, and drummer Robert "Bobby" Shea. Formed in Tampa, Florida, in 1971, White Witch was a glam, psychedelic, hard rock band that recorded two albums with Capricorn Records in the early 1970s. Pendergrass and Shea had once belonged to the popular Tampa area rock band, The Tropics, in the mid to late 1960s. Their name was a paean to "white magic," contrary to the "black magic" of groups such as Black Sabbath. The band would announce before their shows, "To bring good where there once was evil, to bring love where there once was hate, to bring wisdom where there once was ignorance—this is the power of White Witch." They toured to support their two records, opening for such established acts as Alice Cooper, Grand Funk Railroad, and Billy Preston. The group was inducted into the Florida Musicians Hall of Fame's Florida Music Honor Roll.
The Tropics, a Tampa-based band, wearing pinstripe suits. From left to right is Buddy Pendergrass, Mel Dryer, Charlie Souza, Bobby Shea, and Eric Turner. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
The Tropics, a Tampa-based band, wearing red and white costumes. From left to right is Bobby Shea, Mel Dryer, Buddy Pendergrass, Eric Turner, and Charlie Souza. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
The Tropics, a Tampa-based band, wearing ascots. In the back row from left to right is Eric Turner, Bobby Shea, and Buddy Pendergrass. In the front row from left to right is Mel Dryer and Charlie Souza. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
The Tropics performing live at Planteen Recreation Center, located at 301 Dort Street in Plant City, Florida, in 1966. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
Original black and white photographs, 1966: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Planteen Recreational Center, Plant City, Florida
The Tropics, a Tampa-based band, in 1965. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
Original black and white photograph, 1965: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Tropics, a Tampa-based band, with legendary soul performer, James Brown, at a private sorority party in Tampa in 1966. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
The Tropics, a Tampa-based band, taken on May 7, 1999, for their 30 year reunion show at the Coliseum, located at 535 Fourth Avenue North in St. Petersburg, Florida. The show was a benefit for All Children's Hospital. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
Original black and white photograph, May 7, 1999: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
A newspaper photograph from The Tampa Times on January 4, 1968, describing a concert with the bands The Tropics and The Rascals. In this photograph, a large banner hangs from the upper level that reads, "WORLD TEENAGE SHOW 1966 TOP CHAMPIONS," and "INTERNATIONAL BATTLE OF THE BANDS WINNERS." The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
Original newspaper article. "Tropics, Rascals--Fans Love 'Em." The Tampa Times, January 4, 1968: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Tampa Times
International Battle of the Bands Official Certificate
International Battle of the Bands Official Certificate for The Tropics, a Tampa-based band. The certificate proclaims, "Be it known that the bearer of this certificate has actively participated in the 1966 International Battle of the Bands at McCormick Place, Chicago, Illinois." McCormick Place is located at 2301 South Martin Luther King Drive. The Tropics, also known as "The Bitchin' Red Band" when performing on the Pier in Cocoa Beach, were founded in 1964 in Tampa, Florida, consisting of Buddy Pendergrass on guitar and keyboard, Eric Turner on guitar and vocals, Mel Dryer on lead vocals, Bobby Shea on drums, and Charlie Souza on bass guitar and vocals. They were performing around the state and the Southeastern United States by the summer of 1965, opening for popular acts such as The Who, The Young Rascals, and Herman's Hermits. The band won the 1966 International Battle of the Bands at McCormick Place in Chicago, Illinois, taking first place over 441 bands, including future successful acts like Tommy James and the Shondells and Chicago. This won the group a recording contract with Columbia Records, where they recorded the single, "Take the Time," which was played on Dick Clark's American Bandstand, and topped the local charts. Pendergrass and Shea would later form the glam rock band, White Witch, in 1971.
Original certificate, 1966: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Tempests at the National Guard Armory, 1966
The Tempests performing live at the National Guard Armory, located at 3601 38th Avenue South in St. Petersburg, Florida, in 1966. The first photograph, from left to right, features Roy Delese, Tommy Angarano, Mike Hammer, Buddy Peterson, Brad Myers and Charlie Bailey. The second, third and fourth feature all but Bailey in the same order. The Tempests were formed in St. Petersburg, Florida in 1963, when the members were just 12 and 13 years old. The original members included Doug Palmer (rhythm guitar), Bobby Allen (drums), Bill Hickman (bass guitar), Tommy Angarano (vocals), and Charlie Bailey (lead guitar). Hickman was later replaced with Buddy Peterson and Palmer was replaced with Mike Hammer, enhancing the group's ability to play songs with harmony. Due to the popularity of The Beatles, harmony-driven bands dominated the radio. The new additions proved a success, as the group won the Battle of the Bands at the Electric Zoo and recorded their first record, "I Want You Only," with "I Want You to Know" as the B-side. Allen was later replaced with Brad Myers on drums, and Bailey with Roy Delese on keyboard. The band opened for many national groups, such as The Dave Clark Five, The Shangri-Las, Sam the Sham and the Pharaohs, Tommy James and the Shondells, Blues Magoos, The Doors, The McCoys, the Mindbenders, The Allman Brothers Band, and Three Dog Night.
National Guard Armory, St. Petersburg, Florida
The Tempests, featuring the band's original lineup performing live at The Joker's Club, located at 3615 37th Street North in St. Petersburg, Florida, in 1964. The photograph, from left to right, features Tommy Angarano, Bobby Allen, Bill Hickman, Charlie Bailey, and Doug Palmer. The Tempests were formed in St. Petersburg, Florida in 1963, when the members were just 12 and 13 years old. The original members included Doug Palmer (rhythm guitar), Bobby Allen (drums), Bill Hickman (bass guitar), Tommy Angarano (vocals), and Charlie Bailey (lead guitar). Hickman was later replaced with Buddy Peterson and Palmer was replaced with Mike Hammer, enhancing the group's ability to play songs with harmony. Due to the popularity of The Beatles, harmony-driven bands dominated the radio. The new additions proved a success, as the group won the Battle of the Bands at the Electric Zoo and recorded their first record, "I Want You Only," with "I Want You to Know" as the B-side. Allen was later replaced with Brad Myers on drums, and Bailey with Roy Delese on keyboard. The band opened for many national groups, such as The Dave Clark Five, The Shangri-Las, Sam the Sham and the Pharaohs, Tommy James and the Shondells, Blues Magoos, The Doors, The McCoys, the Mindbenders, The Allman Brothers Band, and Three Dog Night.
Original black and white photograph, 1964: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Joker's Club, St. Petersburg, Florida
Color photograph of the band, The Tempests, performing live at Surfer's Club in 1966. Surfer's Club was a teenage nightclub in the 1960s, located at 14966 Gulf Boulevard, in Madeira Beach, Florida. The club, which opened in July 1964 and closed in October 1966, only allowed kids ages 15-20. Nightly chaperones ensured there was no "front to back" dancing. The photograph, from left to right, features Doug Palmer, Charlie Bailey, and Tommy Angarano, as well as nine teenagers dancing in front of the stage. The Tempests were formed in St. Petersburg, Florida in 1963, when the members were just 12 and 13 years old. The original members included Doug Palmer (rhythm guitar), Bobby Allen (drums), Bill Hickman (bass guitar), Tommy Angarano (vocals), and Charlie Bailey (lead guitar). Hickman was later replaced with Buddy Peterson and Palmer was replaced with Mike Hammer, enhancing the group's ability to play songs with harmony. Due to the popularity of The Beatles, harmony-driven bands dominated the radio. The new additions proved a success, as the group won the Battle of the Bands at the Electric Zoo and recorded their first record, "I Want You Only," with "I Want You to Know" as the B-side. Allen was later replaced with Brad Myers on drums, and Bailey with Roy Delese on keyboard. The band opened for many national groups, such as The Dave Clark Five, The Shangri-Las, Sam the Sham and the Pharaohs, Tommy James and the Shondells, Blues Magoos, The Doors, The McCoys, the Mindbenders, The Allman Brothers Band, and Three Dog Night.
Original color photograph, 1966: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Shangri-Las and The Tempests at Mason's Hall, March 26, 1966
Flyer for a concert for The Shangri-Las and The Tempests at Mason's Hall. The "Teen Seen," which was located on the West End Buffalo Avenue Bridge in Tampa, Florida, on March 26, 1966. The flyer features a photograph of The Shangri-Las, a New York-based girl group who were scheduled to headline the event. Admission was $1.50. The Tempests were formed in St. Petersburg, Florida in 1963, when the members were just 12 and 13 years old. The original members included Doug Palmer (rhythm guitar), Bobby Allen (drums), Bill Hickman (bass guitar), Tommy Angarano (vocals), and Charlie Bailey (lead guitar). Hickman was later replaced with Buddy Peterson and Palmer was replaced with Mike Hammer, enhancing the group's ability to play songs with harmony. Due to the popularity of The Beatles, harmony-driven bands dominated the radio. The new additions proved a success, as the group won the Battle of the Bands at the Electric Zoo and recorded their first record, "I Want You Only," with "I Want You to Know" as the B-side. Allen was later replaced with Brad Myers on drums, and Bailey with Roy Delese on keyboard. The band opened for many national groups, such as The Dave Clark Five, The Shangri-Las, Sam the Sham and the Pharaohs, Tommy James and the Shondells, Blues Magoos, The Doors, The McCoys, the Mindbenders, The Allman Brothers Band, and Three Dog Night.
Original flyer, ca. March 26, 1966: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Flyer for a concert for the band, The Tempests on March 12, 1966. The dance was held at The Village, located at 3003 Cypress Street in Tampa, Florida. The Tempests were formed in St. Petersburg, Florida in 1963, when the members were just 12 and 13 years old. The original members included Doug Palmer (rhythm guitar), Bobby Allen (drums), Bill Hickman (bass guitar), Tommy Angarano (vocals), and Charlie Bailey (lead guitar). Hickman was later replaced with Buddy Peterson and Palmer was replaced with Mike Hammer, enhancing the group's ability to play songs with harmony. Due to the popularity of The Beatles, harmony-driven bands dominated the radio. The new additions proved a success, as the group won the Battle of the Bands at the Electric Zoo and recorded their first record, "I Want You Only," with "I Want You to Know" as the B-side. Allen was later replaced with Brad Myers on drums, and Bailey with Roy Delese on keyboard. The band opened for many national groups, such as The Dave Clark Five, The Shangri-Las, Sam the Sham and the Pharaohs, Tommy James and the Shondells, Blues Magoos, The Doors, The McCoys, the Mindbenders, The Allman Brothers Band, and Three Dog Night.
Original flyer, ca. March 12, 1966: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Tempests at the Firestone Grand Prix of St. Petersburg, 2010
The Tempests performing live at the Firestone Grand Prix on March 29, 2010. The Firestone Grand Prix of St. Petersburg is a Verizon IndyCar Series race and is located at 1 Beach Drive Southeast, 42, in St. Petersburg, Florida. The photograph, from left to right, features Tommy Angarano, Darren Shaw, and Chris Winter. The Tempests were formed in St. Petersburg, Florida in 1963, when the members were just 12 and 13 years old. The original members included Doug Palmer (rhythm guitar), Bobby Allen (drums), Bill Hickman (bass guitar), Tommy Angarano (vocals), and Charlie Bailey (lead guitar). Hickman was later replaced with Buddy Peterson and Palmer was replaced with Mike Hammer, enhancing the group's ability to play songs with harmony. Due to the popularity of The Beatles, harmony-driven bands dominated the radio. The new additions proved a success, as the group won the Battle of the Bands at the Electric Zoo and recorded their first record, "I Want You Only," with "I Want You to Know" as the B-side. Allen was later replaced with Brad Myers on drums, and Bailey with Roy Delese on keyboard. The band opened for many national groups, such as The Dave Clark Five, The Shangri-Las, Sam the Sham and the Pharaohs, Tommy James and the Shondells, Blues Magoos, The Doors, The McCoys, the Mindbenders, The Allman Brothers Band, and Three Dog Night.
Original color photograph, March 29, 2010: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Firestone Grand Prix of St. Petersburg, St. Petersburg, Florida
Infinity's End in 1969. The first photograph features Terry Gene Bollea in the center, and the second photograph shows Bollea on the bottom left. Infinity's End was the first of several bands that Bollea, popularly known as Hulk Hogan, performed with during the late 1960s and early 1970s in Tampa, Florida. Bollea was in ninth grade when he formed the group, and they quickly began performing at weekend parties. Their manager was the father of keyboard player, Gary, and their costume designer was Gary's mother. The band consisted of two guitar players, a drummer, a bassist, and a keyboardist, and performed classic rock hits of the day, such as "In-A-Gadda-Da-Vida" by Iron Butterfly and various songs by Steppenwolf. After Infinity's End, Bollea performed with the bands Koko and Ruckus, before going on to a career in professional wrestling.
Original black and white photographs, 1969: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Infinity's End performing live on December 30, 1969. The first photograph was taken from the stage and it features the bassist playing guitar and singing into a microphone. The second photograph is a close up of the drummer surrounded by audience members. Infinity's End was the first of several bands that Bollea, popularly known as Hulk Hogan, performed with during the late 1960s and early 1970s in Tampa, Florida. Bollea was in ninth grade when he formed the group, and they quickly began performing at weekend parties. Their manager was the father of keyboard player, Gary, and their costume designer was Gary's mother. The band consisted of two guitar players, a drummer, a bassist, and a keyboardist, and performed classic rock hits of the day, such as "In-A-Gadda-Da-Vida" by Iron Butterfly and various songs by Steppenwolf. After Infinity's End, Bollea performed with the bands Koko and Ruckus, before going on to a career in professional wrestling.
Original black and white photographs, December 30, 1969: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Color photograph of the band, Infinity's End, performing live in 1968 or 1969. The photograph features the bassist, lead vocalist and drummer. Infinity's End was the first of several bands that Bollea, popularly known as Hulk Hogan, performed with during the late 1960s and early 1970s in Tampa, Florida. Bollea was in ninth grade when he formed the group, and they quickly began performing at weekend parties. Their manager was the father of keyboard player, Gary, and their costume designer was Gary's mother. The band consisted of two guitar players, a drummer, a bassist, and a keyboardist, and performed classic rock hits of the day, such as "In-A-Gadda-Da-Vida" by Iron Butterfly and various songs by Steppenwolf. After Infinity's End, Bollea performed with the bands Koko and Ruckus, before going on to a career in professional wrestling.
Infinity's End performing live in 1970. The first photograph features all five members on stage. A March of Dimes sign hangs behind one of the two sets of drums. Terry Gene Bollea stands on the far right of the photograph, playing guitar. The second photograph is a close up of the keyboardist with the band's logo propped up in front of his keyboard. The drummer and another band member are also in the photograph. Infinity's End was the first of several bands that Bollea, popularly known as Hulk Hogan, performed with during the late 1960s and early 1970s in Tampa, Florida. Bollea was in ninth grade when he formed the group, and they quickly began performing at weekend parties. Their manager was the father of keyboard player, Gary, and their costume designer was Gary's mother. The band consisted of two guitar players, a drummer, a bassist, and a keyboardist, and performed classic rock hits of the day, such as "In-A-Gadda-Da-Vida" by Iron Butterfly and various songs by Steppenwolf. After Infinity's End, Bollea performed with the bands Koko and Ruckus, before going on to a career in professional wrestling.
Two original color photographs, 1970: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Logo for the band, Infinity's End. Infinity's End was the first of several bands that Bollea, popularly known as Hulk Hogan, performed with during the late 1960s and early 1970s in Tampa, Florida. Bollea was in ninth grade when he formed the group, and they quickly began performing at weekend parties. Their manager was the father of keyboard player, Gary, and their costume designer was Gary's mother. The band consisted of two guitar players, a drummer, a bassist, and a keyboardist, and performed classic rock hits of the day, such as "In-A-Gadda-Da-Vida" by Iron Butterfly and various songs by Steppenwolf. After Infinity's End, Bollea performed with the bands Koko and Ruckus, before going on to a career in professional wrestling.
Original logo: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Outlaws, featuring the original five members in 1967. Formed in Tampa, Florida, in 1967 by guitarist and lead vocalist, Hugh "Hughie" Edward Thomasson, Jr., The Outlaws peaked in popularity in the mid-to-late 1970s, with hits such as "Green Grass and High Tides," "There Goes Another Love Song," and "(Ghost) Riders in the Sky." Known by fans as "The Florida Guitar Army," the band's three-part harmonies distinguished them from their Southern rock contemporaries. The band experienced more personnel changes than most musical groups, with at least 45 different members between 1967 and 2015.
Hugh "Hughie" Edwards Thomasson, Jr., Monte Yoho, and Billy Jones of The Outlaws
Autographed 1 color photograph of The Outlaws performing live. The photograph features, from left to right, guitarist Hughie Thomasson, drummer Monte Yoho, and guitarist/keyboardist Billy Jones. Although the photograph was taken of a much earlier version of the group sometime between 1969 and 1979, the five signatures are from Thomasson, Yoho, guitarist Chris Anderson, drummer David Dix, and bassist Randy Threet, which was the lineup from 2005-2007. Formed in Tampa, Florida, in 1967 by guitarist and lead vocalist, Hugh "Hughie" Edward Thomasson, Jr., The Outlaws peaked in popularity in the mid-to-late 1970s, with hits such as "Green Grass and High Tides," "There Goes Another Love Song," and "(Ghost) Riders in the Sky." Known by fans as "The Florida Guitar Army," the band's three-part harmonies distinguished them from their Southern rock contemporaries. The band experienced more personnel changes than most musical groups, with at least 45 different members between 1967 and 2015.
Hugh "Hughie" Edwards Thomasson, Jr., Monte Yoho, Frank O'Keefe, Herbie Pino, and Billy Jones of The Outlaws
The Outlaws sometime between 1969 and 1972. This photograph features, from left to right, guitarist Hughie Thomasson and drummer Monte Yoho in the back, as well as bassist/guitarist Frank O'Keefe, guitarist Herbie Pino, and guitarist/keyboardist Billy Jones in the front row. At the bottom is the band's name and management information, which includes a cartoon logo for Ped-Dyn Productions and contact information. Formed in Tampa, Florida, in 1967 by guitarist and lead vocalist, Hugh "Hughie" Edward Thomasson, Jr., The Outlaws peaked in popularity in the mid-to-late 1970s, with hits such as "Green Grass and High Tides," "There Goes Another Love Song," and "(Ghost) Riders in the Sky." Known by fans as "The Florida Guitar Army," the band's three-part harmonies distinguished them from their Southern rock contemporaries. The band experienced more personnel changes than most musical groups, with at least 45 different members between 1967 and 2015.
The Outlaws at the Winterland Ballroom, 1975
The Outlaws performing live at Winterland Ballroom in San Francisco, California, on October 10, 1975. From left to right, the photograph features Harvey Dalton Arnold playing bass, and Hughie Thomasson, Billy Jones, and Henry Paul playing guitar. Formed in Tampa, Florida, in 1967 by guitarist and lead vocalist, Hugh "Hughie" Edward Thomasson, Jr., The Outlaws peaked in popularity in the mid-to-late 1970s, with hits such as "Green Grass and High Tides," "There Goes Another Love Song," and "(Ghost) Riders in the Sky." Known by fans as "The Florida Guitar Army," the band's three-part harmonies distinguished them from their Southern rock contemporaries. The band experienced more personnel changes than most musical groups, with at least 45 different members between 1967 and 2015.
Original sepia photograph: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Winterland Ballroom, San Francisco, California
Monte Yoho, Henry Paul, Billy Jones, and Hugh "Hughie" Edwards Thomasson, Jr. of The Outlaws
The Outlaws sometime between 1972 and 1977, featuring, from left to right, drummer Monte Yoho, an unidentified member (possibly bassist Frank O'Keefe), guitarist Henry Paul, guitarist/keyboardist Billy Jones, and guitarist Hughie Thomasson. Formed in Tampa, Florida, in 1967 by guitarist and lead vocalist, Hugh "Hughie" Edward Thomasson, Jr., The Outlaws peaked in popularity in the mid-to-late 1970s, with hits such as "Green Grass and High Tides," "There Goes Another Love Song," and "(Ghost) Riders in the Sky." Known by fans as "The Florida Guitar Army," the band's three-part harmonies distinguished them from their Southern rock contemporaries. The band experienced more personnel changes than most musical groups, with at least 45 different members between 1967 and 2015.
The Outlaws sometime between 2005 and 2006. From left to right, the photograph features guitarist Chris Anderson, drummer Monte Yoho, guitarist Hughie Thomasson, drummer David Dix, and bassist Randy Threet. Formed in Tampa, Florida, in 1967 by guitarist and lead vocalist, Hugh "Hughie" Edward Thomasson, Jr., The Outlaws peaked in popularity in the mid-to-late 1970s, with hits such as "Green Grass and High Tides," "There Goes Another Love Song," and "(Ghost) Riders in the Sky." Known by fans as "The Florida Guitar Army," the band's three-part harmonies distinguished them from their Southern rock contemporaries. The band experienced more personnel changes than most musical groups, with at least 45 different members between 1967 and 2015.
Koco, featuring, from left to right, Brad Prince, David White, Stephen Griggs, and Mark Keur. Koco was the second of several bands that Terry Bollea (1953-), known commonly as the professional wrestler, Hulk Hogan, performed with during the early to mid-1970s in Tampa, Florida. Bollea, who played the bass guitar, left his band, Infinity's End, and formed the group, originally called Magic, with David White on the keyboards, Mark Keur playing the drums, and Stephen Griggs as guitar in 1973. After Koco, Bollea performed with the band Ruckus, before going on to a career in professional wrestling. Bollea was replaced with Brad Prince and eventually Pete McKay. The band changed their name to Freebird, but when Lynyrd Skynyrd released a hit song of the same name, they changed the name one last time to Firebird. The group attributed their disbanding in 1976 to the rising popularity of disco music.
Koco with New Members Robin Subicao and Anthony Barcelo
Koco, featuring, from left to right standing in the back row, David White, Terry Bollea, and Mark Keur. Robin Subicao and Anthony Barcelo sit on stools in front. Koco was the second of several bands that Terry Bollea, known commonly as the professional wrestler, Hulk Hogan, performed with during the early to mid-1970s in Tampa, Florida. Bollea, who played the bass guitar, left his band, Infinity's End, and formed the group, originally called Magic, with David White on the keyboards, Mark Keur playing the drums, and Stephen Griggs as guitar in 1973. After Koco, Bollea performed with the band Ruckus, before going on to a career in professional wrestling. Bollea was replaced with Brad Prince and eventually Pete McKay. The band changed their name to Freebird, but when Lynyrd Skynyrd released a hit song of the same name, they changed the name one last time to Firebird. The group attributed their disbanding in 1976 to the rising popularity of disco music.
The album cover for Boot's 1972 self-titled record. The album cover features a photograph of the four band members from the waist down, standing side by side. Drummer Jim O'Brock is wearing a boot. Recorded at James Brown's Starday/King Studio in Nashville, Tennessee, the record was produced by the Texas-based Agape Records. In 1963, the band formed in Port Richey, Florida, as The Kingsmen. the band would change their name to The Allusions, The Split Ends, and finally, Boot, an acronym for Blues Of Our Time. The group featured Dan Eliassen on bass and vocals, Bruce Knox on lead guitar and vocals, Mike Mycz on rhythm guitar and vocals, and Jim O'Brock on drums and vocals. All four original members remained together for 10 years before breaking up in 1973. Career highlights include performing on Dick Clark's "Happening '67" Tour and the Dick Clark band contest show, "Happening '68," as well as performing with The Allman Brothers Band, Lynyrd Skynyrd, Jefferson Airplane, Canned Heat, The Outlaws, Steppenwolf, Iron Butterfly, B. B. King, and Neil Diamond.
Original black and white photographic album cover: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The band, Boot, in a photograph was taken during a photo shoot for the group's 1972 self-titled record. Drummer Jim O'Brock is wearing a boot. Recorded at James Brown's Starday/King Studio in Nashville, Tennessee, the record was produced by the Texas-based Agape Records. In 1963, the band formed in Port Richey, Florida, as The Kingsmen. the band would change their name to The Allusions, The Split Ends, and finally, Boot, an acronym for Blues Of Our Time. The group featured Dan Eliassen on bass and vocals, Bruce Knox on lead guitar and vocals, Mike Mycz on rhythm guitar and vocals, and Jim O'Brock on drums and vocals. All four original members remained together for 10 years before breaking up in 1973. Career highlights include performing on Dick Clark's "Happening '67" Tour and the Dick Clark band contest show, "Happening '68," as well as performing with The Allman Brothers Band, Lynyrd Skynyrd, Jefferson Airplane, Canned Heat, The Outlaws, Steppenwolf, Iron Butterfly, B. B. King, and Neil Diamond.
"I'd Just As Soon Forget" by The Arena Twins
Seven-inch 45 RPM radio station copy of a vinyl record single of the song, "I'd Just As Soon Forget," recorded by The Arena Twins, and arranged and conducted by Marty Manning. "I'd Just As Soon Forget" is the B-side to the single, "Judy Says," released in 1961 by Columbia Records, Inc. Sammy and Andrew "Andy" Arena, who performed together as The Arena Twins, were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960. Marty Manning conducted and arranged for some the most well known jazz performers, including Dinah Washington and Sarah Vaughn.
Original color photograph, 1961: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Columbia Records, Inc.
Seven-inch 33 RPM vinyl record single of the song, "Oh, What a Shame," recorded by The Arena Twins, and arranged and conducted by Marty Manning. "Oh, What a Shame" is the B-side to the single, "Notify the F.B.I.," released in 1960 on Columbia Records, Inc. Sammy and Andrew "Andy" Arena, who performed together as The Arena Twins, were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960.
Original color photograph, 1960: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Arena Twins Live with Bassist and Drummer
The Arena Twins performing live with a bassist and drummer. Sammy and Andrew "Andy" Arena, who performed together as The Arena Twins, were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960.
The Arena Twins performing live. Sammy and Andrew "Andy" Arena, who performed together as The Arena Twins, were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960.
The Arena Twins in their later years. On the right is Sammy Arena and on the left is Andrew "Andy" Arena. Together, they performed as The Arena Twins and were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960.
Seated is Sammy Arena, with Andy Arena standing to his sife. Sammy and Andrew "Andy" Arena, who performed together as The Arena Twins, were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960.
Sammy and Andrew "Andy" Arena, who performed together as The Arena Twins, were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960.
The Arena Twins with Dave Archard around 1958. Dave Archard became a Top 40 radio deejay at Tampa's WALT-AM 1110 in 1958 and moved to St. Petersburg's WTSP the next year, where he remained until 1963, when he moved to Miami's WFUN. Sammy and Andrew "Andy" Arena, who performed together as The Arena Twins, were among Tampa's first recording artists in the late 1950s. Born in Tampa, Florida, the brothers entertained audiences since the age of 14, when they first took the stage at the Cuban Club's "Fiesta in Tampa." In 1958, they signed with Kapp Records and released six singles, before signing with Columbia Records in 1960.
Charles "Charlie" Brantley, a musician born in West Tampa, one of the oldest neighborhoods in Tampa, Florida, around the turn of the 20th century. Brantley began his music career in 1935, when he joined the Florida Collegians, a group of Tampa musicians. Influenced by bandleader Louis Jordan, he started his own group, Charlie Brantley and His Original Honey Dippers, in 1944. Brantley gave young musicians the opportunity to break into the music scene by performing with his band and would often allow them to stay at his home on 1901 Cherry Street in Tampa. When a young Ray Charles came to Tampa in the fall of 1946, Brantley hired him as a piano player and allowed him to stay at his house. Brantley founded the Negro Musical Association in the late 1940s and continued to perform with his band until June 1949, when a severe heart and nerve condition forced him to quit playing and take on a management role. Brantley passed away on Christmas Day in 1964.
Home of Charlie Brantley, West Tampa, Tampa, Florida
The Outsiders, later called The Soul Trippers, sometime between 1964 and 1966. The Outsiders formed in Tampa, Florida, in 1964, consisting of Hardy Dial on vocals, Buddy Richardson and Ronnie Vaskovsky on guitar, Ronnie Elliot on bass guitar, and Spencer Hinkle on drums. They recorded their debut single, "She's Coming On Stronger," for the Tampa record label, Knight, in late 1965. Dial was replaced on vocals by John DeLise and the band recorded its second single, a cover of Eddie Cochran's "Summertime Blues," in the spring of 1966. The record was a regional success and the band was picked up by the Laurie Records subsidiary Providence, which convinced them to change their name to The Soul Trippers, in order to avoid conflict with several bands that had the same name. In July 1966, they recorded a garage rock version of James Moore's "I'm a King Bee," which sold 20,000 copies. When radio station managers discovered the band was white, they pulled the record from their playlists, and the group departed ways shortly thereafter. Buddy Richardson later formed White Witch and John DeLise went on to play in The Rovin' Flames.
A record cover for The Soul Trippers, originally called The Outsiders, sometime between 1966 and 1967. Photographed, from left to right, is rhythm guitarist Ronnie Vaskovsky, drummer Spencer Hinkle, lead guitarist Buddy Richardson, bassist Ronnie Elliot, and singer John DeLise. According to the record, the band recorded with Laurie Records, located at 35 West 4th Street in New York City, New York, and was managed by Briarwood Enterprises, based in St. Petersburg and Tampa. The Outsiders formed in Tampa, Florida, in 1964, consisting of Hardy Dial on vocals, Buddy Richardson and Ronnie Vaskovsky on guitar, Ronnie Elliot on bass guitar, and Spencer Hinkle on drums. They recorded their debut single, "She's Coming On Stronger," for the Tampa record label, Knight, in late 1965. Dial was replaced on vocals by John DeLise and the band recorded its second single, a cover of Eddie Cochran's "Summertime Blues," in the spring of 1966. The record was a regional success and the band was picked up by the Laurie Records subsidiary Providence, which convinced them to change their name to The Soul Trippers, in order to avoid conflict with several bands that had the same name. In July 1966, they recorded a garage rock version of James Moore's "I'm a King Bee," which sold 20,000 copies. When radio station managers discovered the band was white, they pulled the record from their playlists, and the group departed ways shortly thereafter. Buddy Richardson later formed White Witch and John DeLise went on to play in The Rovin' Flames.
Original black and white photographic record cover: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Soul Trippers, originally called The Outsiders, sometime between 1966 and 1967. Photographed, from left to right, is bassist Ronnie Elliot, drummer Spencer Hinkle, lead guitarist Buddy Richardson, vocalist John DeLise, and rhythm guitarist Ronnie Vaskovsky. The Outsiders formed in Tampa, Florida, in 1964, consisting of Hardy Dial on vocals, Buddy Richardson and Ronnie Vaskovsky on guitar, Ronnie Elliot on bass guitar, and Spencer Hinkle on drums. They recorded their debut single, "She's Coming On Stronger," for the Tampa record label, Knight, in late 1965. Dial was replaced on vocals by John DeLise and the band recorded its second single, a cover of Eddie Cochran's "Summertime Blues," in the spring of 1966. The record was a regional success and the band was picked up by the Laurie Records subsidiary Providence, which convinced them to change their name to The Soul Trippers, in order to avoid conflict with several bands that had the same name. In July 1966, they recorded a garage rock version of James Moore's "I'm a King Bee," which sold 20,000 copies. When radio station managers discovered the band was white, they pulled the record from their playlists, and the group departed ways shortly thereafter. Buddy Richardson later formed White Witch and John DeLise went on to play in The Rovin' Flames.
The Rovin' Flames at the Safety Village, U.S.A. theme park in Tampa, Florida, in 1966. Safety Village, U.S.A. was the City of Tampa's 1965 Christmas gift to the children of the city. Located at 7550 North Boulevard, it was a child-size town located next to Fairyland, a popular amusement park, that was designed to train pre-school children and first and second grade children in traffic, home, personal, and fire safety habits. The Rovin' Flames were formed in Tampa in 1965 by Paul Battle (rhythm guitar and vocals), Jimmy "Mouse" Morris (lead guitar), J. R. Maietta (bass) and Jerry Goff (drums). They recorded "Gloria/J.J.J.P." in September 1965 on Fuller Records and recorded their second record, "I Can't/I'm Afraid to Go Home," on Boss records in March of 1966. Hardy Dial, from The Outsiders/Soul Trippers, was added on lead vocals in the summer of 1966, and the group recorded "Bo Diddley/Seven Million People" in June of 1966. Battle, Goff, and Dial left the group in September of 1966 and were replaced by Jim Davis (vocals), Davy Tabak (drums) and John Rogers (organ). Davis left in December of 1966 and Battle briefly returned as lead vocalist, before being replaced by John DeLise, also of The Outsiders/Soul Trippers, in February of 1967. The group replaced Tabak with Eddie Taylor on drums in July of 1967, and recorded "How Many Times/Love Song No. 6" in September of 1967 on Decca Records. Although DeLise lasted longer than most of the band's lead vocalists, he left the group in less than a year, being replaced by Bob Thompson in November of 1967. Rogers passed away in March of 1968, and Thompson and Taylor left the group, being replaced by Jay Colding (organ), Jerry Nickerson (drums) and Ronnie Goedert (lead vocals), in July of 1968. Goedert left shortly thereafter in the fall of 1968, and was replaced by Hobie O'Brien, who remained the lead vocalist until the band broke up in January or February of 1969.
The Rovin' Flames in the autumn of 1967. From left to right, the photograph features John DeLise, Johnny Rogers, Jimmy Morris, Eddie Taylor and J. R. Maietta. The Rovin' Flames were formed in Tampa in 1965 by Paul Battle (rhythm guitar and vocals), Jimmy "Mouse" Morris (lead guitar), J. R. Maietta (bass) and Jerry Goff (drums). They recorded "Gloria/J.J.J.P." in September 1965 on Fuller Records and recorded their second record, "I Can't/I'm Afraid to Go Home," on Boss records in March of 1966. Hardy Dial, from The Outsiders/Soul Trippers, was added on lead vocals in the summer of 1966, and the group recorded "Bo Diddley/Seven Million People" in June of 1966. Battle, Goff, and Dial left the group in September of 1966 and were replaced by Jim Davis (vocals), Davy Tabak (drums) and John Rogers (organ). Davis left in December of 1966 and Battle briefly returned as lead vocalist, before being replaced by John DeLise, also of The Outsiders/Soul Trippers, in February of 1967. The group replaced Tabak with Eddie Taylor on drums in July of 1967, and recorded "How Many Times/Love Song No. 6" in September of 1967 on Decca Records. Although DeLise lasted longer than most of the band's lead vocalists, he left the group in less than a year, being replaced by Bob Thompson in November of 1967. Rogers passed away in March of 1968, and Thompson and Taylor left the group, being replaced by Jay Colding (organ), Jerry Nickerson (drums) and Ronnie Goedert (lead vocals), in July of 1968. Goedert left shortly thereafter in the fall of 1968, and was replaced by Hobie O'Brien, who remained the lead vocalist until the band broke up in January or February of 1969.
Original black and white photograph, 1967: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Rovin' Flames at a Soap Box Derby Parade
The Rovin' Flames performing live in the bed of a truck in Downtown Tampa, Florida, at the Soap Box Derby Parade on July 13, 1968. The names of the members are written at the bottom. From left to right, they are listed as Jerry Nickerson, J. R. Maietta, Jay Colding, Jimmy Morris, and Ronnie Goedert. The Rovin' Flames were formed in Tampa in 1965 by Paul Battle (rhythm guitar and vocals), Jimmy "Mouse" Morris (lead guitar), J. R. Maietta (bass) and Jerry Goff (drums). They recorded "Gloria/J.J.J.P." in September 1965 on Fuller Records and recorded their second record, "I Can't/I'm Afraid to Go Home," on Boss records in March of 1966. Hardy Dial, from The Outsiders/Soul Trippers, was added on lead vocals in the summer of 1966, and the group recorded "Bo Diddley/Seven Million People" in June of 1966. Battle, Goff, and Dial left the group in September of 1966 and were replaced by Jim Davis (vocals), Davy Tabak (drums) and John Rogers (organ). Davis left in December of 1966 and Battle briefly returned as lead vocalist, before being replaced by John DeLise, also of The Outsiders/Soul Trippers, in February of 1967. The group replaced Tabak with Eddie Taylor on drums in July of 1967, and recorded "How Many Times/Love Song No. 6" in September of 1967 on Decca Records. Although DeLise lasted longer than most of the band's lead vocalists, he left the group in less than a year, being replaced by Bob Thompson in November of 1967. Rogers passed away in March of 1968, and Thompson and Taylor left the group, being replaced by Jay Colding (organ), Jerry Nickerson (drums) and Ronnie Goedert (lead vocals), in July of 1968. Goedert left shortly thereafter in the fall of 1968, and was replaced by Hobie O'Brien, who remained the lead vocalist until the band broke up in January or February of 1969.
Original black and white photograph, July 13, 1968: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Rovin' Flames, sitting and laying on a couch in the summer of 1967. The names of the members are written at the bottom of the photograph. In the back row, from left to right, are J. R. Maietta and Johnny Rogers, and in the front row, from left to right, are Eddie Taylor, John DeLise, and Jimmy Morris. The Rovin' Flames were formed in Tampa in 1965 by Paul Battle (rhythm guitar and vocals), Jimmy "Mouse" Morris (lead guitar), J. R. Maietta (bass) and Jerry Goff (drums). They recorded "Gloria/J.J.J.P." in September 1965 on Fuller Records and recorded their second record, "I Can't/I'm Afraid to Go Home," on Boss records in March of 1966. Hardy Dial, from The Outsiders/Soul Trippers, was added on lead vocals in the summer of 1966, and the group recorded "Bo Diddley/Seven Million People" in June of 1966. Battle, Goff, and Dial left the group in September of 1966 and were replaced by Jim Davis (vocals), Davy Tabak (drums) and John Rogers (organ). Davis left in December of 1966 and Battle briefly returned as lead vocalist, before being replaced by John DeLise, also of The Outsiders/Soul Trippers, in February of 1967. The group replaced Tabak with Eddie Taylor on drums in July of 1967, and recorded "How Many Times/Love Song No. 6" in September of 1967 on Decca Records. Although DeLise lasted longer than most of the band's lead vocalists, he left the group in less than a year, being replaced by Bob Thompson in November of 1967. Rogers passed away in March of 1968, and Thompson and Taylor left the group, being replaced by Jay Colding (organ), Jerry Nickerson (drums) and Ronnie Goedert (lead vocals), in July of 1968. Goedert left shortly thereafter in the fall of 1968, and was replaced by Hobie O'Brien, who remained the lead vocalist until the band broke up in January or February of 1969.
A newspaper article published in The Tampa Tribune on September 1, 1966, describing an interview with The Rovin' Flames. The article was written by Rose Marie Almas and Cherie Wallace. In the upper right corner is a photograph of the band standing on a truck. Photographed from left to right is Paul Battle, Hardy Dial, J. R. Maietta (seated), Jim Morris, and Jerry Goff. The Rovin' Flames were formed in Tampa in 1965 by Paul Battle (rhythm guitar and vocals), Jimmy "Mouse" Morris (lead guitar), J. R. Maietta (bass) and Jerry Goff (drums). They recorded "Gloria/J.J.J.P." in September 1965 on Fuller Records and recorded their second record, "I Can't/I'm Afraid to Go Home," on Boss records in March of 1966. Hardy Dial, from The Outsiders/Soul Trippers, was added on lead vocals in the summer of 1966, and the group recorded "Bo Diddley/Seven Million People" in June of 1966. Battle, Goff, and Dial left the group in September of 1966 and were replaced by Jim Davis (vocals), Davy Tabak (drums) and John Rogers (organ). Davis left in December of 1966 and Battle briefly returned as lead vocalist, before being replaced by John DeLise, also of The Outsiders/Soul Trippers, in February of 1967. The group replaced Tabak with Eddie Taylor on drums in July of 1967, and recorded "How Many Times/Love Song No. 6" in September of 1967 on Decca Records. Although DeLise lasted longer than most of the band's lead vocalists, he left the group in less than a year, being replaced by Bob Thompson in November of 1967. Rogers passed away in March of 1968, and Thompson and Taylor left the group, being replaced by Jay Colding (organ), Jerry Nickerson (drums) and Ronnie Goedert (lead vocals), in July of 1968. Goedert left shortly thereafter in the fall of 1968, and was replaced by Hobie O'Brien, who remained the lead vocalist until the band broke up in January or February of 1969.
Original newspaper article: Almas, Rose Marie, and Cherie Wallace. "Pop Bands—The Rovin' Flames." Tampa Tribune, September 1, 1966: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
The Tampa Tribune
The Rovin' Flames, taken between September and December of 1966. The Rovin' Flames were formed in Tampa in 1965 by Paul Battle (rhythm guitar and vocals), Jimmy "Mouse" Morris (lead guitar), J. R. Maietta (bass) and Jerry Goff (drums). They recorded "Gloria/J.J.J.P." in September 1965 on Fuller Records and recorded their second record, "I Can't/I'm Afraid to Go Home," on Boss records in March of 1966. Hardy Dial, from The Outsiders/Soul Trippers, was added on lead vocals in the summer of 1966, and the group recorded "Bo Diddley/Seven Million People" in June of 1966. Battle, Goff, and Dial left the group in September of 1966 and were replaced by Jim Davis (vocals), Davy Tabak (drums) and John Rogers (organ). Davis left in December of 1966 and Battle briefly returned as lead vocalist, before being replaced by John DeLise, also of The Outsiders/Soul Trippers, in February of 1967. The group replaced Tabak with Eddie Taylor on drums in July of 1967, and recorded "How Many Times/Love Song No. 6" in September of 1967 on Decca Records. Although DeLise lasted longer than most of the band's lead vocalists, he left the group in less than a year, being replaced by Bob Thompson in November of 1967. Rogers passed away in March of 1968, and Thompson and Taylor left the group, being replaced by Jay Colding (organ), Jerry Nickerson (drums) and Ronnie Goedert (lead vocals), in July of 1968. Goedert left shortly thereafter in the fall of 1968, and was replaced by Hobie O'Brien, who remained the lead vocalist until the band broke up in January or February of 1969.
Original black and white photograph, 1966: Profiles: Bands & Artists, Tampa Bay Music Scene Historical Society.
Lake Apopka Revives As Sports Fish Arena
A newspaper article dated June 9, 1964. The article briefly describes remarks by C. W. Sheffield, an Orange County sanitary engineer. Sheffield states that Lake Apopka, Florida is healthier than it has been in four years, primarily due to dilution from holding the water level higher. The lake was the site of a major fish kill in May of 1953.
Photocopy of original newspaper article: "Lake Apopka Revives As Sports Fish Arena." June 9, 1964: Binder 1964, drawer 1938-1987, Friends of Lake Apopka Archives, Ginn Museum, Oakland Nature Preserve, Oakland, Florida.
Undesirable Factors Cited in Report of 'The Big Pond', Lake Apopka; 1962-1964
A newspaper article discussing a Florida State Board of Health report regarding the condition of Lake Apopka, Florida. The report examines various contributions to the pollution of the lake and makes recommendations towards the cleanup process.
Photocopy of original newspaper article: "Undesirable Factors Cited in Report of 'The Big Pond', Lake Apopka; 1962-1964": Binder 1964, drawer 1938-1987, Friends of Lake Apopka Archives, Ginn Museum, Oakland Nature Preserve, Oakland, Florida.
Ralph L. Bagley (ca. 1914-2008) with his painting. Bagley was an artist and instructor who taught in Central Florida from the 1950s until his death in 2008, when he was 94 years old. He was born in Bertrand, Missouri, and attended the Flint Institute of Art in Flint, Michigan, continuing his studies in New York and Washington, D.C. Bagley and his wife, Marianne Bagley, moved to Orlando, Florida in 1950, where Bagley founded the Orlando Institute of Art, the city’s first fine-arts school. Bagley depicted landscapes, still lifes, and portraits in a variety of media, including oil, watercolor, and charcoal. Bagley also taught at Orlando Junior College, becoming head of the school’s art department in 1965. After the college closed in 1971, he taught at Lake-Sumter Community College in Leesburg, the Maitland Art Center in Maitland, and the Loch Haven Art Center (now the Orlando Museum of Art). He toured the nation with at least 30 one-man art shows featuring his paintings. Among many positions he held in art organizations, Bagley was president of the Orlando Art Association and a founding member and president of the Artists’ League of Orange County. The works of his many students sustain his legacy.
Mother Crying Over the World by Albin Polasek
Mother Crying Over the World, a sculpture created by Albin Polasek in 1942. Polasek was born in 1879 in Frenštát pod Radhoštěm, Moravia (now part of the Czech Republic). He apprenticed as a woodcarver in Vienna, Austria, and immigrated to the United States in 1901. After working in the Midwest for nearly four years, Polasek finally began his formal training at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania. In 1910, Polasek won the Prix de Rome competition, spending three years at the American Academy of Art in Rome, Italy. Once he completed his studies in Rome, Polasek moved to New York City, New York, and set up a studio there. In 1916, the Art Institute of Chicago invited him to head its sculpture department, where he remained for nearly 30 years. In 1949, Polasek retired to Winter Park, Florida, building a home on Lake Osceola. In spite of suffering a stroke in 1950 that left him confined to a wheelchair and his left side paralyzed, Polasek continued to paint, draw, sculpt clay, and carve wood, creating a total of 18 major works before his death in 1965. In 1961, Polasek established the Polasek Foundation, designating his personal galleries, chapel, and gardens as a museum. Each year, thousands of local and international guests come to Winter Park to visit Polasek’s historic home and studio at the Albin Polasek Museum & Sculpture Gardens. Polasek’s works can be found in Europe, all over the United States, and locally in Winter Park and Orlando.
Original sculpture: Polasek, Albin. Man Carving His Own Destiny: Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida.
Man Carving His Own Destiny by Albin Polasek
Man Carving His Own Destiny, a sculpture chiseled from limestone by Albin Polasek in 1961. Polasek sculpted his first version of Man Carving His Own Destiny while studying under Charles Grafly at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania, in 1907. Reminisicent of Michaelangelo's Slaves, the sculpture depicts a man chiseling himself out of stone. Polasek has sculpted 53 different variations of Man Carving His Own Destiny throughout his lifetime. His various recreations depict differences in arm positions, the look of the hair, and how much of the man's body is emerged from the rock. Polasek was born in 1879 in Frenštát pod Radhoštěm, Moravia (now part of the Czech Republic). He apprenticed as a woodcarver in Vienna, Austria, and immigrated to the United States in 1901. After working in the Midwest for nearly four years, Polasek finally began his formal training at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania. In 1910, Polasek won the Prix de Rome competition, spending three years at the American Academy of Art in Rome, Italy. Once he completed his studies in Rome, Polasek moved to New York City, New York, and set up a studio there. In 1916, the Art Institute of Chicago invited him to head its sculpture department, where he remained for nearly 30 years. In 1949, Polasek retired to Winter Park, Florida, building a home on Lake Osceola. In spite of suffering a stroke in 1950 that left him confined to a wheelchair and his left side paralyzed, Polasek continued to paint, draw, sculpt clay, and carve wood, creating a total of 18 major works before his death in 1965. In 1961, Polasek established the Polasek Foundation, designating his personal galleries, chapel, and gardens as a museum. Each year, thousands of local and international guests come to Winter Park to visit Polasek’s historic home and studio at the Albin Polasek Museum & Sculpture Gardens. Polasek’s works can be found in Europe, all over the United States, and locally in Winter Park and Orlando.
Forest Idyl, a sculpture recreated by Albin Polasek (1879-1965) in 1964. The original sculpture was created with bronze in 1924. Polasek was inspired by Henry Wadsforth Longellow's epic poem "The Song of Hiawartha." Another casting of Forest Idyl was contributed to an art gallery in New York, where the sculptor of the Lincoln Memorial, Daniel Chester French, won the sculpture in a draawing of the gallery's supporting members. While at the American Academy in Rome, Italy, as an honorary professor in 1931, Polasek created a life-size version of Forest Idyl for sculptor Anna Hyatt Huntongton for Brookgreen Gardens, which was her estate in Murrells Inlet, South Carolina. A copy of the 1931 sculpture was also contributed to Ball State University's library in Muncie, Indiana, where she is called "The Naked Lady." For his 1964 version photographed here, Polasek used the same conceptual design that he used in 1924, but instead used the face and hairstyle of his wife, Emily Muska Kubat Polasek, as a model. This casting resides on the front lawn of the Albin Polasek Museum & Sculpture Gardens in Winter Park, and another casting of the 1964 version is located at the Winter Park City Hall. The sculpture's plaque reads: "This statue was donated to the City of Winter Park by the world renowned sculptor Albin Polasek. Mr. Polasek’s many works reflect a gratitude and appreciation for God’s world and America. He loved Winter Park, which became his 'Florida paradise.' This statue, now dedicated to his memory, is a testimonial to that devotion. December, 1966." Polasek was born in 1879 in Frenštát pod Radhoštěm, Moravia (now part of the Czech Republic). He apprenticed as a woodcarver in Vienna, Austria, and immigrated to the United States in 1901. After working in the Midwest for nearly four years, Polasek finally began his formal training at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania. In 1910, Polasek won the Prix de Rome competition, spending three years at the American Academy of Art in Rome, Italy. Once he completed his studies in Rome, Polasek moved to New York City, New York, and set up a studio there. In 1916, the Art Institute of Chicago invited him to head its sculpture department, where he remained for nearly 30 years. In 1949, Polasek retired to Winter Park, Florida, building a home on Lake Osceola. In spite of suffering a stroke in 1950 that left him confined to a wheelchair and his left side paralyzed, Polasek continued to paint, draw, sculpt clay, and carve wood, creating a total of 18 major works before his death in 1965. In 1961, Polasek established the Polasek Foundation, designating his personal galleries, chapel, and gardens as a museum. Each year, thousands of local and international guests come to Winter Park to visit Polasek’s historic home and studio at the Albin Polasek Museum & Sculpture Gardens. Polasek’s works can be found in Europe, all over the United States, and locally in Winter Park and Orlando.
Original sculpture: Polasek, Albin. Forest Idyl, 1964. Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida.
Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida
The Maitland News, Vol. 01, No. 01, April 12, 1926
The Maitland News was a local newspaper originally published by the Maitland Realty Company (and later by The Maitland News Company) which began circulation in April 1926. This edition is the first ever issue, and it features articles on topics such as the modernization of the local fire department, the achievements of the town council, the development of the town's first residential neighborhood, urban planning, the construction of a new hotel, a local concert, a calendar of local events, the Bank of Maitland, the development of the Greenwood Gardens residential neighborhood, the Needlework Guild, and the publication plans of The Maitland News itself. Also featured are several advertisements for local businesses.
Original 4-page newspaper edition: The Maitland News, Vol. 01, No. 01, April 12, 1926: Newspaper Collection, accession number 2014.002.020V, room 2, case 2, shelf 10, box GV, Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.
The Maitland News, Vol. 01, No. 02, April 29, 1926
The Maitland News was a local newspaper originally published by the Maitland Realty Company (and later by The Maitland News Company) which began circulation in April 1926. This edition features articles on topics such as building permits and construction in Maitland compared to Orlando and Winter Park, a town slogan contest, a new fruit company, water wells, a new radio program, the Mayor's outline for town planning and development projects, the construction of residential subdivisions, waterworks bonds, an obituary for local resident Lida P. Bronson, a local banquet and reception, and a local events calendar. Also featured are several advertisements for local businesses, including the Greenwood Gardens residential community.
Original 4-page newspaper edition: The Maitland News, Vol. 01, No. 02, April 29, 1926: Newspaper Collection, accession number 2014.002.020V, room 2, case 2, shelf 10, box GV, Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.
The Maitland News, Vol. 01, No. 03, May 22, 1926
The Maitland News was a local newspaper originally published by the Maitland Realty Company (and later by The Maitland News Company) which began circulation in April 1926. This edition features articles on topics such as the rising demand for housing in Maitland, a school graduation, library renovations, water wells, new sidewalks, an obituary for local resident Ruth Fleming, a press banquet, a wedding anniversary, and a local events calendar. Also featured are several advertisements for local businesses, including one by the Maitland Realty Company announcing the need for a local drug store, a garage building, a cement block plant, novelty works, a filling station, and a warehouse, and anyone who can finance or furnish any of these. This edition is missing pages 2 and 3.
Original 2-page newspaper edition: The Maitland News, Vol. 01, No. 03, May 22, 1926: Newspaper Collection, accession number 2014.002.020V, room 2, case 2, shelf 10, box GV, Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.
The Maitland News, Vol. 01, No. 04, May 29, 1926
The Maitland News was a local newspaper originally published by the Maitland Realty Company (and later by The Maitland News Company) which began circulation in April 1926. This edition features articles on topics such as the Maitland Lumber Company rebuilding following a fire, new housing in Greenwood Gardens subdivision, a Chamber of Commerce meeting, a new garbage disposal system, a new municipal engineer, a Boy Scout camping trip, local elected officials, new books available at the Maitland Library, and a local events calendar. Also featured are several advertisements for local businesses.
Original 4-page newspaper edition: The Maitland News, Vol. 01, No. 04, May 29, 1926: Newspaper Collection, accession number 2014.002.020V, room 2, case 2, shelf 10, box GV, Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.
The Maitland News, Vol. 01, No. 05, June 5, 1926
The Maitland News was a local newspaper originally published by the Maitland Realty Company (and later by The Maitland News Company) which began circulation in April 1926. This edition features articles on topics such as plans to erect a new municipal building, park improvements, building codes, housing, architecture styles, new books for the library, local banking, a picnic held by the Maitland Auxiliary, and a local events calendar. Also featured are several advertisements for local businesses.
Original 4-page newspaper edition: The Maitland News, Vol. 01, No. 05, June 5, 1926: Newspaper Collection, accession number 2014.002.020V, room 2, case 2, shelf 10, box GV, Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.
The Maitland News, Vol. 01, No. 06, June 12, 1926
The Maitland News was a local newspaper originally published by the Maitland Realty Company (and later by The Maitland News Company) which began circulation in April 1926. This edition features articles on topics such as plans to establish a building and loan association for Maitland, fishing, housing and urban development, new books added to the library, local banking services, and a local events calendar. Also featured is a poem by local resident "Wib" Chaffee, and several advertisements for local businesses.
Original 4-page newspaper edition: The Maitland News, Vol. 01, No. 06, June 12, 1926: Newspaper Collection, accession number 2014.002.020V, room 2, case 2, shelf 10, box GV, Maitland Historical Museum, Art & History Museums - Maitland, Maitland, Florida.