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                  <text>&lt;span&gt;Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt; Charleston, S.C.: Arcadia Pub, 2012.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://sanfordhistory.tripod.com/Links/wtour.pdf"&gt;Downtown Orlando Historic District Walking Tour&lt;/a&gt;." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.</text>
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                  <text>&lt;span&gt;Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: History Press, 2006.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Osborne, Ray. &lt;a href="http://www.worldcat.org/oclc/253374549" target="_blank"&gt;&lt;em&gt;Cape Canaveral&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: Arcadia Pub, 2008.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Smith, Margaret. &lt;a href="http://www.worldcat.org/oclc/51888803" target="_blank"&gt;&lt;em&gt;The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Pelland, Maryan, and Dan Pelland. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/67516850" target="_blank"&gt;&lt;em&gt;Weeki Wachee Springs&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2005.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Flekke, Mary M., Sarah E. MacDonald, and Randall M. MacDonald. &lt;a href="http://www.worldcat.org/oclc/85451307" target="_blank"&gt;&lt;em&gt;Cypress Gardens&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2006.&lt;/span&gt;</text>
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                <text>Rooftop View of Robinson Street, 2007</text>
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                <text>Robinson Street in Downtown Orlando, Florida in 2007. The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. &#13;
&#13;
Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center Orlando (NTC Orlando) in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as Church Street Station. In 1998, a building boom began and continued through the 2000s.</text>
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                <text>Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, S.C.: Arcadia Pub, 2012.</text>
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                <text>"&lt;a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank"&gt;Downtown Orlando Historic District Walking Tour&lt;/a&gt;." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.</text>
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                <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>The City of Orlando Fire Station No. 1, located at the corner of North Magnolia Avenue and Wall Street in Downtown Orlando, Florida, in 2004. Inspired by a fire in 1883, Orlando's first volunteer fire department was established by William C. Sherman, who would be named Fire Chief. The organization also included Ben Bartlett, Tom Mann, J. Walter Hosier, J. W. Gettier, and Macy. The team used a hose, hose reel, bucket brigade, and a painter's ladder to extinguish fires. A major fire in 1884 and an article written by E. H. Gore in &lt;em&gt;The Orange County Reporter&lt;/em&gt; resulted in the official organization of the Orlando Fire Department in 1885, with John Weeks as the first official Fire Chief.&lt;br /&gt;&lt;br /&gt;On March 25, 1919, Firehouse No. 1 moved from its original location on Oak Street (present-day Wall Street) to a new location at 19 North Main Street (present-day Magnolia Avenue). The new station cost $17,708 to construct and the old station was abandoned. In 2006, the Fire Department announced that a new Fire Station No. 1 would be located at 78 West Central Boulevard. The new building would be the three lower floors of a nine-story high-rise and would serve as the new headquarters for the City of Orlando Fire Department. The new fire station opened on December 2, 2009.</text>
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                <text>Copyright to this resource is held by Thomas Cook and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>"&lt;a href="http://www.cityoforlando.net/fire/History%20of%20OFD.htm#1986" target="_blank"&gt;History of the Orlando Fire Department&lt;/a&gt;." City of Orlando: Orlando Fire Department. http://www.cityoforlando.net/fire/History%20of%20OFD.htm#1986.</text>
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                <text>City of Orlando &#13;
Fire Station No.1&#13;
&#13;
ENGINE 101&#13;
&#13;
RESCUE 1&#13;
HAZMAT 1&#13;
&#13;
HEAVY RESCUE 1 &#13;
&#13;
ENGINE 1&#13;
&#13;
TOWER 1&#13;
&#13;
CITY OF ORLANDO HEAVY RESCUE 1</text>
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                  <text>"&lt;a href="http://sanfordhistory.tripod.com/Links/wtour.pdf"&gt;Downtown Orlando Historic District Walking Tour&lt;/a&gt;." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.</text>
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                  <text>&lt;span&gt;Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: History Press, 2006.&lt;/span&gt;</text>
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                <text>Orange County Courthouse, 2003</text>
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                <text>Orange County Courthouse</text>
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                <text>Orlando (Fla.)</text>
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                <text>The Orange County Courthouse, located at 425 North Orange Avenue in Downtown Orlando, Florida, in 2003. In 1857, B. F. Caldwell donated four acres of land at the northeast corner of Central Boulevard and Main Street (present-day Magnolia Avenue) for the original courthouse in Orange County. A two-story hand-hewn log structured was built in 1863, but burned down in 1868.&lt;br /&gt;&lt;br /&gt;A three-story frame courthouse, the county's fourth, was built by Augustus Hyer in 1875. In 1882, W. C. Green's Company built a fifth courthouse that was designed by A. S. Wagner. An eight-foot tall clock tower with a 1,500 pound bell, nicknamed "Big Ben," was added at the intersection of Central Boulevard and Magnolia Avenue. The sixth courthouse was constructed on land acquired by the county in 1924 in the Neoclassical Revival style. The building was designed by Murray S. King, completed by his son James R. King, and dedicated on October 12, 1927.&lt;br /&gt;&lt;br /&gt;The 1892 courthouse was demolished in 1957 and replaced in 1960 by a modern glass and steel annex structure connected to the 1927 building. In 1999, the annex was torn down after being abandoned due to asbestos. In the late 1990s, the 1927 courthouse was remodeled for $35 million as the Orange County Regional History Center. The current courthouse for the Ninth District is located on North Orange Avenue.</text>
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                <text>Original color digital images by Thomas Cook, 2011: Private Collection of Thomas Cook.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;</text>
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                <text>2011-06-09</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank"&gt;Thomas Cook Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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            <name>Format</name>
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                <text>image/jpg</text>
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                <text>109 KB</text>
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                <text>67 KB</text>
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                <text>Still Image</text>
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            <name>Coverage</name>
            <description/>
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                <text>Orange County Courthouse, Downtown Orlando, Florida</text>
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          <element elementId="117">
            <name>Accrual Method</name>
            <description/>
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                <text>Donation</text>
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          <element elementId="122">
            <name>Mediator</name>
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                <text>History Teacher</text>
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                <text>Civics/Government Teacher</text>
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                <text>Geography Teacher</text>
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                <text>Humanities Teacher</text>
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                <text>Visual Arts Teacher</text>
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            <name>Provenance</name>
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                <text>Originally created by Thomas Cook and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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            <name>Rights Holder</name>
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              <elementText elementTextId="368417">
                <text>Copyright to this resource is held by Thomas Cook and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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          <element elementId="133">
            <name>Curator</name>
            <description/>
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                <text>Cepero, Laura</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
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              <elementText elementTextId="368425">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/"&gt;RICHES MI&lt;/a&gt;</text>
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            <name>Source Repository</name>
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                <text>Private Collection of Thomas Cook</text>
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            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="368427">
                <text>"&lt;a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank"&gt;Downtown Orlando Historic District Walking Tour&lt;/a&gt;." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.</text>
              </elementText>
              <elementText elementTextId="368428">
                <text>"&lt;a href="http://www.ninthcircuit.org/about/courthouses/orange/" target="_blank"&gt;Orange County Courthouse&lt;/a&gt;,." Ninth Judicial Circuit Court of Florida. http://www.ninthcircuit.org/about/courthouses/orange/.</text>
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              <elementText elementTextId="368429">
                <text>Rajtar, Steve. &lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;&lt;/em&gt;. Charleston, SC: History Press, 2006.</text>
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        <name>9th District Court</name>
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        <name>Cook, Thomas</name>
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      <tag tagId="16009">
        <name>courthouse</name>
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      <tag tagId="2144">
        <name>Downtown Orlando</name>
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      <tag tagId="17372">
        <name>King, James R.</name>
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      <tag tagId="818">
        <name>King, Murray S.</name>
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      <tag tagId="17371">
        <name>Neoclassical Revival architecture</name>
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      <tag tagId="2420">
        <name>Ninth District Court</name>
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      <tag tagId="799">
        <name>Orange Avenue</name>
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      <tag tagId="567">
        <name>Orange County Courthouse</name>
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      <tag tagId="795">
        <name>orlando</name>
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                  <text>Thomas Cook Collection</text>
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              <name>Subject</name>
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                  <text>Orlando (Fla.)</text>
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                <elementText elementTextId="473990">
                  <text>Orange County (Fla.)</text>
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                <elementText elementTextId="473991">
                  <text>Longwood (Fla.)</text>
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                <elementText elementTextId="511698">
                  <text>Cape Canaveral (Fla.)</text>
                </elementText>
                <elementText elementTextId="511699">
                  <text>Lake Wales (Fla.)</text>
                </elementText>
                <elementText elementTextId="511700">
                  <text>Silver Springs (Fla.)</text>
                </elementText>
                <elementText elementTextId="511701">
                  <text>Weeki Wachee (Fla.)</text>
                </elementText>
                <elementText elementTextId="511702">
                  <text>Winter Haven (Fla.)</text>
                </elementText>
                <elementText elementTextId="511703">
                  <text>Osceola County (Fla.)</text>
                </elementText>
                <elementText elementTextId="511704">
                  <text>Winter Park (Fla.)</text>
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              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
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                  <text>Collection of digital images, postcards, documents, and other records from the private collection of Thomas Cook. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.</text>
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            <element elementId="37">
              <name>Contributor</name>
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                  <text>eng</text>
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              <name>Coverage</name>
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                  <text>Lake Wales, Florida</text>
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                <elementText elementTextId="511713">
                  <text>Longwood, Florida</text>
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                <elementText elementTextId="511714">
                  <text>Orange County, Florida</text>
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                  <text>Orlando, Florida</text>
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                <elementText elementTextId="511716">
                  <text>Osceola County, Florida</text>
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                <elementText elementTextId="511717">
                  <text>Winter Haven, Florida</text>
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                <elementText elementTextId="511718">
                  <text>Winter Park, Florida</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="125">
              <name>Rights Holder</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="474035">
                  <text>All items in the &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank"&gt;Thomas Cook Collection&lt;/a&gt; are provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            </element>
            <element elementId="133">
              <name>Curator</name>
              <description/>
              <elementTextContainer>
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                  <text>Cepero, Laura</text>
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              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="474037">
                  <text>&lt;p&gt;&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;&lt;/p&gt;</text>
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              <description/>
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              <name>Has Part</name>
              <description/>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/103" target="_blank"&gt;Postcard Collection&lt;/a&gt;, Thomas Cook Collection, RICHES of Central Florida.</text>
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            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="511719">
                  <text>&lt;span&gt;Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt; Charleston, S.C.: Arcadia Pub, 2012.&lt;/span&gt;</text>
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                <elementText elementTextId="511720">
                  <text>"&lt;a href="http://sanfordhistory.tripod.com/Links/wtour.pdf"&gt;Downtown Orlando Historic District Walking Tour&lt;/a&gt;." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.</text>
                </elementText>
                <elementText elementTextId="511721">
                  <text>&lt;span&gt;Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: History Press, 2006.&lt;/span&gt;</text>
                </elementText>
                <elementText elementTextId="511722">
                  <text>&lt;span&gt;Osborne, Ray. &lt;a href="http://www.worldcat.org/oclc/253374549" target="_blank"&gt;&lt;em&gt;Cape Canaveral&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: Arcadia Pub, 2008.&lt;/span&gt;</text>
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                <elementText elementTextId="511723">
                  <text>&lt;span&gt;Smith, Margaret. &lt;a href="http://www.worldcat.org/oclc/51888803" target="_blank"&gt;&lt;em&gt;The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002.&lt;/span&gt;</text>
                </elementText>
                <elementText elementTextId="511724">
                  <text>&lt;span&gt;Pelland, Maryan, and Dan Pelland. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/67516850" target="_blank"&gt;&lt;em&gt;Weeki Wachee Springs&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2005.&lt;/span&gt;</text>
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                <elementText elementTextId="511725">
                  <text>&lt;span&gt;Flekke, Mary M., Sarah E. MacDonald, and Randall M. MacDonald. &lt;a href="http://www.worldcat.org/oclc/85451307" target="_blank"&gt;&lt;em&gt;Cypress Gardens&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2006.&lt;/span&gt;</text>
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      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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          <name>Original Format</name>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
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                <text>Orlando Post Office and Federal Courthouse, 2001</text>
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            <name>Alternative Title</name>
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                <text>Orlando Post Office &amp; Federal Courthouse</text>
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            <name>Subject</name>
            <description/>
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                <text>Office space buildings--Florida</text>
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                <text>U.S. Postal Service</text>
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                <text>The United States Post Office and Federal Courthouse at 42-44 East Central Boulevard in Downtown Orlando, Florida, in 2001. The building was constructed in a Spanish Colonial Revival style from 1939 to 1941 and dedicated on April 14, 1941. It has been occupied by the United States Postal Service since 1941, the Federal District Courthouse from 1941 to circa 1974, and the office of the Roman Catholic Church since 2003.&lt;br /&gt;&lt;br /&gt;The building was renovated in the early 2000s and was modified for office and retail use, with the post office retaining 13,200 square feet. Plans included an adjacent parking garage on the north side, though that that aspect never came to fruition. St. James Roman Catholic Cathedral, located across Court Street from the post office, purchased the parts of the building not utilized by the post office and use it for Chancery office space.</text>
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            <name>Publisher</name>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank"&gt;Thomas Cook Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>&lt;span&gt;Smith, Margaret. &lt;a href="http://www.worldcat.org/oclc/51888803" target="_blank"&gt;&lt;em&gt;The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002.&lt;/span&gt;</text>
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&#13;
The building was renovated in the early 2000s and was modified for office and retail use, with the post office retaining 13,200 square feet. Plans included an adjacent parking garage on the north side, though that that aspect never came to fruition. St. James Roman Catholic Cathedral, located across Court Street from the post office, purchased the parts of the building not utilized by the post office and use it for Chancery office space.</text>
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&#13;
The building was renovated in the early 2000s and was modified for office and retail use, with the post office retaining 13,200 square feet. Plans included an adjacent parking garage on the north side, though that that aspect never came to fruition. St. James Roman Catholic Cathedral, located across Court Street from the post office, purchased the parts of the building not utilized by the post office and use it for Chancery office space.</text>
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                <text>Humanities Teacher</text>
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                <text>The United States Post Office and Federal Courthouse at 42-44 East Central Boulevard in Downtown Orlando, Florida, in 2007. The building was constructed in a Spanish Colonial Revival style from 1939 to 1941 and dedicated on April 14, 1941. It has been occupied by the United States Postal Service since 1941, the Federal District Courthouse from 1941 to circa 1974, and the office of the Roman Catholic Church since 2003.&#13;
&#13;
The building was renovated in the early 2000s and was modified for office and retail use, with the post office retaining 13,200 square feet. Plans included an adjacent parking garage on the north side, though that that aspect never came to fruition. St. James Roman Catholic Cathedral, located across Court Street from the post office, purchased the parts of the building not utilized by the post office and use it for Chancery office space.</text>
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                  <text>Longwood, Florida</text>
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                  <text>All items in the &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank"&gt;Thomas Cook Collection&lt;/a&gt; are provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                  <text>&lt;p&gt;&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;span&gt;Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt; Charleston, S.C.: Arcadia Pub, 2012.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://sanfordhistory.tripod.com/Links/wtour.pdf"&gt;Downtown Orlando Historic District Walking Tour&lt;/a&gt;." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.</text>
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                  <text>&lt;span&gt;Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: History Press, 2006.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Osborne, Ray. &lt;a href="http://www.worldcat.org/oclc/253374549" target="_blank"&gt;&lt;em&gt;Cape Canaveral&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: Arcadia Pub, 2008.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Smith, Margaret. &lt;a href="http://www.worldcat.org/oclc/51888803" target="_blank"&gt;&lt;em&gt;The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Pelland, Maryan, and Dan Pelland. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/67516850" target="_blank"&gt;&lt;em&gt;Weeki Wachee Springs&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2005.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Flekke, Mary M., Sarah E. MacDonald, and Randall M. MacDonald. &lt;a href="http://www.worldcat.org/oclc/85451307" target="_blank"&gt;&lt;em&gt;Cypress Gardens&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2006.&lt;/span&gt;</text>
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                <text>LizArt Live! Auction at Orlando City Hall</text>
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                <text>LizArt Live! Auction</text>
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                <text>The LizArt Live! auction at Orlando City Hall, located at 400 South Orange Avenue, in Downtown Orlando, Florida 2002. The statues range between 5 feet and six inches in height to seven feet and six inches in length. The lizard statues were originally located at various places in Orlando, such as the Orlando Centroplex, Lake Eola, the Expo Centre, and the Cultural Corridor, CityWalk at Universal Studios Orlando, the Orange County Convention Center, Orlando International Airport, Leu Gardens, and Loch Haven Park.&lt;br /&gt;&lt;br /&gt;The LizArt project was inspired by Chicago's cows on Parade, which was modeled after a public art project in Zurich, Switzerland, in 1998. Other cities have held similar projects, such as Cincinnati's pigs, Lexington's horses, Buffalo's buffalo, Virginia Beach's mermaids, New Orleans' fish, and Rhode Island's potato heads. The LizArt was auctioned on January 31, 2002.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/102" target="_blank"&gt;Thomas Cook Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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            <name>Accrual Method</name>
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                <text>Humanities Teacher</text>
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            <name>Rights Holder</name>
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                <text>Copyright to this resource is held by Thomas Cook and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            <description/>
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                <text>Maupin, Elizabeth. &lt;a href="http://articles.orlandosentinel.com/2000-10-16/news/0010160288_1_lizards-mike-conrad-stand-tall" target="_blank"&gt;Lizards Slither Into Downtown Orlando: The City This Week Will Unleash Lizart, With 49 Creatures Headed To Sidewalks And Parks&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, October 16, 2000. http://articles.orlandosentinel.com/2000-10-16/news/0010160288_1_lizards-mike-conrad-stand-tall.</text>
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                <text>Krueger, Jill. "&lt;a href="http://www.bizjournals.com/orlando/stories/2002/01/28/daily45.html?page=all" target="_blank"&gt;Lizards away! Auction sells off LizArt!&lt;/a&gt;" &lt;em&gt;Orlando Business Journal&lt;/em&gt;, February, 1, 2002. http://www.bizjournals.com/orlando/stories/2002/01/28/daily45.html?page=all.</text>
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&#13;
400</text>
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                <text>The 1948 Memorandum of Understanding between the Seminole Soil Conservation District and the United States Department of Agriculture. The Seminole Soil Conservation District organization began in 1948 with a goal of assisting agricultural interests. Over the years, the Seminole County Soil and Water Conservation District also began to concentrate on the development and management of recreational enterprises.  Their interests included inventory and evaluations for land uses and solving issues concerning soil and water resources.  In the 1948 memorandum, the Board articulates a goal to cooperate with the Department of Agriculture in order to achieve certain objectives pertaining to soil conservation and erosion control. The five page Memorandum discusses the implementation of a work plan for the Seminole Soil Conservaiton District. The memorandum is signed by R. F. Cooper and C. R. Dawson of the Seminole Soil Conservation District. </text>
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                <text>Helms, Douglas. "&lt;a href="https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/about/history/?cid=nrcs143_021384" target="_blank"&gt;Hugh Hammond Bennett and the Creation of the Soil Conservation Service&lt;/a&gt;." &lt;em&gt;Journal of Soil and Water Conservation&lt;/em&gt; 65, no. 2, March/April 2010, 37-47. https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/about/history/?cid=nrcs143_021384.</text>
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                <text>The Program of the Board of Supervisors of the Seminole Soil and Water Conservation District for 1948. The organization began in 1948 with a goal to assist in agricultural interests. Over the years, the Seminole Soil and Water Conservation District began to also concentrate on the development and management of recreational enterprises. Their interests also entailed solving issues concerning soil and water resources. In the 1948 program, the Seminole Soil Conservation District discusses agriculture and plans to confront issues pertaining to water control, land use, soil depletion, wind and water erosion, pasture development, and woodland and wildlife management. The nine page program is signed by R.F. Cooper, C.A. Wales, T.L. Lingo, R.T. Milwee, and Tom McLain, Jr.</text>
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                <text>&lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;</text>
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                <text> DeFreese, Duane E. "&lt;a href="https://www.jstor.org/stable/20700248?seq=1#page_scan_tab_contents" target="_blank"&gt;Florida and the Environment: From 'La Florida' to Global Warming: 2008 Jillian Prescott Memorial Lecture&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 87, no. 4, Spring 2009, 465-483. https://www.jstor.org/stable/20700248?seq=1#page_scan_tab_contents.</text>
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                  <text>Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, S.C.: Arcadia Pub, 2012.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                  <text>"&lt;a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank"&gt;Downtown Orlando Historic District Walking Tour&lt;/a&gt;." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank"&gt;Orlando Philharmonic Orchestra Collection&lt;/a&gt;, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank"&gt;Downtown Orlando Information Center Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank"&gt;Orlando Regions Bank Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Letter from Carolyn S. Cope to Dorothy Barbour (September 19, 1979)</text>
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                <text>A letter from Carolyn S. Cope was sent in response to an inquiry from Dorothy Barbour regarding outparcel land surrounding the Florida Mall. Cope was a real estate broker at of Two XI, Inc., located in Coconut Grove in Miami, Florida. The mall was designed and constructed by the Edward J. DeBartolo Corporation, founded by Edward J. DeBartolo, Sr. (1909-1994) in 1944. Edward J. DeBartolo Jr. (b. 1946) joined his father's business and together they became known as the "kings of the shopping mall." By the late 1980s, the DeBartolo Corporation had constructed 51 shopping malls, including 21 in Florida. The Florida Mall, located on the corner of Sand Lake Road and Orange Blossom Trail, was designed to appeal to Central Florida's large tourist economy and opened in March of 1986. Originally, the mall sat on 250 acres, contained over 1.3 million square feet of shopping space, and featured over 160 stores.</text>
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                <text>Original 1-page typed letter from Carolyn S. Cope to Dorothy Barbour, September 19, 1979: &lt;a href="http://pinecastlehistory.org/" target="_blank"&gt;Pine Castle Historical Society&lt;/a&gt;, Pine Castle, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/20" target="_blank"&gt;Orlando Collection&lt;/a&gt;, Orange County Collection, RICHES of Central Florida.</text>
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                <text>"&lt;a href="https://richesmi.cah.ucf.edu/omeka/items/show/7094" target="_blank"&gt;Letter from Dorothy Barbour to Carolyn S. Cope (September 12, 1979)&lt;/a&gt;." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka/items/show/7094.</text>
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                <text>Cope, Carolyn S.</text>
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                <text>Lake, Harriett</text>
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                <text>Originally created by Carolyn S. Cope.</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://pinecastlehistory.org/" target="_blank"&gt;Pine Castle Historical Society&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Crawford, Selwyn. "&lt;a href="http://articles.orlandosentinel.com/1986-06-15/business/0230120196_1_debartolo-shopping-malls-mall-in-south" target="_blank"&gt;Edward J. DeBartolo Sr. bristles at even the slightest…&lt;/a&gt;.'" &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, June 15, 1986. http://articles.orlandosentinel.com/1986-06-15/business/0230120196_1_DeBartolo-shopping-malls-mall-in-south.</text>
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        <name>real estate</name>
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                  <text>Folk plays</text>
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                  <text>&lt;span&gt;Creative Sanford, Inc. is a non-profit organization created to manage &lt;em&gt;Celery Soup: Florida's Folk Life Play&lt;/em&gt; community theater productions. The original idea for the Celery Soup project came from Jeanine Taylor, the owner of a folk-art gallery on First Street in Sanford, Florida. Their first production was &lt;/span&gt;&lt;em&gt;Touch and Go&lt;/em&gt;&lt;span&gt;, a play focusing on the people of Sanford and their determination to overcome various obstacles, including the Freeze of 1894-1895, the fall of Sanford's celery industry, and the closing of Naval Air Station (NAS) Sanford in the 1960s. In the process of producing the show, Creative Sanford decided to rehabilitate an historic building, the Princess Theater, which is located on 115 West First Street and owned by Stephen Tibstra. The Creative Sanford offices are housed in the Historic Sanford Welcome Center, located at 203 East First Street.&lt;/span&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank"&gt;Sanford Collection&lt;/a&gt;, Seminole County Collection, RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank"&gt;Seminole County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Historic Sanford Welcome Center, Downtown Sanford, Florida</text>
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                  <text>Princess Theater, Downtown Sanford, Florida</text>
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                  <text>Cepero, Laura</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.celerysoupsanford.com//about" target="_blank"&gt;WHO IS CREATIVE SANFORD, INC?&lt;/a&gt;" Celery Soup. http://www.celerysoupsanford.com//about.</text>
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                  <text>&lt;span&gt;"&lt;a href="http://www.celerysoupsanford.com/about/" target="_blank"&gt;About: History and Purpose&lt;/a&gt;." Celery Soup. http://www.celerysoupsanford.com/about/.&lt;/span&gt;</text>
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                <elementText elementTextId="505765">
                  <text>"&lt;a href="http://www.communityperformanceinternational.org/sanford-florida" target="_blank"&gt;Sanford, Florida: How do you make Celery Soup? Add stories, then stir&lt;/a&gt;." Community Performance International. http://www.communityperformanceinternational.org/sanford-florida.</text>
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                <elementText elementTextId="511907">
                  <text>&lt;a href="http://www.celerysoupsanford.com/" target="_blank"&gt;Creative Sanford, Inc.&lt;/a&gt;</text>
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                <text>Oral History of Odetta Copper</text>
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                <text>Sanford (Fla.)</text>
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                <text>Orlando (Fla.)</text>
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                <text>Celery</text>
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                <text>Agriculture--Florida</text>
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                <text>Fishing--Florida</text>
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                <text>An oral history of 89-year-old Odetta Copper (b. 1921), who was born on June 26, 1921, in France, Florida. She migrated to Sanford in 1946. Copper tells of her strict upbringing and the hardship she faced when growing up with her parents and nine siblings. In the interview, she also describes what it was like working on the farm, what holidays were like, and how times have changed.</text>
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                <text>Copper, Odetta. Interviewed by Bev [last name unknown]. February 25, 2010. Audio record available. &lt;a href="http://www.celerysoupsanford.com//about" target="_blank"&gt;Creative Sanford, Inc.&lt;/a&gt;, Sanford Florida.</text>
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                <text>&lt;a href="http://www.celerysoupsanford.com//about" target="_blank"&gt;Creative Sanford, Inc.&lt;/a&gt;, Sanford Florida.</text>
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              <elementText elementTextId="510556">
                <text>&lt;a href="http://www.celerysoupsanford.com//about" target="_blank"&gt;Creative Sanford, Inc. Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
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                <text>Digital transcript of original oral history: Copper, Odetta. Interviewed by Bev [last name unknown]. February 25, 2010. Audio record available. Celery Soup.</text>
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              <elementText elementTextId="510558">
                <text>France, Orlando, Florida</text>
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              <elementText elementTextId="510559">
                <text>St. Johns River, Florida</text>
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              <elementText elementTextId="510560">
                <text>Midway, Sanford, Florida</text>
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              <elementText elementTextId="510562">
                <text>Copper, Odetta</text>
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              <elementText elementTextId="510564">
                <text>2010-02-25</text>
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              <elementText elementTextId="510568">
                <text>eng</text>
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                <text>Originally created by Odetta Copper and transcribed by Freddie &lt;span&gt;Román-Toro&lt;/span&gt;.</text>
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              <elementText elementTextId="510574">
                <text>Copyright to this resource is held by &lt;a href="http://www.celerysoupsanford.com//about" target="_blank"&gt;Creative Sanford, Inc.&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Donation</text>
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              <elementText elementTextId="510576">
                <text>&lt;a href="http://www.celerysoupsanford.com//about" target="_blank"&gt;Creative Sanford, Inc.&lt;/a&gt;</text>
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              <elementText elementTextId="510577">
                <text>&lt;a href="http://www.celerysoupsanford.com/" target="_blank"&gt;Celery Soup&lt;/a&gt;</text>
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                <text>Román-Toro, Freddie</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.celerysoupsanford.com//about" target="_blank"&gt;Creative Sanford, Inc.&lt;/a&gt;</text>
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            <description/>
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              <elementText elementTextId="510581">
                <text>"&lt;a href="http://www.celerysoupsanford.com/" target="_blank"&gt;Celery Soup&lt;/a&gt;." &lt;em&gt;Celery Soup: Florida's Folk Life Play&lt;/em&gt;. http://www.celerysoupsanford.com/.</text>
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              <elementText elementTextId="510582">
                <text>"&lt;a href="http://www.celerysoupsanford.com/" target="_blank"&gt;Celery Soup&lt;/a&gt;." &lt;em&gt;Creative Sanford, Inc.&lt;/em&gt;. http://www.celerysoupsanford.com/.</text>
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              <elementText elementTextId="510583">
                <text>Flewellyn, Valada S. &lt;a href="http://www.worldcat.org/oclc/320804616" target="_blank"&gt;&lt;em&gt;African Americans of Sanford&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia Pub, 2009.</text>
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              <elementText elementTextId="510584">
                <text>&lt;span&gt;Hurt, R. Douglas. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/56422251" target="_blank"&gt;&lt;em&gt;African American Life in the Rural South, 1900-1950&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Columbia: University of Missouri Press, 2003.&lt;/span&gt;</text>
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            <description/>
            <elementTextContainer>
              <elementText elementTextId="612882">
                <text>&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Mrs. Odetta [Copper], tell me something about yourself. Tell me where you grew up. Anything you want to share with me about yourself.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;You grow up in a different way now. I wasn’t bad. We wasn’t bad, ‘cause you couldn’t be bad back then, ‘cause dey put da whoop on ya, an’ well, ain’t ever been too much until I got up kind of in my teens. It was kind of rough. I mean, got up grown or about 25-26. I was wild fo’ a while, but I finally come here, an’ it used to be kind of rough.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Where did you grow up?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I growed[sic] up in West Florida.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Do you remember the name of the town?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Dey call it France, Florida.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What was it like growing up there?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;It was all form of work. School, go fo’ work, pick cotton, go to school, an’ all dat.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;When did you come to Sanford?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I come to Sanford in [19]46.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;And have you been here since?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Ever since. I think I was 25 or 26 when I come down here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What are some of the memorable experiences you had growing up?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Nothin’, but getting whoopins when I need one, ‘cause at dat time, my mutha, right—it be dark when she go to work. It be dark when she come home. And we was home by ourself[sic], and she tell us to don’t go out in da yard. We didn’t go out in da yard. We had a dog. If da kids try to come in da yard, you put da dogs on da kids, ‘cause she said she didn’t want da kids there. My mama didn’t play. She’d put da whoop on you. You did what she say[sic] to do. If you did sumthin’ one time, an’ she told you not to do it, you wouldn’t do it no mo’. She didn’t whoop da clothes. She’d tell you straight, “Come at my clothes. Dey cost too much money. [inaudible] of what God gives you.” Yeah. She wasn’t playin’.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Are you an only child or do you have brothers and sisters?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, there was ten of us, but I’m da second oldest. My oldest brother—he died. When Mama told you not to do a thang, she meant for you not to do it, but you didn’t get in trouble too much back den at dat time. Children didn’t get in trouble too much back den.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Did you know your grandparents when you were growing up?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I know my granmutha, Mary, and I know dat was my mama’s mutha, an’ I had aunts. My aunts an’ my uncles—I know dem, an’ some of dem—I know dem. Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Do you have any memorable experiences with any of them? Any story about your grandmother? Any experiences you had with any of your uncles that you’d like to share? Did you do anything with your grandmother?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Well, not too much. We visited ‘er now and den, but my grandmamma was better to me dan my mama was, ‘cause my grandmamma didn’t ever whoop me, but my mama whoop me. I had a good granmutha. My granmutha lived ‘til my first child was born. She died after my first child was born, so I was wit ‘er—well, I wasn’t wit ‘er—but I visited ‘er ‘til I was about 17 years old. Den I had my first baby. Yeah, it wasn’t like it is now. It wasn’t wild like it is now. Little girls were somethin’ else back then. Dey was somethin’ else.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What are some of the things they would do? What are some of the things teenagers would do when you were a teenager?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;When I was a teenager, I went to school. I didn’t give da teacha no trouble. I think I got one whoopin’ in school one time, ‘bout fightin’ in da class. I got a whoopin’ ‘bout dat.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Do you remember why you fought?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, da boy was named Douglas. He told hisself[sic] he liked me, an’ I didn’t like ‘im, an’ we was in a class—in a class standin’ up, an’ he stepped on my foot, an’ when he stepped on my foot, I went upside his head wit my fist, an’ I got a whoopin’ there. Both of us got a whoopin’ in da school fo’ fightin’, an’ she took me home an’ told mama what she whoop me fo’. Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;And did your mama beat you again?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No, Mama didn’t beat me no more.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Do you have any pleasant, wonderful experiences from your childhood?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Nothing was happy about your childhood?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No, all I used to do—when I went into school, a lot of white folks back up there at dat time what had babies an’ thangs. I would go out an’ take care of dey[sic] babies fo’ ‘em you know. Tend to dey babies an’ all. I’d go out ‘til it was nightfall, an’ den I’d have to go out there an’ help ‘er when she gettin’ ready to milk the cows. I’d go out there—an’ thangs like dat. It wasn’t like today. I didn’t ever get in no trouble worth nuthin’, but getting’ a whoopin’ from Mama.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;So you came to Sanford—you said in 1946? Tell me what it was like in Sanford then.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;It wasn’t like it is now. It was more friendly[sic] then. Da people was[sic] more friendly[sic]. Most of da people den were workin’ on the farm. Dis used to be a farmin’ place. All dis used to be farm. All of it used to be farm mostly.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Any other changes from the time you came?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;It changed a whole lot. It’s not like it had been—like it used to be. Dey didn’t fight an’ kill like dey do now. Dey didn’t do dat. People more friendly[sic], but right now, people walk by you, dey don’t even speak to you. You be sittin’ down right there, an’ dey walk by, dey don’t even speak. If dey see you, dey try to head da other way. People wasn’t makin’ much money back in dem days. I work 50 hours a week fo’ $22.50 a week. Dat’s all I got, an’ so now people makin’ a lil’ more now. It’s different now.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Were things as expensive as they are now? So $22.50 a week could buy…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No, you could get a pair of sock fo’ 15 cent an’ all that, an’ da clothes wasn’t like it is now. You could take $10 or $12, an’ go buy enough clothes. Den you had to buy fo’ two weeks without goin’ back to da store, but you can’t do dat now.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What was it like working on the farm? You said you came here to work on the celery farm. What was it like? What hours did you do? When did you start work? And how long did you have to work? And what did you have to do on the farm?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;We’d work from—we start da work—we start at seven fast in da spring, an’ we work ‘til da fall of da year. You had to set da plants, den you had to get a—gather da vegg’bles. And den after dat, it plant sweet corn an’ dat’s da last crop. One year, we planted cotton behind da sweet corn. So we had a year-round job that time. When da cotton come up, we had to thin da cotton out. Den had to keep da grass out da cotton. Den when da cotton got ready to pick. We had to pick da cotton. Work da whole year round. It was a lil’ better den dan it is now. It was nice when we first come[sic] down here. It was nice. Used to have a lot of fun. We’d enjoy ourself[sic] out there on da farm all day long. Nobody wasn’t—didn’t act like dey was tired, or dey didn’t say dey was tired, ‘cause more of dem was in dey twenties. Might’ve been a few maybe thirties. The oldest was over us, so we used to have a lotta fun out there. Nobody ever fighted[sic] out there on the farm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What did you do on the weekends when you weren’t working? What would you do to socialize?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Go fishin’. I take my two children an’ go fishin’.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Where did you go?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Sometimes out to da [St. Johns] River. Sometimes out to da lakes an’ thangs. Go out.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Did you catch a lot?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, ‘cause a lotta times, when I get out from work on da farm, I had da children meet me down at da [inaudible] of da road, an’ my pole it breaked[sic], an’ I be done work [inaudible] in da summertime [inaudible]. Then I go on down to da lake—down there an’ fish ‘til dark.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;So I’m sure you ate some of the fish that you caught. Did you sell any of them or did you give some away?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Said—did I eat ‘em? We ate ‘em [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;You had fish fries. That’s good.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, so I ate those fish. There was some nice, big fish down—there’s da Saint Johns River right down there.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Do you remember what kind of fish you were catching?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Well, it was all kind of fish down there. Dey musta had freshwater muddies&lt;a title=""&gt;[1]&lt;/a&gt; down there, but I don’t know. Back den dey called it “taste muddy.” Dey taste different dan da saltwater muddies, but dey had blue gills. Dey had shell crackles. Dey always had slammed[?] brim, an’ big catfish, an’ all dat. I enjoyed all of dat, but it’s been a long time since I been fishin’, ‘cause I can’t move around no mo’. You know I’m lookin’ at 90 years now.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;You’re going to be 90? Congratulations.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;The 26&lt;sup&gt;th&lt;/sup&gt; of this June comin’ in, an’ I’ll be 90 years old.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;And I hope you have many more birthdays, and live to see your great-great-great-great granddaughters and grandsons.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;[inaudible] is my granddaughter. She’s my great-granddaughter, but she look more like she my child, yet she [inaudible] my grandchild. I got six generations. I just give da good Lord thanks every day fo’ keepin’ me here dis long, ‘cause I told ‘im I know I was bad a lil’ while, but not long.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;The foods you were eating growing up—was it different from what you’re eating now? Do you think that helps you to live long?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, we didn’t hardly have to buy nothin’, but da flour meal is still called [inaudible]. Always planted a garden, an’ we had plenty vegg’bles. Plenty of it. We go fishin’ an’ catch fish. And we have sweet potatoes—had two bags of sweet potatoes in da backyard, an’ had white potatoes stored up under da house—in the dirt up under da house. We had plenty food. Plenty food. When dey’d buy syrup, dey’d buy it in a barrel keg like dat—wood, an’ had a sticker on it, but when she get ready fo’ us to have syrup, she’d always throw it out da sticker, an’ stand up there on the table [inaudible], ‘cause she’d be goin’ to work. Mama come home one day. My brutha—my oldest brutha— he done told hisself[sic], he gonna get some mo’ syrup. It wasn’t enough fo’ him. When dey open the barrel—dey open da screw on da barrel—he didn’t know how to put it back, an’ dat was bad. Syrup was everywhere. When Mama come [&lt;em&gt;laughs&lt;/em&gt;] an’ syrup was everywhere.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Did he get a whoopin’?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;You know, he used to wear a shirt so long, it feel like it was a dress, but it would be [inaudible] pants, but Mama made ‘im come out dem thangs—come out dat shirt an’ dem pants. [inaudible] den she put ‘er foot in his back like dat, an’ she had three of dem [inaudible,] an’ had dem [inaudible] together, an’ she would whoop ‘im a while. She’d tell da child’n havin’ my [inaudible]. She’d talk to ‘im again, an’ she start back whoopin’ again. &lt;em&gt;Dat woman gonna kill ‘im.&lt;/em&gt; Dat’s what I always said to myself, but one day she got me too. Dat woman put a whoopin’ on me. Dat woman whoop me. I had blood an’ blisters from here all da way down.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What did you do to get that whoopin’?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Tryin’ to think what I had—sumthin’ she told me not to do, but I did it anyhow, but I done forgot what it was, but when dat woman [inaudible], you betta not even whimper. Don’t you whimper. You betta not whimper. You be hurtin’ so bad inside you wanna bust [&lt;em&gt;laughs&lt;/em&gt;]. “Mama, mama. Can I—can—can I—go to da bathroom?” She said, “You better not [inaudible].” [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;You better hurry up and go.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I’d go out to da bathroom, an’ I’d crank da door to see, but she comin’ toilet. I says, “Lord, I wish dat ol’ black woman would die.” [&lt;em&gt;laughs&lt;/em&gt;] Mama didn’t play.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Did she live very long? How old was she when she died?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Mama was 67 to 68 when she died.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;So she lived long.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;But I had a good mama. We didn’t suffer fo’ nuthin.’ I had a good mama. She made a life fo’ us. She work nights. She work all day long. It be[sic] dark when she go to work. It be dark when she come back, but she didn’t go to bed ‘til she cooked an’ fix us food—‘fore she went to bed. She leave dat food on da stove. She leave bread pack up like dat—cake bread—a pot of beans, a pot of greens, or sumthin’ like dat. enough to last us all day long, an’ we wasn’t hungry, ‘cause we [inaudible] just playin’ all da time, an’ we had a lotta fruit trees around us, an’ we’d eat da fruit too you know. So I had a good mom. She whoop me, but I had a good mom.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What about your dad? Was he around? Did he go to work?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No, he’s always camped out. Mama was just home wit us, but he would come home ‘bout every week or every two weeks, an’ stay da weekend, but he would go back, ‘cause he was workin.’&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Do you know where he went for work? Was it in Florida or was it another state?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;[inaudible] at dat time, mens[sic] was doin’ [inaudible] work. I know you heard the tale of [inaudible] work. He was [inaudible] down there. He was ‘bout 10 or 12 miles from when where we was stayin’ at, but he whoop my brutha one time. He whoop my brutha—my oldest brutha—but we didn’t know we was stealin’. We didn’t know dat. He went over in Mr. Lang’s[?] field an’ got a watermelon—there was a watermelon field, an’ he was way out there da way he was at. My dad—Mr. Lang’s[?] house was way over there. You just could see it. Papa come over there, an’ cut da watermelon, an’ ate it, an’ da seeds an’ thangs. He seen dem, an’ ask us where we get it from, an’ [inaudible] I said, “[inaudible] went over there in dat field an’ got us a watermelon.” He said, “[inaudible], don’t you know Mr. Lang[?] woulda come by there an’ find you in dat field, he’da shot ya? He’da kill’d ya.” So he put a whoopin’ on my brutha. Den my mama happen to come down there to get us, an’ my brutha was still sick. He was throwin’ up blood, an’ den my mutha had it, and we didn’t ever stay wit him no more. Never.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Now, you came here in 1946. And since then, your family has been here, like you and your two kids. And all your other generations were born and raised in Sanford, right? When you came here, did you have your two kids with you or you had them here?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No, I had ‘em from when I come here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;So all their kids were born here? Okay, so you started a trend here in Sanford.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, all of ‘em were born here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;As a family, did you talk about things like ghost stories? Did you tell ghost stories growing up?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What did you do for Halloween?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I ain’t do nuthin’ for Halloween. Da only thing we know about holidays is Christmas an’ Easter.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Tell us about Christmas and Easter when you were growing up.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Dey would dress us up fo’ Easter, but Christmas—we didn’t get toys like child’n get ‘em now, but we would have more fruit dan we would have anythin’ else. Apples, an’ oranges, an’ stuff like dat, candy, but we didn’t have da toys. Every now and den, you might get a doll. Da first doll I got—my baby brutha throwed[sic] my doll in da fireplace an’ burnt dat one up [&lt;em&gt;laughs&lt;/em&gt;]. Den da next one I got—not da same baby, but anotha one of da babies—tore da head off my baby. Course, we didn’t get toys like dey get ‘em now. You didn’t even see ‘em den.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What kind of preparations did your parents make for Christmas? Did you do anything special? Did you go to church?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Dey cooked. Dat’s all. Yeah, cooked cake, [inaudible,] make some kinda meat. Kill goats, kill cows, kill hogs, an’ I couldn’t stand to see it. I’d have to go wit ‘em to kill da hogs—killin’ ‘em thangs. Dey’d shoot da hogs. I’d be runnin’ around da house to hide. I couldn’t stand to see it. The goats—dey’d kill ‘em. My stepdaddy [inaudible] the knife right in front of da goat—da knife dey’d cut da goat’s throat, an’ da goat was so pitiful, an’ he’s cussin’, an’ goin’ after ‘em, ‘fore dey even go [inaudible]. I couldn’t stand it. I couldn’t see ‘em kill dat goat. Dey’d hang da goat up there on da thang up there, an’ dey cut da goat up. I wouldn’t eat it. I didn’t eat da goat meat. I didn’t eat da cow meat, an’ I mighta had some hog meat, but dat cow an’ dat goat—I couldn’t eat it to save my life. Mama said, “Well, if you can’t eat dis, you must be goin’ eat some dry bread.” and I said, “Well, I’ll just get my dry bread.” And what’s da otha one she had? Some kinda vegg’ble. I’d get dat, but I couldn’t eat dat stuff. I couldn’t even cook it [inaudible]. I couldn’t smell it cookin’. My husband would always have to put da beef meat on and cook it. I couldn’t stand da scent of it. made me sick. And right now, I don’t eat it. I have never had da goat. Never.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;What are some of the things you like to eat?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I tell you da truth. It ain’t very much I like right now. Nuthin', but I got to eat sumthin’, ‘cause I got to take my 10 pills a day. So I have to eat sumthin.’ because it ain’t got no taste to me now. Can’t tell exactly what I’m eatin,’ but I know I’m eatin.’ I have to eat a lil’ mouthful of sumthin.’&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;I want to go back a little to when you came with your kids. You would go to the plantation, and you would work on the farm. And then after work and on the weekends, you’d go fishing. What kind of activities did you do with your kids outside of fishing? Did you go to church on Sundays? What was school like for them?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, my child’n went to school. When a movie come in, right—a show come, I take ‘em myself to da show. I’d be tired, but I would take ‘em to da show. [inaudible] I’d be there wit ‘em ‘til da show was over. I would let ‘em go to da movies, but I would tell ‘em what time. I would know what time da movies turn out, an’ I’d be sittin’ there waitin’ on ‘em, ‘cause dey used to catch da bus to go to da movie, an’ catch da bus to come back. So da oldest girl catch da bus to come on home, but my baby girl, she was so grown. She caught da bus and went Midway—back there. I think she was ‘bout 12 or 13—sumthin’ like dat, but when she come home, I was standin’ there behind da door waitin’ on her. I was fussin’ at da oldest girl, ‘cause she didn’t make ‘er— ‘cause she said she wouldn’t mind ‘er, but when she walk through dat door, I grab ‘er, an’ I put sumthin’ on her behind, an’ I betcha she ain’t ever tried it no mo.’&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;You became your mother.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Dat’s da truth. I ain’t ever had no mo’ trouble wit ‘er. No mo.’ Now when I tell ‘em what time to be back—‘cause da show’s over by [inaudible] o’clock—the bus comin’ back down First Street. Dey get off the bus right there on da houses right there off [inaudible] da street. [inaudible] come in the door, and I said, “Where is [inaudible]?” “’Cause I tried to make ‘er come home wit me, but she went off an’ got out at Midway.” I said, “Okay.” I stopped dat right there.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Where was the show held? Was it in Sanford also?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Off on Sanford Avenue [inaudible]. They had a show on Stanford Avenue then—a movie show. I felt bad goin.’ I would go wit ‘em, but I was tired. You get out there and do 10 hours on that farm, you’d be tired. I told myself, “I’m gonna trust ‘em.” ‘Cause [inaudible] was pretty big. She was 14 or 15, an’ I ain’t ever had no trouble outta ‘em, until dat night when Miss Lady caught da bus an’ went to Midway. Dat was da first trouble I had ever had outta ‘er, an’ I ain’t had no more outta ‘er.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;You made sure you stopped it.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Dey said I did ‘em wrong, ‘cause I didn’t let dem go when dey wanted to go, but I made ladies outta ‘em.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Where are they now? Where are your girls?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Both of ‘em—they’re here in Sanford. Baby girl live not too far from here. And my oldest live on the otha side ova there.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Is there any particular person you admire most out of all the people you know, whether it be a relative, or someone you worked with, or someone you know from socializing at church or anywhere? Who is the person you admire the most and why?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I tell you da truth, my child’n. I don’t know. People done got so funny now. People don’t have nuthin’ too much to say to nobody. I guess. I don’t know why. I ain’t ever did nuthin’ to nobody, but dey won’t speak to you. Dey black, just like you is. I guess ‘cause dey got big cars now, an’ dey got money, an’ all dat kind of stuff. Maybe dey think—I don’t know what dey think. What dey got in dey mind, but I don’t care what you got. God helped you to get it, an’ he’ll help you to lose it. You don’t ever just walk by a person, an’, you know—dey ain’t ever did nuthin’ to you, an’ can’t say, “Well, how you do today?” Or “Good mornin’,” or “good evenin’.” Da time o’ day belongs to everybody. I just don’t know what’s wrong wit dem. I sit out there sometimes, and I be sittin’ on da end of da porch there, an’ da neighbors just be goin’ to da mailbox, an’ when dey glance. See me sittin’ on da porch, dey turn dey head da other way until dey pass by, an’ I say, “Now, I don’t even wanna know dem peoples. I ain’t did nuthin’ to dem. Dey can’t say “Good mornin’” or “Good evenin’?” I been here goin’ on 15 years, an’ I can’t tell you da name of ‘em but one, an’ dat one stay on da end down there. In all 15 years.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Do you have any other stories about anything in your life that you would like to share with me? Anything about your six generations?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Well, I tell you da truth. Dis ol’ lady here done forgotten ‘bout everythin’ she ever knowed[sic]. Ya don’ think like ya think now. Ya mind don’t be rigid like you used to be. Thangs right now—when I wake up to fix me some breakfast, I be thinkin’ ‘bout what I’m gonna fix, an’ it’ll come to me here, but when I get in da kitchen, I forget what I go in there at. I set dat in there, an’ I say, &lt;em&gt;Well, anyway, I needed to walk. I’ll come back an’ sit down and it’ll come back to me, but &lt;/em&gt;when I get in there and start tryin’ to fix my breakfast, I forget still. It take me an hour just to make some oatmeal or coffee, ‘cause by me havin’ roaches, I gotta wash everythin’ I use ‘fore I can cook it, an’ I sit there until it can come back to me.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;But it’s good that you can do all these things by yourself.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;But I cook my lil’ food, an’ I buy a lot already in cans. so when I do get home an’ don’t feel like tryna get up an’ cook sumthin’, I just go in there an’ open some o’ dat up an’ warm it up an’ eat it, an’ sometime I open a can o’ soup, an’ if I got a biscuit, I break da biscuit up in da soup, an’ dat’s da meal fo’ me. I hardly ever eat about once a day, but I got plenty o’ food in there. I just ain’t got da energy to move around an’ try to do like I used to do. Now I used to cook fo’ my family—fo’ my child’n—an’ invite dem fo’ Christmas. Dat I used to do all o’ dat.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Now they cook for you. They cook for you for Christmas.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;No, dey bring it ova.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Good. The party’s still here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Yeah, ‘cause dey know I can’t move ova there, so dey bring it ova an’ put it up there.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Now two different questions. The first one is: what was your biggest pleasure in life? If you were to think about your entire life—almost 90 years—what memory do you have that was most pleasing to you? And which one is most disappointing to you?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Child’n. Dis one right here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Tell me about her. Tell me about that one right there.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I raised her up from a baby up until she about 13.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Valencia [Larue], right?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;Her mama found out she could cook and could wash my clothes, an’ I was sick at dat time, an’ she used to go to da laundromat an’ wash my clothes like a lady, an’ bring ‘em back, an’ her mama come one day an’ ask me what we had fo’ dinner. I say, “We have sumthin’.” I forgot what it was, but she said, “I’ll be out there. I’m gonna eat.” so she come out there an’ fix da plate, an’ I said, “I thought you had already eaten.” she was talkin’ ‘bout how good it was, an’ I say, “Well, yo’ daughter cooked it.” She said, “My daughter cooked dis?” I said, “She sho’ did.” She said, “If my daughter cooked dis, I’ma take her home so she could cook and wash my clothes.”&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Are you kidding?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;She took ‘er. Yeah, she took ‘er. I had had a stroke at dat time an’ I had a—dis big here—an’ I couldn’t do nuthin’ wit dis hand. So I had her an’ she tried to cook, an’ dat girl had a head on her right there. She ain’t ever stumble. She keep goin’.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;All right. So Valencia’s your greatest joy? What’s your greatest disappointment?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;My grandchildren, yeah. When I was raisin’ ‘em up, I was not happy ‘bout nuthin.’&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;Oh, you were happy about everything? Great.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I remember one time, after I got grown, I got fast at my mama, an’ I was so hurted[sic]. Afta I got to thinkin’ ‘bout it dat, I went back an’ went to beg her pardon, an’, at dat time, my mama was in her prime. She didn’t go out nowhere to party, but she liked to drink. Dat day—I don’t know. I forgot what it was dat come up ‘bout, an’ I tried to walk away from da house without saying nuthin’ to her, an’ I went down da road, an’ she was following me, an’ she caught up wit me, an’ caught my clothes, an’ snatched on my clothes. I said, “I’ma tell you da truth. If you wasn’t my mama, dis is one day I would whoop yo’ so and so.” [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Bev&lt;br /&gt;&lt;/strong&gt;About how old were you then?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Copper&lt;br /&gt;&lt;/strong&gt;I was grown then. I was grown, an’ my child’n were grown. I tried to get away from ‘em, but I guess da Devil was there anyway, but I tell you da truth, she was snatchin’ on my clothes an’ shakin’ me. She said, “Act like I ain’t yo’ mama. Whoop me.” I went to cryin’. I turned around an’ went on my way. She turned around—she was drinkin’ at dat time, but I tell you da truth, I was sorry fo’ many a days I said dat to her. Talkin’ ‘bout whoopin’ on my mama, but she upsetted[sic] me. I had a good mom. She would do things that aggravate me. She’d go an’ put on two or three dresses. One [inaudible], put on an old coat, some old shoes, an old hat, an’ go walkin’ down da streets an’ all dat. Then I’d know people be laughin’ at her, an’ I think she was doin’ dat to aggravate me, an’ dat would hurt me. So I said, “Well, she should come to my house an’ do it.” Sometime I’d ease on out an ‘go on down da back way an’ be right there in da house. When I’d come back, she’ be long gone [&lt;em&gt;laughs&lt;/em&gt;]. That would aggravate me, but I had a sweet mom.&lt;/p&gt;
&lt;div&gt;&lt;br /&gt;&lt;div&gt;
&lt;p&gt;&lt;a title=""&gt;[1]&lt;/a&gt; Mudfish.&lt;/p&gt;
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                <text>eng</text>
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                <text>History Teacher</text>
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              <elementText elementTextId="562438">
                <text>Originally created by Dorothy M. Courier.</text>
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            <name>Rights Holder</name>
            <description/>
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              <elementText elementTextId="562439">
                <text>Copyright to this resource is held by &lt;a href="http://www.oviedowomansclub.org/" target="_blank"&gt;Oviedo Woman's Club&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://oviedohs.com/" target="_blank"&gt;Oviedo Historical Society&lt;/a&gt;</text>
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          <element elementId="133">
            <name>Curator</name>
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                <text>Cepero, Laura</text>
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          <element elementId="134">
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Private Collection of Beatrice Gestrich</text>
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                <text>"&lt;a href="http://www.oviedowomansclub.org/our-community/our-history.html" target="_blank"&gt;Our History&lt;/a&gt;." Oviedo Woman's Club. http://www.oviedowomansclub.org/our-community/our-history.html.</text>
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        <name>civic club</name>
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        <name>Dorothy M. Courier</name>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>Saint Johns River, Florida</text>
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                  <text>Winter Garden, Florida</text>
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                  <text>Winter Haven, Florida</text>
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                  <text>Zellwood, Florida</text>
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                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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                  <text>Cepero, Laura</text>
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                  <text>King, Joshua</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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                <text>Letter from Ernest H. Cowen to Gary Sharp (December 4, 1974)</text>
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                <text>Letter from Cowen to Sharp (Dec. 4, 1974)</text>
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            <elementTextContainer>
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                <text>Parks--Florida</text>
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              <elementText elementTextId="616957">
                <text>This letter, from Ernest H. Cowen, Manager of the Orlando Area Chamber of Commerce's Civic Affairs Department, to Gary Sharp, states Cowen's belief that a park in the Gourd Neck area would help attract public support for the larger project of restoring Lake Apopka and the Oklawaha River Basin, by emphasizing the area's suitability for recreational use. Cowen states that Environmental Resources Committee of the Orlando Chamber also supports this potential project. Cowen urges that the State of Florida purchase the land using funds from the Environmental Endangered Lands Program.&lt;br /&gt;&lt;br /&gt;Gourd Neck Springs is a small spring located in the southwest portion of Lake Apopka, in a small cove called “Gourd Neck” due to its distinctive shape. This area of the lake was considered in the 1960s as a potential nursery for fish. The Lake Apopka Technical Committee explored damming the Gourd Neck, separating it from the lake and preventing polluted lake water from entering, but these plans did not materialize. Efforts were also made in the 1960s to have the Gourd Neck area purchased by the State of Florida for use as a public park. The Gourd Neck Springs Park Association was formed in 1961 to study the site’s potential for a park and lobby for support from legislators. The land bordering the area was privately-owned by various individuals. One of these, Gary Sharp, continued seeking support for a park into the 1970s. While the project received support from Florida legislators and environmentalists, the land was never purchased by the state.&lt;br /&gt;&lt;br /&gt;The Environmental Endangered Lands Program (EEL) was formed in 1972 as part of the larger Land Conservation Act of 1972. The EEL program was initially funded through the sale of state bonds. The program was designed to help the state acquire lands considered Environmental sensitive and was not designed for creating areas for recreational use. Potential sites for acquisition could be suggested by citizens, county and state governments, and non-profit organizations. After evaluation for Environmental value, potential sites would be approved by the Executive Director of the Florida Department of Natural Resources and finalized by the Governor. In 1979, the former Executive Director, Harmon Shields, was indicted on corruption charges involving the lands-acquisition process. Following this scandal, the EEL program was replaced by Conservation and Recreation Lands Program. This change replaced the program's funding with tax revenues instead of bond sales, and formed the Land Acquisition Selection Committee, made up by six executive directors of Florida Environmental agencies, to select sites for approval by the governor. The Division of State Lands was also created as a division of the Department of Natural Resources to over-see mapping and evaluation of potential sites for acquisition.</text>
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                <text>Photocopy of original 1-page typewritten letter from Ernest H. Cowen to Gary Sharp, December 4, 1974: binder 1974, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>Binder 1974, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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              <elementText elementTextId="616961">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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          </element>
          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
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                <text>Digital reproduction of photocopied 1-page typewritten letter from Ernest H. Cowen to Gary Sharp, December 4, 1974.</text>
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          <element elementId="38">
            <name>Coverage</name>
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                <text>Gourd Neck Springs, Florida</text>
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                <text> Lake Apopka, Florida</text>
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            <name>Creator</name>
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                <text>Cowen, Ernest H.</text>
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                <text>1974-12-04</text>
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                <text>image/jpg</text>
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            <name>Extent</name>
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                <text>152 KB</text>
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          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="616969">
                <text>1 typewritten letter on Orlando Area Chamber of Commerce letterhead</text>
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                <text>Originally created by Ernest H. Cowen.</text>
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          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
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                <text>Copyright to this resource is held by the &lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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                <text>King, Joshua</text>
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            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="616977">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            <name>Source Repository</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="616978">
                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="616979">
                <text>"&lt;a href="https://news.google.com/newspapers?nid=1291&amp;amp;dat=19800502&amp;amp;id=IB5UAAAAIBAJ&amp;amp;sjid=mI0DAAAAIBAJ&amp;amp;pg=3814,204016&amp;amp;hl=en" target="_blank"&gt;Harmon Shields Indicted&lt;/a&gt;." &lt;em&gt;The Boca Raton News&lt;/em&gt;, May 2, 1980. Accessed June 14, 2016. https://news.google.com/newspapers?nid=1291&amp;amp;dat=19800502&amp;amp;id=IB5UAAAAIBAJ&amp;amp;sjid=mI0DAAAAIBAJ&amp;amp;pg=3814,204016&amp;amp;hl=en.</text>
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                <text>Farr, James A., and O. Greg Brock. "&lt;a href="http://www.dep.state.fl.us/lands/files/Florida_LandAcquisition.pd" target="_blank"&gt;Florida's Landmark Programs for Conservation and Recreation Land Acquisition&lt;/a&gt;." Sustain 14 (2006). Accessed June 14, 2016. http://www.dep.state.fl.us/lands/files/Florida_LandAcquisition.pdf.</text>
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      <tag tagId="29783">
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      <tag tagId="43964">
        <name>public parks</name>
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                  <text>RICHES Podcast Documentaries are short form narrative documentaries that explore Central Florida history and are locally produced. These podcasts can involve the participation or cooperation of local area partners.</text>
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                <text>Cox, Dale. &lt;a href="http://www.worldcat.org/oclc/781177259" target="_blank"&gt;&lt;em&gt;Old Parramore: The History of a Florida Ghost Town&lt;/em&gt;&lt;/a&gt;. S.l: Createspace], 2010.</text>
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                <text>Livingston, Fairolyn. &lt;a href="http://www.worldcat.org/oclc/68757928" target="_blank"&gt;&lt;em&gt;A Window on Hannibal Square: A View of Life in Early Westside Winter Park and a Portrait of the Lives and Careers of Walter B. Simpson and Frank R. Israel, the Only Black Men to Every Hold Office in the City of Winter Park, Florida&lt;/em&gt;&lt;/a&gt;. 1997.</text>
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                <text>Russin, Teresa. &lt;a href="http://purl.fcla.edu/fcla/etd/UFE0021792" target="_blank"&gt;&lt;em&gt;The Community Land Trust Model and Smart Growth Principles As a Means to Provide Affordable Housing in the Face of Gentrification&lt;/em&gt;&lt;/a&gt;. [Gainesville, Fla.]: University of Florida, 2007. http://purl.fcla.edu/fcla/etd/UFE0021792.</text>
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                <text>"&lt;a href="http://www.hannibalsquareheritagecenter.org/aboutus.html" target="_blank"&gt;Welcome&lt;/a&gt;." Hannibal Square Heritage Center. http://www.hannibalsquareheritagecenter.org/aboutus.html.</text>
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                <text>"&lt;a href="http://www.hannibalsquare.com/" target="_blank"&gt;Welcome to the Hannibal Square Association&lt;/a&gt;." Hannibal Square Association. http://www.hannibalsquare.com/.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/files/original/254867a60c37e3bc46fe285fbbefc1d7.mp3" target="_blank"&gt;RICHES Podcast Documentaries, Episode 4: Gentrification and Urban Renewal: Revitalizing Central Florida’s African American Communities&lt;/a&gt;</text>
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                <text>2011-04-01</text>
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                <text>2011-04-01</text>
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                <text>0:00:00 Introduction&#13;
0:03:40 Founding of Parramore&#13;
0:04:22 Effects of integration&#13;
0:07:17 William Monroe Wells and the South Street Casino&#13;
0:08:35 Interstate Highway 4 and the decline of Parramore&#13;
0:12:00 Hannibal Square and Winter Park&#13;
0:14:22 Real estate and infrastructure&#13;
0:17:33 	Revitalization and gentrification&#13;
0:27:21 Conclusion</text>
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                <text>&lt;p&gt;&lt;strong&gt;Lester&lt;br /&gt;&lt;/strong&gt;I’m Dr. Connie [L.] Lester, the Director of the RICHES program, and you are listening to the RICHES documentary podcast.&lt;/p&gt;
&lt;p&gt;[&lt;em&gt;radio static&lt;/em&gt;]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lester&lt;br /&gt;&lt;/strong&gt;Welcome to the RICHES documentary podcast. RICHES—the Regional Initiative for Collecting the Histories, Experiences, and Stories of Central Florida—is an umbrella program housing interdisciplinary public history projects that bring together different departments at the University of Central Florida with profit and nonprofit sectors of the community in order to promote the collection and preservation of the region’s history. By facilitating research that records and presents the stories of communities, businesses, and institutions in Central Florida, RICHES seeks to provide the region with a deeper sense of its heritage. This series feature a podcast every two weeks, in the middle and at the end of each month that will explore various aspects of Central Florida history.&lt;/p&gt;
&lt;p&gt;In today’s episode, “Gentrification and Urban Renewal: Revitalizing Central Florida’s African-American Communities,” Geoffrey Cravero examines some of the reasons that these once flourishing neighborhoods began to decline, and what city leaders are doing to save these communities.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Hi. I’m Geoffrey Cravero, and in today’s episode, “Gentrification and Urban Renewal: Revitalizing Central Florida’s African-American Communities,” we’re gonna be speaking with Representative Geraldine [F.] Thompson and Dr. Benjamin [D.] Brotemarkle about the Parramore district of Downtown Orlando, and Dr. Julian C. Chambliss and Fairolyn Livingston about Hannibal Square, the African-American side of Winter Park, Florida. Central Florida’s African-American community was once relatively prosperous, consisting of a thriving business district, populated by a mix of professionals and working-class families, and in many ways, quite self-sufficient.&lt;/p&gt;
&lt;p&gt;This podcast will examine some of the factors that led to the ultimate decline of these regions, the efforts that have gone into restoring them, and the overall effectiveness of those campaigns. Geraldine Thompson has been a representative in the Florida State Legislature since 2006. A former educator and administrator at Valencia Community College, she is also a founder of the Wells’ Built Museum of African American History and Culture.&lt;/p&gt;
&lt;p&gt;The Executive Director of the Florida Historical Society, Dr. Brotemarkle has written several books on Florida history and culture, including &lt;em&gt;Crossing Division Street: An Oral History of the African American Community in Orlando&lt;/em&gt; and &lt;em&gt;Beyond the Theme Parks: Exploring Central Florida&lt;/em&gt;. You might also recognize him as the producer and host of &lt;em&gt;Florida Frontiers&lt;/em&gt;, the weekly radio magazine of the Florida Historical Society.&lt;/p&gt;
&lt;p&gt;Dr. Julian Chambliss is an associate professor of history at Rollins College, specializing in 19&lt;sup&gt;th&lt;/sup&gt; and 20&lt;sup&gt;th&lt;/sup&gt; century urban America, African-American history in Florida, race and ethnicity, American planning history, as well, as other topics related to the urban experience.&lt;/p&gt;
&lt;p&gt;Born in Hannibal Square, Fairolyn Livingston has spent most of her life in the community, and is now Manager of the Hannibal Square Heritage Center.&lt;/p&gt;
&lt;p&gt;I’d like to thank each of our guests for taking the time to speak with us. I asked Representative Thompson and Dr. Brotemarkle to tell us about the rise and fall of Orlando’s Parramore community.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Thompson&lt;br /&gt;&lt;/strong&gt;Parramore was founded in the 1800s, uh, when the city was just, uh, beginning to form, and it was the location where many African Americans lived initially. The city was separated, as was the case throughout the South, generally by the railroad tracks. You had the, uh, white community on one side and the African-American community on the other side. So, uh, Parramore is just west of the railroad tracks in Downtown Orlando, and the pioneers in the African-American community who made significant contributions to the City [of Orlando] and to Central Florida lived in Parramore.&lt;/p&gt;
&lt;p&gt;When the community went through integration at the end of, uh, “legally sanctioned apartheid” —is what I call it—uh, the idea was that, in order to get true integration, you had to close some of the major institutions in Parramore. So you saw the schools, uh, close. Many of the churches also moved out. Uh, the Parramore area had become saturated, and people needed other places to live, and so, uh, places like Washington Shores, the Richmond Heights area, uh, Carver Shores, were established and many people moved to those areas which were, at that time, considered the suburbs, and many of the professionals who lived in Parramore also moved, and so you left behind, uh, people who were, for the most part, renters, who did not own the properties where they lived. Uh, there was very little that was owner-occupied in Parramore—a lot of absentee landlords.&lt;/p&gt;
&lt;p&gt;So when you lost the major institutions like your schools, your churches, the professional individuals who had made it the economic and the social hub for African Americans in Central Florida, then an element, uh, of crime began to—to build, and, uh, there were a lot of problems, and quite frankly, a lot of the decision-makers, who were deciding what was going to happen and how Central Florida, uh, would grow, did not really consider Parramore worthy of much of an investment, and so that’s what led to a blighted area for a very long time.&lt;/p&gt;
&lt;p&gt;There have been a lot of very effective efforts to bring business back into the community. Uh, there is one charter school now in the community—the Nap Ford [Community] School. Other than Nap Ford, however, there are still no schools in Parramore. The students are bussed out to nine different, uh—different schools in—in the area. Uh, the businesses that have come into the area include, uh, the Bank of America. You now have the Federal Courthouse that is also built in the Parramore area, as well, as the Florida A[gricultural] &amp;amp; M[echnical] University College of Law. Uh, the Wells’ Built Museum, which is in the former Wells’ Built Hotel, um, is celebrating now 10 years—our 10&lt;sup&gt;th&lt;/sup&gt; anniversary, and so we have been able to document, and to preserve, and to share a lot of the history of Parramore, which makes people much more aware that it is a significant co—uh, community, and as we revitalize and as we grow, it’s something worth saving.&lt;/p&gt;
&lt;p&gt;We are in the process of, uh, restoring the residence of the person who built the Wells’ Built. His name was William Monroe Wells, one of the early African-American physicians here. He came here in 1917, and in addition to a thriving medical practice, he had a social club, which was called the South Street Casino, and he brought, uh, big bands, [Edward] “Duke” [Kennedy] Ellington, [William] “Count” [James] Basie, Ella [Jane] Fitzgerald, to perform at the South Street Casino, which he owned, and after the entertainers, uh, finished performances, they didn’t have a place to stay. So that was his motivation for building a hotel, and, uh, so in addition to refurbishing the Wells’ Built and operating it as a museum of African-American history, we’re now in the process of refurbishing his home, which was located where the new Amway Center, uh, is, And that’s another business that has come into Parramore, which is Downtown Orlando, and so the home was moved rather than, uh, to have it demolished, and we will make it part of the museum complex, and we’ll operate a museum store in Dr. Wells’ residence. So his legacy is alive and well, on South Street.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Brotemarkle&lt;br /&gt;&lt;/strong&gt;Well, there are many factors that—that led to the demise of the hotel and casino. Uh, first of all, eh, as—as great and wonderful and necessary as the civil rights laws of the 1960s were, once African Americans could move anywhere they wanted to, uh—and this is not unique to the Parramore neighborhood. This happened to communities throughout the South, in particular, uh, but many of the community leaders—that[sic] helped keep the infrastructure of the community together—moved out of the neighborhood. So consequently, in many cases, uh, all that were—were left were the people who couldn’t afford to move anywhere else, and actually, in the case of the Parramore neighborhood, this had actually started a little bit before that in the 1950s. People had started migrating over to the Washington Shores neighborhood in Orlando, but the—the—the civil rights laws definitely contributed to the continued exodus, uh, from the Parramore neighborhood of many of the people, uh—the community leaders. Uh, also, the building of I[nterstate Highway]-4, uh, right through—right by the—the Parramore neighborhood kind of—into that neighborhood, uh, helped to break that up a little bit, as well. Uh, that was, uh, another factor.&lt;/p&gt;
&lt;p&gt;Uh, so as these—as the community leaders moved out of the neighborhood, the Parramore neighborhood itself entered, uh, a state of social and economic decline, and, uh, I—I think it is starting to, uh, pull out of it a little bit, and that was really part of the purpose of the Wells’ Built Museum of African American History and Culture—was to be an economic engine for the neighborhood, and hopefully, tap into this cultural and heritage tourism and bring people into the neighborhood for that reason. It is a fascinating era because, uh, again, between—with—with Division Street as the dividing line the—the Parramore neighborhood was really a thriving, self-sustained community, uh, parallel to the—to the white community in Orlando. Uh, here were institutions, Jones High School, uh, many of the churches, uh, that really created a strong fabric. Uh, uh, there was a, uh, uh, African-American chamber of commerce there in the Parramore neighborhood. There were black theatres. There were everything that the community needed right there. Uh, tailors, and—and businesses of all types were right there, and—and of course, the Wells’ Built Hotel and South Street Casino right in the middle of all this—this—this thriving African-American community.&lt;/p&gt;
&lt;p&gt;So it’s really an interesting, uh, look at history, and—and also, the unintended negative impact of those civil rights laws in the 1960s, again, as—as wonderful and as necessary as they were, they really did have this—this unintended negative impact when, uh, some of the community leaders moved out, and, again, the building of I-4, kinda right through the heart of the community, and, uh, the East-West Expressway too, meeting right there, uh, caused further problems, uh, but I—I think that the community is—is pulling out of that era of social and economic decline that it suffered in the late 20&lt;sup&gt;th&lt;/sup&gt; century, and hopefully the Wells’ Built Museum of African American History and Culture is contributing to that.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Dr. Chambliss and Mrs. Livingston describe some of the factors that enabled Hannibal Square and Winter Park to grow into thriving communities, and how this prosperity has affected the development and gentrification of the region.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Chambliss&lt;br /&gt;&lt;/strong&gt;Well, in that early period, um, Hannibal Square, was, I think, able to grow and be successful because, of the model of, uh, attracting residents, promoting, uh, Winter Park as a sort of like leisure, uh, vacation destination, uh, and this has really become at the core of the identity of Winter Park. If you think about Winter Park over time, it really was founded by [Loring] Chase and [Oliver E.] Chapman as a sort of destination location for people who wanted to sort of live a certain kind of sort of leisurely lifestyle. Well, into, uh, 20&lt;sup&gt;th&lt;/sup&gt; century that—that has been maintained.&lt;/p&gt;
&lt;p&gt;If you look at the growth of Winter Park, uh, which grew rapidly after, uh—in the 1930s and 1940s and 1950s, like, and the people of Winter Park recognize. It’s part of the reason that it grew is because, like, they really sort of like saw the place as a kind of residential haven, and the fact—by the time you get to the 1950s, um, the city is known as the “City of Homes.” Um, and part of this is because they have like a large number of wealthy residents. Again, those wealthy residents have servants, and some of those servants are working in—in—are black people, uh, working in these white homes and then going back across the railroad tracks to Hannibal Square. So like, they have this steady work from all these rich people and that really does affect Hannibal Square.&lt;/p&gt;
&lt;p&gt;At the same time, there’s a number of architectural—James Gamble Rogers is a very well-known architect—really sort of crystallized the architectural identity of Winter Park, with a fresh revival—a Medi—a Mediterranean revival style. So when you look at the homes, there’s a lot of like talk about Winter Park and Park Avenue—really sort of like crystallizes that sort of European style, uh, café culture look, right? And that really starts in 1960, and they really sort of keep trying to promote that. The chamber of commerce does a great job of trying to promote that and maintains it really today. it’s one of the reasons that these places really talk about Winter Park. They tend to talk about it as a place where you just want to kind of like stroll, in sharp contrast to the rest of the sort of retail and vacation experience in the rest of Central Florida, and as a consequence, the growth of the east side of Winter Park has been phenomenal, and the value of land there has grown tremendously, and so much so that by the time you get to the late 1990s, uh, arguably, the east side of Winter Park is built out, alright? So you can’t cheaply acquire land on the east side of Winter Park. You can buy a lot and—and really, we’re talking—we’re talking about the high-end of the real estate bubble, and Winter Park was one of the places where values were extremely high, and so the east side, really, by—by every stretch of the imagination is really sort of built up in value, um, over the period of the town.&lt;/p&gt;
&lt;p&gt;The west side, which was the black side—which was sort of like off limits because it was—because of segregation—had lagged behind. It started out with the development of the town, as I—as I said, a sort of economic area where African-American property owners, and—and business owners, and African-American businesses were flourishing in Hannibal Square, but very quickly, with the end of—of official Jim Crow segregation, um, you see middle-class people moving out, and the median income and the median age on the west side of Winter Park really starts to—the income starts to go down. The age starts to go up, and services for the west side don’t keep. in fact, [inaudible] great stories about the fact that the roads, on the west side of Winter Park, weren’t really sort of kept up at the same level as the roads on the east side of Winter Park, And other kinds of infrastructure issues like that, and as a consequence, the value of homes and property on the west side lagged behind that was on the east side of Winter Park. So value of black property lagged behind value of white property, which is common.&lt;/p&gt;
&lt;p&gt;As a result of that, there’s a lot of push, um, to do something about the—the view—the view-scape and the housing stock on the west side, and if you go back and look at some of the language that people use in the city council meetings or in some of the things that people are saying when they—they’re pointing to houses that are boarded up, they’re talking about a spike in crime, and indeed, there is a real concern that Hannibal Square, which by this time, is no longer home of like businesses more like light retail and bars and things like that—convenience stores—that are really the haven for—in the minds of white residents, at least—crime and violence. Indeed, there is[sic] the police reports show large number of drug arrests or suspicious crime in the west side in 1980s and early 1990s, and it really sort of spurs on dialogue about what needs to be done to improve the housing stock to clean up Hannibal Square and basically correct this problem, and there are a variety of reasons for this. I mean, some of it was the crime, but also, if you look at the way that the town is laid out, if you’re coming in through[?] the main drag, coming in—off of, like, Orlando Avenue, one of the main sort of like entry points into the city of Winter Park is through, um, Morris [Avenue], and you basically go through the heart of the black community to do that, and if you go back to the 1990s, that looked radically different than it does now.&lt;/p&gt;
&lt;p&gt;If you look at it now it looks actually quite nice, ‘cause it’s been rezoned and it—there’s new buildings, uh—office buildings, mix-use stuff—but back then, it—there were homes there, and some of them were boarded up, and the City had routinely had issues or had programs in place where they were trying to address this question, of, like, the quality of housing stock on the west side. They had some housing rehabilitation programs that they created in the 1970s. They supported, of course, you know, the creation of the Winter Park Community Center in Hannibal Square, but really, you know, the economy changed, as I said, and the median age started to creep up.&lt;/p&gt;
&lt;p&gt;So you get a large number of elderly people who, eh, own property—been in their family for generations—but they couldn’t keep it up in a way that the City might want, and so—so this created an opportunity for developers to come into, um, the west side and champion sort of a new push to sort of rehabilitate the region, and this made sense from the City’s standpoint, because, like, depressed property is low—low tax property. so if you want to increase your tax base, you want to improve the—the value of the property there—but it also created, like, a high gentri—gentrifying push, because, remember, you can’t cheaply build anything on the east side of town. So for most developers, they’re really looking to do a big project. they kind of have to do it on the west side of town. They had to do it west of the railroad tracks.&lt;/p&gt;
&lt;p&gt;So in the late 1990s and the ear—early 2000s, the City of Winter Park creates a Community Redevelopment Agency—the CRA—and the sort of focal point of the CRA is the sort of box that is bordered by Park Avenue on the east, Webster Avenue on the north, and, like, [U.S. Route] 17-92, and then Fairbanks [Avenue]. So it’s a huge block, and basically it’s Park Avenue and Downtown Winter Park, and the black side of town. So that’s a huge swath of land, and it—it’s prime real estate that could be developed, but is also, primarily, the heart of the black community, and almost immediately, large numbers of residents in the black community recognized that the City’s efforts to improve the area of the CRA was going to push out the black community. Now, from the City’s standpoint, the City’s always maintained that its goal was to maintain the character of the black community or the character of Hannibal Square, but if you’re going to allow traditional market forces to be your primary vehicle to achieve this, then gentrifying effects are almost unavoidable.&lt;/p&gt;
&lt;p&gt;You can’t, as the city’s done—like the city’s done a, uh, sort of three-tier sort of approach. It’s provided loans for businesses to move into Hannibal Square. It totally redesigned, um, Shady Park, which is in the center of Hannibal Square, in response to some of the crime and complaints of some of the businesses that were being enticed into the—into the area, because of the CRA. So the old part was—had a lot of benches and—and shading covers, and—and older people would hang out there and talk, and the new park sort of took all that away, and is much more aesthetically pleasing, but is also a place where you can’t really linger, which made a lot of sense, in terms of trying to address some of these questions about crime and—and—and disruption associated with that area—um, but they also worked very diligently to eliminate some of the bars, some of the focal points of crime, and that was successful. They moved in new businesses so that Dexter’s on Winter Park, uh—Dexter’s a fairly well-known restaurant chain in the area—where it became like really an anchor and they created a parking lot for it, and then a number of other businesses—light retail, service-oriented, and restaurant businesses—moved in, and of course there was a train—a change in the infrastructure or the sort of decorative infrastructure of the street. So like you had the decorative brick put in, and, like, new lightening-like fixtures—so basically, extending the feel and look of Park Avenue, down New England [Avenue] into, uh, the heart of the community, which was Hannibal Square.&lt;/p&gt;
&lt;p&gt;Of course, African Americans felt and, I think, some of them continue to feel that that process is deliberately pushing them out, and they have a point, because once all that—all that was in place, one of the things that started happening is that the—the tax assessment for the area started to change. People had previously—been sort of locked at a tax assessment of like, you know, a very low number. Everything gets reassessed when a large number of businesses start moving in. So these are older people. Remember, the demographics of the area are that the older people are staying and younger people are moving out. So the old people tend to be on fixed incomes, and pensions, living off their retirement savings. So a big hit, in terms of—“I used to pay $500 in taxes. Now, I’m paying a thousand.” It’s a huge deal, and because the property on the west side, as I said, had not kept up with property on the east side, there was a new assessment on all the value of the property. So people were being offered you know, two, three, four times what they bought the property for originally—and to move out—and some of them were, and this is one of the things that really sort of like characterized the region.&lt;/p&gt;
&lt;p&gt;So, um, at the height of the real estate bubble, there was tremendous gentrifying pressure on Hannibal Square, and lots of developers were active in the area, and probably the most famous ones was Dan Bellows, who’s usually associated with the transformation of Hannibal Square. he has a number of big projects, and, you know, sort of mixed-use with retail on the bottom and residential on the top, and that really sort of, like, changed the nature of the community, and Bellows is often painted as a boogeyman, and there are a number of stories associated with him, but he’s sort of emblematic of a kind of push to create new construction in the area, in part because that’s the place where you can with relatively minimal investment do something big, and that has been the sort of overriding problem for the west side for many years.&lt;/p&gt;
&lt;p&gt;There has been, for well over a decade—I mean, since the late 1990s, I think, there’s been a sort of push to—“There’s going to be the in here. I want to improve the west side. I want to bring more businesses here,” and as a result, uh, longtime residents have, um, sort of been displaced. There are new businesses there, but they don’t really cater to the residents, or nor do they really employ the residents, which is also really problematic. I mean, you don’t really see west side residents going to eat at Dexter’s. So from a sort of symbolic standpoint, African Americans feel that they’re being pushed down, and from an economic standpoint, there are push and pull factors that are hastening the exit of African Americans in the area.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Livingston&lt;br /&gt;&lt;/strong&gt;Leading up to, uh, the Civil Rights Movement and even probably as early as 19—late 1940s, after the, uh—World War II, the job market begin[sic] to change a bit. More opportunities will open up for, uh—for Afro-Americans. Many Afro –Americans, uh, went away—military, school, whatever the case may be—and didn’t come back, because they felt there was nothing here for them, outside of service to somebody else. They wanted to have real careers and—and—and do big things in the world, and as a result of that, the community began to age, if you will, and certainly after the Civil Rights Movement and—and moving forward, many more of our young people are moving away, because they feel that they don’t have access or they can’t make it in this area in—in—in Winter Park, you know?&lt;/p&gt;
&lt;p&gt;It’s been a painful process for them. Generally, uh, when you’re talking gentrification, between the original people who were in a place, and the wealthier people who come into the place, there’s usually a group—a group in between, but for us, we went—we went—we went right from, um, families being displaced to a business area that really doesn’t have any services that local people find of service to themselves. So gentrification’s been a hurtful process, because when people come in to redevelop, they don’t come in to redevelop for the people who are there. They don’t get input from the people in the community, because that’s not what’s gonna drive the dollar, you know? Nobody’s gonna come in and put in affordable housing or affordable rental units outside of a group such as Habitat for Humanity, who’s doing a great job, and the Hannibal Square Community Land Trust. Uh, people felt that they were just pushed aside, and the most painful thing was the picture that was painted of the neighborhood. That’s what they did. They just [inaudible] and made it like a noose, and put it around the necks of the people in this neighborhood, and pulled the chair.&lt;/p&gt;
&lt;p&gt;See, some people have been injured over and over and over again. They were injured during slavery. Then, after Reconstruction, they were injured again, and then, Jim Crow came along, and they were injured. So they’ve been injured over and over, and when you keep injuring people, and they[?] don’t get a chance to heal, it—it can really do something to—to them. You know, even though on the outside, they look cold, and they’re moving forward, and they’re doing things, there’s still a pain in their souls that is just almost undescribable[sic].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I’d like to thank our guests, Representative Thompson, Dr. Brotemarkle, Dr. Chambliss, and Mrs. Livingston for joining our discussion. I’m Geoffrey Cravero. Thank you for listening.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lester&lt;br /&gt;&lt;/strong&gt;Thank you for listening to the RICHES documentary podcast. Feel free to contact us with any questions or comments on the program that you just heard. Please join us for the next episode, “[Episode 5:] A History of Gay Days.”&lt;/p&gt;
&lt;p&gt;[&lt;em&gt;radio static&lt;/em&gt;]&lt;/p&gt;</text>
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Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. &#13;
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During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.&#13;
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Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.&#13;
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                <elementText elementTextId="523503">
                  <text>Cepero, Laura</text>
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                  <text>Cravero, Geoffrey</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <description/>
              <elementTextContainer>
                <elementText elementTextId="524806">
                  <text>Altschuler, Glenn C. &lt;a href="http://www.worldcat.org/oclc/51518334" target="_blank"&gt;&lt;em&gt;All Shook Up: How Rock 'n' Roll Changed America&lt;/em&gt;&lt;/a&gt;. Oxford: Oxford University Press, 2003.</text>
                </elementText>
                <elementText elementTextId="524807">
                  <text>Fisher, Marc. &lt;a href="http://www.worldcat.org/oclc/69594101" target="_blank"&gt;&lt;em&gt;Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation&lt;/em&gt;&lt;/a&gt;. New York: Random House, 2007.</text>
                </elementText>
                <elementText elementTextId="524808">
                  <text>Studwell, William E., and D. F. Lonergan. &lt;a href="http://www.worldcat.org/oclc/41090615" target="_blank"&gt;&lt;em&gt;The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s&lt;/em&gt;&lt;/a&gt;. New York: Haworth Press, 1999.</text>
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              </elementTextContainer>
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                <elementText elementTextId="524810">
                  <text>eng</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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              <elementText elementTextId="555886">
                <text>&lt;a href="https://youtu.be/hw7cnP6DoyY" target="_blank"&gt;Oral History of Mick Dolan&lt;/a&gt;</text>
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                <text>Oral History of Mick Dolan</text>
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              <elementText elementTextId="555888">
                <text>Oral History, Dolan</text>
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            <description/>
            <elementTextContainer>
              <elementText elementTextId="555889">
                <text>Disc jockeys--United States</text>
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              <elementText elementTextId="555890">
                <text>Shock radio</text>
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              <elementText elementTextId="555891">
                <text>Orlando (Fla.)</text>
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              <elementText elementTextId="555892">
                <text>Altamonte Springs (Fla.)</text>
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                <text>Music--Florida</text>
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                <text>An oral history interview of Mick Dolan, a radio personality, news and traffic reporter, voiceover actor, promotions director, talk show producer and social media blogger based in Central Florida. The interview was conducted by Geoffrey Cravero at the Salem Media Group radio stations in Altamonte Springs, on July 30, 2015. Topics covered in the interview include how Dolan got into broadcasting, his experiences working on &lt;em&gt;The Baxter and Mark Show&lt;/em&gt;, Clear Channel’s impact on broadcasting, the evolution of the Orlando music scene, including some of his favorite musicians and venues, Rock Super Bowls at the Tangerine Bowl, interviewing David Lee Roth and George Thorogood, being onstage for The Who, his attempt to put together a country music fantasy camp with CMT’s Camp Nashville, what he’s been up to lately, and his final thoughts and advice to young musical artists and broadcasters.</text>
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              <elementText elementTextId="555895">
                <text>Oral history interview of Mick Dolan. Interview conducted by Geoffrey Cravero in Orlando, Florida.</text>
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              <elementText elementTextId="555896">
                <text>0:00:00 Introduction&lt;br /&gt;0:02:46 &lt;em&gt;The Baxter and Mark Show&lt;/em&gt;&lt;br /&gt;0:05:54 Clear Channel's impact on broadcasting&lt;br /&gt;0:08:31 Evolution of the Orlando's music scene&lt;br /&gt;0:11:48 Rock Super Bowls&lt;br /&gt;0:14:17 Backstage stories&lt;br /&gt;0:17:15 Camp Nashville&lt;br /&gt;0:19:04 Closing remarks</text>
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              <elementText elementTextId="555897">
                <text>Cravero, Geoffrey</text>
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              <elementText elementTextId="555898">
                <text>Dolan, Mick</text>
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              <elementText elementTextId="555899">
                <text>Dolan, Mick. Interviewed by Geoffrey Cravero. Audio/video record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, Orlando, Florida.</text>
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          <element elementId="90">
            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="555900">
                <text>2015-07-30</text>
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            <description/>
            <elementTextContainer>
              <elementText elementTextId="555901">
                <text>2015-07-30</text>
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          <element elementId="100">
            <name>Has Format</name>
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              <elementText elementTextId="555902">
                <text>Digital transcript of original 21-minute, and 11-second oral history: Dolan, Mick. Interviewed by Geoffrey Cravero. Audio/video record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, Orlando, Florida.</text>
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              <elementText elementTextId="555903">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank"&gt;Rock Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES of Central Florida.</text>
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            <description/>
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              <elementText elementTextId="555904">
                <text>&lt;a href="http://www.apple.com/quicktime/download/" target="_blank"&gt; QuickTime&lt;/a&gt;</text>
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              <elementText elementTextId="555906">
                <text>eng</text>
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                <text>Moving Image</text>
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              <elementText elementTextId="555908">
                <text>Amway Arena, Orlando, Florida</text>
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              <elementText elementTextId="555909">
                <text>Camp Nashville, Nashville, Tennessee</text>
              </elementText>
              <elementText elementTextId="555910">
                <text>Fern Park Station, Longwood, Florida</text>
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              <elementText elementTextId="555911">
                <text>Lakeland Civic Center, Lakeland, Florida</text>
              </elementText>
              <elementText elementTextId="555912">
                <text>Orlando Citrus Bowl Stadium, Orlando, Florida</text>
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              <elementText elementTextId="555913">
                <text>Salem Media Group, Altamonte Springs, Florida</text>
              </elementText>
              <elementText elementTextId="555914">
                <text>WDIZ-FM, Orlando, Florida</text>
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                <text>WLOQ-FM, Maitland, Florida</text>
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            <name>Accrual Method</name>
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                <text>Economics Teacher</text>
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              <elementText elementTextId="555921">
                <text>Originally created by Mick Dolan and Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;</text>
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              <elementText elementTextId="555923">
                <text>Cravero, Geoffrey</text>
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          <element elementId="134">
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            <description/>
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              <elementText elementTextId="555924">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            <name>Source Repository</name>
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              <elementText elementTextId="555925">
                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;</text>
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          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="555926">
                <text>Brewster, Bill, and Frank Broughton. &lt;a href="http://www.worldcat.org/oclc/43445660" target="_blank"&gt;&lt;em&gt;Last Night a Dj Saved My Life: The History of the Disc Jockey&lt;/em&gt;&lt;/a&gt;. New York: Grove Press, 2000.&lt;a href="%E2%80%9Dhttp%3A//www.rockshowvideos.com/rocksuperbowl12.html%E2%80%9D"&gt;&lt;br /&gt;&lt;/a&gt;</text>
              </elementText>
              <elementText elementTextId="555927">
                <text>Neer, Richard. &lt;a href="http://www.worldcat.org/oclc/46713260" target="_blank"&gt;&lt;em&gt;FM: The Rise and Fall of Rock Radio&lt;/em&gt;&lt;/a&gt;. New York: Villard Books, 2001.</text>
              </elementText>
              <elementText elementTextId="555928">
                <text>Willis, Nicole A. "&lt;a href="http://articles.orlandosentinel.com/2011-04-06/news/os-obituary-mark-samansky-20110406_1_baxter-and-mark-show-mark-samansky-rock-station" target="_blank"&gt;Mark Samansky: Radio antics hooked his audience&lt;/a&gt;." &lt;em&gt;The &lt;/em&gt;&lt;em&gt;Orlando Sentinel&lt;/em&gt;, April 6, 2011. http://articles.orlandosentinel.com/2011-04-06/news/os-obituary-mark-samansky-20110406_1_baxter-and-mark-show-mark-samansky-rock-station.</text>
              </elementText>
              <elementText elementTextId="555929">
                <text>"&lt;a href="%E2%80%9Dhttp%3A//www.rockshowvideos.com/rocksuperbowl12.html%E2%80%9D"&gt;Rock Super Bowl XII&lt;/a&gt;.” &lt;em&gt;Orlando Rock Super Bowls&lt;/em&gt;. Rock Show Videos.com http://www.rockshowvideos.com/rocksuperbowl12.html.</text>
              </elementText>
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          <element elementId="276">
            <name>Transcript</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="555930">
                <text>&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Today’s Thursday, July 30, 2015. My name’s Geoff Cravero. I’m speaking with Mick Dolan at the Salem Media Group radio stations in Altamonte Springs, Florida. Thanks for speaking with me today, Mick.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;No problem.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Uh, let’s just begin I guess with a little of your biography. Could you, uh, tell us a little about where you’re from originally and, uh, early kind of bio details?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;/strong&gt;I was found under a rock…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;About, uh 64 years ago.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] Uh, my radio career started in, uh, Topeka, Kansas. I was, uh, at a station there. Then I went to Kansas City[, Missouri], spent a couple years there, and, uh, about five years in Louisville[, Kentucky], but, on July 28, uh, 1980, I came here, uh, and started at [W]DIZ[–FM 100.3]. So uh, 35 years—I’m celebrating my 35&lt;sup&gt;th&lt;/sup&gt;, eh, on the radio here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Unidentified&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Uh, DIZ, uh, was a great radio station.  It’s gone now. Uh, then I went on—took a break, got out of the, eh—the business completely, and about three or four years later, uh, somebody—I saw a friend at a—in line at the post office and she goes, “You know what? They’re looking for people over at WLOQ[-FM 107.7], the smooth jazz station.” So I said, “Eh.” I went over there—I actually interviewed for the promotions director job, but, uh, I didn’t get it. The program director says, “Hey, man, we need to get you back on the air here.” So they—they—we did a part-time job for a while. It worked into a full-time job. I was a morning host with another guy, Mark Taylor.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Unidentified&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;And, uh, then went to the nights, and then the station got sold. So [&lt;em&gt;laughs&lt;/em&gt;] I’ve actually killed two radio stations in my career here, but, uh, after that, uh, took another little break and found a job here doing news and traffic now at, uh, the Salem [Salem Media Group] stations: WORL[-AM 660] and WBZW[–AM 1520]. So afternoon drive, man. I’m the news guy and the traffic guy. So, you know, what goes around comes around.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;And, uh…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Unidentified&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;But, you know what? It—it is always beat working.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Unidentified&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;I’ve never, uh—you know, I—I never really wanted a real job.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Unidentified&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;I wanted to do what I liked to do, and isn’t that the whole reason? Uh, I mean, come on. If you can’t like what you’re doing, then what are you—what are you doing? So that’s what I tell people: “Always beats working.”&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Unidentified&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Let’s close that door.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Alright [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;That’s awful noise in here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Unidentified&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;We make a lot of noise here at Salem.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] That’s okay.&lt;/p&gt;
&lt;p&gt;[&lt;em&gt;door closes&lt;/em&gt;]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;/strong&gt; &lt;br /&gt;Most of it’s good.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Yeah [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Alright. Should I be looking at there? Or…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Oh, no. Just—this works fine.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Okay, alright, okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;That’s good. Um, yeah, I guess, uh—let’s see. Tell us a little about the, uh—the&lt;em&gt; Baxter and Mark Show&lt;/em&gt;.&lt;a title=""&gt;[1]&lt;/a&gt; I noticed you—you sent us some photos of them, and, uh…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Unbelievable.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I read a little bit about, uh, the shock jock-era kind of thing. Uh…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Yeah, that was before your time. Right?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;You young guys—I just don’t—well, uh, they were one of the best morning shows ever, and the thing that they did was they interacted with people. They—they’re not talking to ya. They’re getting ya—they had callers all the time. They were always pulling stunts and pranks and, uh, just [&lt;em&gt;laughs&lt;/em&gt;]—just some amazing stuff on the radio, and, uh, unfortunately, uh, because the business is the business, uh, the management, uh, felt that, uh, after a while that they’d outlived, uh, you know, their—their run, and they replaced them with &lt;em&gt;Ron and Ron&lt;/em&gt;—another good show—but, just kind of kicking them to the curb after five, six, seven years, that’s—that’s crazy, but, uh, they were not able to carry on the team.&lt;/p&gt;
&lt;p&gt;So they split up, and Mark Samansky died back in 2011, uh, and we try to do a, uh, reunion for him. I haven’t been able to do it the last couple of years. Uh, it’s kind of a—it’s a lot of work, but, uh, just in his memory, because he was such as talented guy. I mean, “Dr. Zonas” and, uh, you know, the [&lt;em&gt;laughs&lt;/em&gt;]—“Opie Gets Nookie”, all these songs that they did that, uh, just—you—you know, they would take a song—a popular song—and—and, uh—and change it around a little bit and—and make a funny out of it, and, you know, it’s such[?], uh—the wake-up calls were legendary. Uh, they were doing this stuff before anybody else did. So they were—they were true groundbreakers. They really were, and Baxter’s still around. He’s up in, uh, Washington D.C. He’s doing voice work, but, um, you know, he’s the kind of guy who just anything in radio. I mean, he can do the commercials, he’s—he was an operations guy. Uh, he was really the—he sort of kept them on the ground [&lt;em&gt;laughs&lt;/em&gt;]. [inaudible]. Samansky was out of his mind, so they worked so well together.&lt;/p&gt;
&lt;p&gt;It was a great show, but, uh, long live Baxter and Mark. You can still see them, uh—I can’t think of the—it’s—it’s Baxterradio.com. He’s got a bunch of their old bits. Uh, one of my favorites ev—ever was Mr. Bradley. This was an old black guy that thought he was calling the radio station to win Michael Jackson tickets, and they [&lt;em&gt;laughs&lt;/em&gt;]—they turned that poor boy every which way. They recorded the bit and then later would split it, you know, chop it up. They could make him say anything. It was the most unbelievable thing, and they got—I don’t know how many bits they did. It wa—you know, every once in a while Mr. Bradley would call, and, uh, so you know—it just—stuff like that that was just epic. Unbelievable [&lt;em&gt;laughs&lt;/em&gt;], but, anyway, we’ve got the memories.&lt;strong&gt;        &lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;Uh, and, you know, it’s hard to believe that radio station went away—it’ll be 20 years next year. 1996. Uh, Clear Channel bought them, turned them into soft rock, and then they went to Spanish and then, uh—I don’t know. what is it now? I—I don’t know, but, I—I think it’s still Spanish, and—but, uh, it was pretty amazing. That’s the way radio is. Nothing ever stays the same. Well, that’s an—any media it’s like, uh, it’s always changing, and you’ve got to stay one step ahead, and, uh, quite frankly that—that—that’s[sic] has been a problem. I haven’t been able to do that [&lt;em&gt;laughs&lt;/em&gt;], but, you know, it’s hard to be a 64 year old disc jockey in rock radio, and, uh, I can—I can still bring a lot to the table, but, it—it is what it is—what it is.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;When you talked about, uh, you know, Clear Channel in ’96, buying out a lot of the…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;The radio stations, yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;104. Uh, that’s—that was—these were all free standing radio stations, ‘cause back then, you could only own an AM and an FM [&lt;em&gt;clears throat&lt;/em&gt;]. That was it. Now, I think it’s like seven total, uh, you can own. So you’ve got three companies that dominate the market here: Cox [Media Group], uh, Clear Channel, and, uh&lt;em&gt; inaudible&lt;/em&gt; what is it? CBS [Columbia Broadcasting System], I think. I’m not sure. Maybe they call it something else. I have no idea, but those three guys dominate, uh, still, and, you know, it’s what deregulation did. Can’t win them all. Put a lot of good people out of work, I can tell you that, and, uh, is the quality of radio any better? [&lt;em&gt;buzzer noise&lt;/em&gt;] I don’t think so. No, no.&lt;/p&gt;
&lt;p&gt;I mean what [W]MMO[-FM 98.9] does, what [W]JRR[-FM 101.1] does—they do what they do. That’s good, but it just doesn’t have the soul. It doesn’t have the heart that—that we had back in the day, because those guys are doing a bunch of other jobs. You don’t just do radio. When I was hired back in the day, I—I mean, in my case I was promotions director, too, and—and, uh—so I did that, as well as be on the air, and I was also the production director. I had three jobs there, but really, most people just did one—you were on the air. You did your four hour shift and you were done. It’s like, “Wow.” What a job that is. Not anymore. Now, uh, you gotta pay the piper. So anyway, business has changed. You can’t win them all [&lt;em&gt;laughs&lt;/em&gt;].&lt;strong&gt;           &lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;What was the, uh—the Orlando music scene like, uh, when you first came and—and kind of had, you know—how did it evolve?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Uh, it—it—it was—it blew up in the ‘80s. I mean, uh, there was a rock club on every corner. Point After [Tom’s Point After], Fern Park Station, Plus 3 Lounge, uh, gosh, the ABC Lounges were doing live music, uh, and I’m, uh—I’m forgetting a bunch of others, but, uh, you know, it was—it was fun. I mean, you could—and it didn’t hurt that I lived like two blocks from Fern Park Station, and my car knew the way home. So I had no problems there, but it was just a fun time. It was kind of an innocent time. It was anything goes. It was back when you could get away with stuff, and—and now you’ve got laws. So uh, it—it was just a really special time and there was—there were booking agents that—oh, my god—Ricky Young and Steve, uh, Brewton— “Brewster” Brewton—uh, these—Steve Peck. These guys—Earl Tennent—these guys made big money booking bands. Now, the clubs don’t want to pay for it. That’s the—that’s the problem. The clubs don’t want to pay for their entertainment. Plus, everybody think he can be a rock star, and so there’s a million bands out there, and there’s some good bands. You’re in a good band.&lt;a title=""&gt;[2]&lt;/a&gt; So [&lt;em&gt;laughs&lt;/em&gt;] where’s the outlet? How do you guys make money? I should be asking you that.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Uh, so it—it’s—it was real special, and then I think just a combination of the economy just kind of went another direction and, you know, the deregulation of—of radio, and, uh, I—I think that just—it really hurt, and now, there’s still clubs out there—there’s still—you can still hear a good band, but, they’re not making any money. Uh, it’s too bad, but they’re just not. So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Do you have any, uh—any favorites? Like local bands from the ‘80s, or ‘90s, or…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Oh, then there re was the Bobby Friss Band, and Stranger, and Foreign Legion, and, uh, uh—in fact, Stranger Band, uh, they lost a couple of people. They lost their guitar player.&lt;a title=""&gt;[3]&lt;/a&gt; He, uh, passed, uh, years ago, and then their drummer, uh, [John] “J.P.” [Price], recently had, uh—he had cancer or something, but—so they’re all getting old and dying, but Greg Billings was in that band. He still has his band, the Greg Billings Band. So—but, those were special bands. Uh, oh, I don’t know. I—I—I can’t—there’s a million of them.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;I can’t remember any of them right now, but, uh, those bands were able to make a living and have a lot of fun. You know, back in—opening up for Van Halen and, you know, things like that. So they were big, uh, but, it’s all gone now. There was a band called Sons of Doctors [&lt;em&gt;laughs&lt;/em&gt;]. That was great too. They were a little bit later—late ‘80s—but, uh, Angelo Jannotti, those guys—they’re still around, you know? So, uh, it—it—it was a special time. It really was.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;What about, um—I read a little about the Rock Super Bowls they did…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Oh.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;At the Citrus Bowl.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Epic, epic. Unbelievable. I came from Louisville in 1980, and it was funny, because they—those big stadium shows were just starting back, you know, late ‘70s, early ‘80s, and I had seen, uh, ZZ Top and, uh, Lynyrd Skynyrd, uh, in—in Louisville, and that same show that had Bob Seger, and they came that [&lt;em&gt;clears throat&lt;/em&gt;]—that summer. So I—I caught them there too, but those Super Bowl[s], they—they had big name acts, every one of them, and I think that fell victim to the times, as well. The people—the bands, who are big and popular, they want too much money, and—and a show like that, you just couldn’t put it together, uh, like they—they could then. Uh, then, of course, there was The [Rolling] Stones and The Who, and, uh, Stones came back—I did not see that show. I wanted to, but I missed it, and, uh—well, because I had to pay now.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] I didn’t have to pay back then, and I ain’t going to pay hundreds of dollars. I’m sorry. I love the band, but uh-uh. I’ve got better things to do with that money. I shouldn’t say that. I probably shot myself in the foot, but that’s alright. It’s only rock and roll. So uh—but those—that was a community thing, man, and the memories, and—and again, what you can get away with. It’s like—it’s crazy. It was all good, and you—you talk to anybody who’s been around a while and you mention Rock Super Bowls, and they’re going to go, “Oh, oh, I remember that one, yeah.” Ted Nugent, uh—it was pretty cool. Very nice, but I don’t think they could pull that off now. You just can’t do that. It would have to be part of a tour, and—and I know there’s tours like that, but—but not in that environment. I mean, it’s just something else, and the—and the Citrus Bowl wasn’t even that big back then. They still put 50,000 in there. So, you know, promoters made a lot of money. Everybody was happy, and the tickets—I don’t know—I—those Super Bowl tickets probably weren’t more than 20 dollars. Oh, my god. How—can you imagine that? You know, those were the days. It is.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Yeah, did you, uh, have any interesting, uh, stories about being backstage at any of them? &lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] That you can share.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;That I can talk about today?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;One of my favorites was, uh, uh, David Lee Roth of Van Halen and—because I got to do an interview with him, and, you know, it—those days it wasn’t, you know, wireless—there wasn’t any of that, but—so I recorded it on a cassette player, and we took a bus over there to see him. It was in Lakeland[, Florida], and, uh—that’s where—that’s where the concerts were—was Lakeland Civic Center. There was no Orlando Arena. There was no Amway Center. There was nothing. So you had to go to Lakeland to see a show, and the same for Tampa. So the—the two converged—the markets converged there, and—and it was kind of cool because backstage you’d see the Tampa radio guys and, you know, it was a kind of a family, but, uh, David Lee Roth was out of his mind. Took over the interview. I mean—I—he was interviewing me. So I had that and I—I played it for the people on the bus back home, uh—on the way back, and it was just epic. Uh, I had a—I’ll tell you the worst interview I ever had was George Thorogood. Guy was a total asshole.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;I’m sorry. He was. Great music. Love the guy.&lt;/p&gt;
&lt;p&gt;[&lt;em&gt;cell phone beeps&lt;/em&gt;]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Couldn’t believe that—that—but, he was obnoxious, he was making fun of radio, he was, you know, uh, dissing on everybody…&lt;/p&gt;
&lt;p&gt;[&lt;em&gt;cell phone beeps&lt;/em&gt;]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;And it was like, “What?” You know, “Hey, man, I’m sorry. I’m trying to help you. I’m doing this for you as much as for me.” So just left a really bad taste in my mouth, but, uh, um—and then, you know, I got to be onstage for The Who. I got to bring on The B-52’s. They opened for The Who, and [&lt;em&gt;laughs&lt;/em&gt;] that was the punk rock scene there, and that was—they were considered, you know, new wave. Uh, that was, uh [&lt;em&gt;makes sound&lt;/em&gt;]—the rock guys did not like—they were booed[sic] ‘em. They were throwing stuff onstage. I’m bringing them on and I dodge a can—a Converse [Chuck Taylor] All Star [shoe] that—a red one. I’ll never forget it. So I dodged that one, brought on the band. They lasted maybe three songs, and while I was onstage, the other Converse All Star—the other red one—came flying up on the stage. So they only lasted three songs and walked off and I can’t blame them, but, uh [&lt;em&gt;laughs&lt;/em&gt;] there’s just—just epic stuff like that, but, uh, there’s no—I mean, you can’t even describe what it’s like to be out on that stage in front of 50,000 people, and when you speak, there’s a delay. There’s like a half to a full second delay. So you’re hearing, you know—that’s very—that’s hard to get used to, but, you know, the—the—the—the experience was just unbelievable. Great stuff.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;That’s cool.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I read also you did, uh,—you, uh—CMT’s [Country Music Television], uh—they did like a fantasy camp?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Yeah, Camp Nashville [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;What was that?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;My—my friend and I, Lee Bailey, who was a promoter himself—in fact, he was of the only guys to lose money on Larry the Cable Guy,&lt;a title=""&gt;[4]&lt;/a&gt; if you can believe that, uh, and—so he had some bad luck, but, uh, we—we were trying to do, uh—it was patterned after Rock and Roll Fantasy Camp, uh, which is hugely successful. I—and what the concept is: you gather musicians, you pay to be a camper, and, you know, they jam with you, they teach you some stuff, they have sessions. You know, it’s all—it’s very cool. Very cool concept.  Well, we thought we could do it and we went to Nashville and, uh, found out that it was a little harder than we thought, and so it never even got off the ground. Uh, we—we had—we opened it, uh, we were taking camper, you know, registrations, but, uh, just didn’t have the money or the contacts to—to make it happen, and I still think it’s a good idea, but we just couldn’t pull it off.&lt;/p&gt;
&lt;p&gt;So, uh—I like all kinds of music. I mean, I’ve worked rock and smooth jazz, always, you know, news and traffic, but, I like country. Uh, I’m not real fond of rap, but, uh—I mean, every music has something in it, and every music—Americana? uh, I mean, come on. Bon Iver? I like that guy.&lt;a title=""&gt;[5]&lt;/a&gt; I think that guy is talented, uh, but—but, you know, I don’t know all of the new music. I—I don’t know how anybody keeps up with it. There’s just so much out there, and so much that’s never heard by, you know, anybody but the real fans. Uh, so I depend on my two, uh, sons to keep me up on that.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;But, uh, it’s—it’s just a great—a great career, if you can find your niche. That’s the whole key, and you’ve got to remember that it changes every day [&lt;em&gt;laughs&lt;/em&gt;] practically, and so uh, be ready to move, you know?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Well, I know you’ve got a show to get to.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Yeah, man.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;So, uh…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;The news and traffic never stops.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;And there’s plenty to do, but, uh, let’s make sure—yeah, I’m good.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Alright.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Okay, but, uh, you know—just in closing, it—it—it’s so good to be remembered, I think, in a positive way, and I just try to be myself and—and try to connect, try to—I mean, I love people, and—and that’s what you have to have. You have to have that empathy for your audience, and, uh—onstage, as well. Uh, I love to do onstage, love to bring bands on. I—I just brought, uh—uh—uh, Blandini—Jeff Blando was an old rocker. It’s—he’s still around, and, uh, you know, played with, uh, uh, uh, Slaughter and, uh, I can’t think of it. Anyway—but—but he—he’s got his own band, Blandini. I just brought him on. It’s a new place called Paradise Cove in Seminole County, right by the river. Man, it’s got a pool, boat slips—you can pull your boat right up, uh, and so my friend, uh, Randy—he’s—he’s got that, uh, place, and so you know, I still do that all the time. I’ll bring—I love these—especially these bands that have been around for a while and are still doing it, and it’s like, hey. You know, one relic introduces the others.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Right? So it—it’s just—it’s—it beats working always, and I appreciate you coming by and talking to me [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I appreciate you talking to us, Mick. Thanks a lot.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;And get the word out. We’re still here.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero &lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Will do.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Alright, man. Thanks.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Dolan&lt;br /&gt;&lt;/strong&gt;Thank you. Alright.&lt;/p&gt;
&lt;div&gt;&lt;br /&gt;&lt;div&gt;
&lt;p&gt;&lt;a title=""&gt;[1]&lt;/a&gt; Starring Alan Baxter and Mark Samansky.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&lt;a title=""&gt;[2]&lt;/a&gt; Prison Wine.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&lt;a title=""&gt;[3]&lt;/a&gt; Ronald “Ronnie” Wayne Garvin.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&lt;a title=""&gt;[4]&lt;/a&gt; Daniel Lawrence Whitney.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&lt;a title=""&gt;[5]&lt;/a&gt; Justin Vernon.&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;</text>
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original color photographs: &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, University of Central Florida, Orlando, Florida.</text>
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                <text>Sallah, Michael. "&lt;a href="http://www.miamiherald.com/news/state/florida/article84076637.html" target="_blank"&gt;What happened between 2 and 5 a.m.? The Orlando massacre, minute by minute&lt;/a&gt;." &lt;em&gt;Miami Herald&lt;/em&gt;, June 15, 2016. Accessed November 7, 2016. http://www.miamiherald.com/news/state/florida/article84076637.html.</text>
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                <text> Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Sallah, Michael. "&lt;a href="http://www.miamiherald.com/news/state/florida/article84076637.html" target="_blank"&gt;What happened between 2 and 5 a.m.? The Orlando massacre, minute by minute&lt;/a&gt;." &lt;em&gt;Miami Herald&lt;/em&gt;, June 15, 2016. Accessed November 7, 2016. http://www.miamiherald.com/news/state/florida/article84076637.html.</text>
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In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Sallah, Michael. "&lt;a href="http://www.miamiherald.com/news/state/florida/article84076637.html" target="_blank"&gt;What happened between 2 and 5 a.m.? The Orlando massacre, minute by minute&lt;/a&gt;." &lt;em&gt;Miami Herald&lt;/em&gt;, June 15, 2016. Accessed November 7, 2016. http://www.miamiherald.com/news/state/florida/article84076637.html.</text>
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                <text>Original photographs of a temporary fence erected around Pulse nightclub after a mass shooting occurred there. The chain link fence contains a black tarp with messages written on it along with flags, posters, and other tribute items left there by mourners. Pulse was located at 1912 South Orange Avenue in Orlando, Florida.

In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original color photographs: &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, University of Central Florida, Orlando, Florida.</text>
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                <text>Originally created by Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>Sallah, Michael. "&lt;a href="http://www.miamiherald.com/news/state/florida/article84076637.html" target="_blank"&gt;What happened between 2 and 5 a.m.? The Orlando massacre, minute by minute&lt;/a&gt;." &lt;em&gt;Miami Herald&lt;/em&gt;, June 15, 2016. Accessed November 7, 2016. http://www.miamiherald.com/news/state/florida/article84076637.html.</text>
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                <text> Alvarez, Lizaette and Richard Perez-Pena. "&lt;a href="http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0" target="_blank"&gt;Orlando Gunman Attacks Gay Nightclub, Leaving 50 Dead&lt;/a&gt;." &lt;em&gt;New York Times&lt;/em&gt;, June 12, 2016. Accessed November 7, 2016. http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0.</text>
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                <text> Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text> Sayer, Harry. "&lt;a href="http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#" target="_blank"&gt;UPDATED: Every Orlando area vigil and memorial happening this week&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, June 17, 2016. Accessed November 7, 2016. http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#.</text>
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                <text> Bevil, Dewayne and Desiree Stennett. "&lt;a href="http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-vigil-lake-eola-20160619-story.html" target="_blank"&gt;Crowd estimated at 50,000 packs into Lake Eola Park for Pulse vigil&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, June 19, 2016. Accessed November 7, 2016. http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-vigil-lake-eola-20160619-story.html.</text>
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                <text> Weiner, Jeff. "&lt;a href="http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-nightclub-orlando-update-20161107-story.html" target="_blank"&gt;Orlando to buy Pulse nightclub, turn it into memorial&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, November 8, 2016. Accessed November 9, 2016. http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-nightclub-orlando-update-20161107-story.html.
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>For Only Love Can Conquer Hate</text>
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                <text>Original photographs of a billboard in The Milk District of downtown Orlando, Florida. The mural features a portrait of singer-songwriter Marvin Gaye in front of a rainbow, along with a quote of his that says, "For only love can conquer hate." The lower left corner says, "Orlando United". Pulse was located at 1912 South Orange Avenue in Orlando, Florida.

In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original color photographs: &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, University of Central Florida, Orlando, Florida.</text>
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original photographs of two notices posted for mourners in front of Pulse nightclub after a mass shooting occurred there. Both notices contain a rainbow colored logo of the Lake Eola fountain in the bottom right corner with the caption, "#OrlandoUnited". The first notice reads, "Memorial items will be carefully collected regularly for their long term preservation at the Orange County Regional History Center. For more information, visit thehistorycenter.org." The second notice reads, "Flowers will be collected regularly and organically turned into soil that will be used in gardens throughout the city." Both messages are printed in Spanish and English. Pulse was located at 1912 South Orange Avenue in Orlando, Florida.

In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original photograph of a rainbow colored banner posted by the City of Orlando on a streetlight post on Orange Avenue, down the street from Pulse nightclub. The banner reads, "Orlando United. #OrlandoUnited. Downtown South".
Pulse was located at 1912 South Orange Avenue in Orlando, Florida.

In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Sallah, Michael. "&lt;a href="http://www.miamiherald.com/news/state/florida/article84076637.html" target="_blank"&gt;What happened between 2 and 5 a.m.? The Orlando massacre, minute by minute&lt;/a&gt;." &lt;em&gt;Miami Herald&lt;/em&gt;, June 15, 2016. Accessed November 7, 2016. http://www.miamiherald.com/news/state/florida/article84076637.html.</text>
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                <text> Alvarez, Lizaette and Richard Perez-Pena. "&lt;a href="http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0" target="_blank"&gt;Orlando Gunman Attacks Gay Nightclub, Leaving 50 Dead&lt;/a&gt;." &lt;em&gt;New York Times&lt;/em&gt;, June 12, 2016. Accessed November 7, 2016. http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0.</text>
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                <text> Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text> Sayer, Harry. "&lt;a href="http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#" target="_blank"&gt;UPDATED: Every Orlando area vigil and memorial happening this week&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, June 17, 2016. Accessed November 7, 2016. http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#.</text>
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                <text> Bevil, Dewayne and Desiree Stennett. "&lt;a href="http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-vigil-lake-eola-20160619-story.html" target="_blank"&gt;Crowd estimated at 50,000 packs into Lake Eola Park for Pulse vigil&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, June 19, 2016. Accessed November 7, 2016. http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-vigil-lake-eola-20160619-story.html.</text>
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                <text> Weiner, Jeff. "&lt;a href="http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-nightclub-orlando-update-20161107-story.html" target="_blank"&gt;Orlando to buy Pulse nightclub, turn it into memorial&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, November 8, 2016. Accessed November 9, 2016. http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-nightclub-orlando-update-20161107-story.html.
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original photograph of a sign in front of Pulse nightclub containing the club's name and logo. The sign is surrounded by  candles, keepsakes, stuffed animals, photographs of victims, drawings, paintings, flowers, arts and crafts, which were placed in tribute to the victims of a mass shooting that occurred there. Pulse was located at 1912 South Orange Avenue in Orlando, Florida.

In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original photographs of a mural painted on St. Matthew's Tavern in tribute to the victims of the Pulse nightclub shooting. 49 white ribbons, each representing one of the victims, are hung on a palm tree next to the front door.
Located at 1300 North Mills Avenue, the building housing St. Matthew's Tavern was once a neighborhood gay bar called Paradise. St. Matthew's Tavern opened in December 2013, featuring a tavern style theme mixed with church pews. The bar allows St. Dorothy's Catholic Community to host Mass every Sunday at 11:00 a.m. The group celebrates "love without judgment flowing from Catholic Apostolic tradition." St. Dorothy's, who is not affiliated with the Roman Catholic Diocese, welcomes members who are divorced, gay or "recovering" Catholic.

In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Sullivan, Erin. "&lt;a href="http://www.orlandoweekly.com/Blogs/archives/2013/12/03/st-matthews-tavern-offers-bar-and-church-in-one" target="_blank"&gt;St. Matthew's Tavern offers bar and church in one&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, December 3, 2013. Accessed November 7, 2016. http://www.orlandoweekly.com/Blogs/archives/2013/12/03/st-matthews-tavern-offers-bar-and-church-in-one.</text>
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                <text> Manes, Billy. "&lt;a href="http://www.orlandoweekly.com/orlando/how-st-dorothys-lost-its-chapel-and-found-a-home-in-a-bar/Content?oid=2242319" target="_blank"&gt;How St. Dorothy's lost its chapel and found a home in a bar&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, January 14, 2014. Accessed November 7, 2016. http://www.orlandoweekly.com/orlando/how-st-dorothys-lost-its-chapel-and-found-a-home-in-a-bar/Content?oid=2242319.</text>
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                <text> Sallah, Michael. "&lt;a href="http://www.miamiherald.com/news/state/florida/article84076637.html" target="_blank"&gt;What happened between 2 and 5 a.m.? The Orlando massacre, minute by minute&lt;/a&gt;." &lt;em&gt;Miami Herald&lt;/em&gt;, June 15, 2016. Accessed November 7, 2016. http://www.miamiherald.com/news/state/florida/article84076637.html.</text>
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                <text> Alvarez, Lizaette and Richard Perez-Pena. "&lt;a href="http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0" target="_blank"&gt;Orlando Gunman Attacks Gay Nightclub, Leaving 50 Dead&lt;/a&gt;." &lt;em&gt;New York Times&lt;/em&gt;, June 12, 2016. Accessed November 7, 2016. http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0.</text>
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                <text> Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text> Sayer, Harry. "&lt;a href="http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#" target="_blank"&gt;UPDATED: Every Orlando area vigil and memorial happening this week&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, June 17, 2016. Accessed November 7, 2016. http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#.</text>
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                  <text> In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original photographs of a painting of a heart with the names of all the victims of a mass shooting that occurred at Pulse nightclub. The canvas painting was placed in front of the club as a tribute to the victims. Pulse was located at 1912 South Orange Avenue in Orlando, Florida.

In the early hours of June 12, 2016, an American born security guard named Omar Mir Seddique Mateen shot and killed 49 people and wounded an additional 53 at Pulse, a gay nightclub in Orlando, Florida. Mateen, who swore allegiance to the Islamic State of Iraq and the Levant (ISIL), was shot and killed by the Orlando Police Department after a three-hour standoff. The incident was the deadliest mass shooting by a single gunman in United States history, the deadliest terrorist attack in the United States since the September 11th attacks of 2001, and the deadliest incident of violence against LGBT people in United States history. Most of the victims were Latino, as the club was hosting a Latin Night at the time of the massacre.</text>
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                <text>Original color photographs: &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, University of Central Florida, Orlando, Florida.</text>
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                <text>Sallah, Michael. "&lt;a href="http://www.miamiherald.com/news/state/florida/article84076637.html" target="_blank"&gt;What happened between 2 and 5 a.m.? The Orlando massacre, minute by minute&lt;/a&gt;." &lt;em&gt;Miami Herald&lt;/em&gt;, June 15, 2016. Accessed November 7, 2016. http://www.miamiherald.com/news/state/florida/article84076637.html.</text>
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                <text> Alvarez, Lizaette and Richard Perez-Pena. "&lt;a href="http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0" target="_blank"&gt;Orlando Gunman Attacks Gay Nightclub, Leaving 50 Dead&lt;/a&gt;." &lt;em&gt;New York Times&lt;/em&gt;, June 12, 2016. Accessed November 7, 2016. http://www.nytimes.com/2016/06/13/us/orlando-nightclub-shooting.html?_r=0.</text>
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                <text> Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text> Sayer, Harry. "&lt;a href="http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#" target="_blank"&gt;UPDATED: Every Orlando area vigil and memorial happening this week&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, June 17, 2016. Accessed November 7, 2016. http://www.orlandoweekly.com/Blogs/archives/2016/06/13/heres-every-orlando-area-vigil-and-memorial-happening-for-the-pulse-victims#.</text>
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                <text> Bevil, Dewayne and Desiree Stennett. "&lt;a href="http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-vigil-lake-eola-20160619-story.html" target="_blank"&gt;Crowd estimated at 50,000 packs into Lake Eola Park for Pulse vigil&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, June 19, 2016. Accessed November 7, 2016. http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-vigil-lake-eola-20160619-story.html.</text>
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                <text> Weiner, Jeff. "&lt;a href="http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-nightclub-orlando-update-20161107-story.html" target="_blank"&gt;Orlando to buy Pulse nightclub, turn it into memorial&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, November 8, 2016. Accessed November 9, 2016. http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-pulse-nightclub-orlando-update-20161107-story.html.
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&#13;
The Geneva Historical &amp; Genealogical Society established the Museum of Geneva History, located at 165 First Street, in 1965. W. G. Kilbee and his wife donated the land that the museum was built on. The museum was dedicated in 1966, with Leo Rehbinder cutting the ribbon and Judge Don Cheney of Orlando making a speech. In 1977, a second larger room was added to the building. The Society also owns Fort Lane Park.</text>
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&#13;
The Geneva Historical &amp; Genealogical Society established the Museum of Geneva History, located at 165 First Street, in 1965. W. G. Kilbee and his wife donated the land that the museum was built on. The museum was dedicated in 1966, with Leo Rehbinder cutting the ribbon and Judge Don Cheney of Orlando making a speech. In 1977, a second larger room was added to the building. The Society also owns Fort Lane Park.</text>
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&#13;
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                <text>Originally created by Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES&lt;/a&gt;.</text>
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&#13;
Oviedo began on the south shore of Lake Jessup as a settlement called Solaria's Wharf. Some of its early settlers include Dr. Henry Foster, Joseph Watts, and Steen Nelson. Citrus and celery dominated the area's farmland, although Central Florida suffered a severe freeze in 1894. Oviedo suffered another disaster in 1914 when a fire wiped out much of the downtown section. Disaster hit again in 1929 with the Wall Street Crash and the beginning of the Great Depression. That same year, Oviedo's fruit crops were decimated by a fruit fly infestation. Another fire destroyed the Wheeler Fertilizer Plant in 1946. Nonetheless, Oviedo continued to grow, with new paved roads going to Geneva and Chuluota and the opening of the Citizens Bank of Oviedo in 1948. In 1949, Oviedo began receing once-a-day bus serviece to Orlando from Greyhound Lines. By 1950, Oviedo was the second largest town in Seminole County, following Sanford.  The Oviedo City Hall was built that same year and in 1968, Florida Technological University (present-day University of Central Florida) opened, bringing new residents to the area.</text>
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                  <text>"Oviedo Began as Solaria's Wharf." &lt;em&gt;The Oviedo Heritage&lt;/em&gt;, June 30, 1977.</text>
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                <text>On Saturday, March 6, 2021, a historical marker was unveiled honoring the crew of a 1962 plane crash in Oviedo. A Naval A3D Skywarrior Airplane based at the Sanford Naval Air Station would crash in the Oviedo area narrowly missing a school ground full of children. The pilot, Lt. Charles Hodgate, was credited with navigating the airplane away from the school ground, defying orders to bail out, and subsequently claiming three members of the crew including Navy Petty Officers John W. Bush, Horace Marks and Lt. Charles Hodgate in the crash. Hodgate would later be the basis for the narrator character in the community-storytelling series from Creative Sanford entitled "Celery Soup."</text>
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                <text>Oral history interview of Crash Witnesses: Jim Jones, Steve Mello, Mary Courier Scott, Tom Minter, David Evans, Thad Lingo, Thomas Moon, Charles Richard Hodgate, Tracy Hodgate Montour. Interview conducted by Geoffrey Cravero in Oviedo, Florida, on March 6, 2021.</text>
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                <text>0:00:00 Jim Jones&lt;br /&gt;0:01:49 Steve Mello&lt;br /&gt;0:02:57 Mary Courier Scott&lt;br /&gt;0:04:01 Tom Minter&lt;br /&gt;0:04:58 David Evans&lt;br /&gt;0:07:05 Thad Lingo&lt;br /&gt;0:09:08 Thomas Moon&lt;br /&gt;0:11:17 Charles Richard Hodgate &lt;br /&gt;0:12:54 Tracy Hodgate Montour</text>
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                <text>Cravero, Geoffrey</text>
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                <text>Scott, Mary Courier</text>
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                <text>Jones, Jim; Mello, Steve; Scott, Mary Courier; Minter, Tom; Evans, David; Lingo, Thad; Moon, Thomas; Hodgate, Charles Richard; Montour, Tracy Hodgate. Interviewed by Geoffrey Cravero, March 6, 2021. Audio record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>Digital transcript of original 14-minute, and 21-second oral history: Jones, Jim; Mello, Steve; Scott, Mary Courier; Minter, Tom; Evans, David; Lingo, Thad; Moon, Thomas; Hodgate, Charles Richard; Montour, Tracy Hodgate. Interviewed by Geoffrey Cravero. Audio record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Originally created by Jim Jones, Steve Mello, Mary Courier Scott, Tom Minter, David Evans, Thad Lingo, Thomas Moon, Charles Richard Hodgate, Tracy Hodgate Montour, and Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;.</text>
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                <text>Castro, Amanda. "&lt;a href="https://www.clickorlando.com/news/local/2021/03/05/i-wouldnt-be-here-today-if-it-werent-for-these-heroes-monument-honors-crew-members-who-died-in-oviedo-plane-crash/#//" target="_blank" rel="noreferrer noopener"&gt;'I wouldn't be here today if it weren't for these heroes:' Monument honors crew members who died in Oviedo plane crash&lt;/a&gt;." &lt;em&gt;Click Orlando&lt;/em&gt;, March 5, 2021. Accessed July 7, 2022. https://www.clickorlando.com/news/local/2021/03/05/i-wouldnt-be-here-today-if-it-werent-for-these-heroes-monument-honors-crew-members-who-died-in-oviedo-plane-crash/#//.</text>
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                <text>Jones, James M. "&lt;a href="https://www.oviedohistoricalsociety.com/blog/oviedo-plane-crash" target="_blank" rel="noreferrer noopener"&gt;Eyewitness to History. A first-hand account of a selfless act that saved many lives here in Oviedo&lt;/a&gt;." &lt;em&gt;Oviedo Historical Society&lt;/em&gt;, March 6, 2021. Accessed July 7, 2022. https://www.oviedohistoricalsociety.com/blog/oviedo-plane-crash.</text>
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                <text>Jones 	&#13;
Okay, I’m Jim Jones. Uh… I was in the 11th grade, at Oviedo high school the day of the plane crash. I was in Jack Calbert’s 11th grade English class, uh, staring out the window, instead of paying attention to my studies like I should have I guess, and uh, looking out over to the west I saw three planes suddenly appear over treetop.  Well— uh, the two outside planes, on either wing, were, uh, vigilantes—later designated as A3Js. They were helping escort the wounded um, or crippled I should say, uh, A3D plane, and as soon as they uh—this all happened in an instant—as soon as they cleared the treetops a parachute appeared.&#13;
&#13;
The two wing planes peeled away ‘cause they saw it was a school, and then the A3D, uh, commanded by Lieutenant Hodgate, realized it was a school and he could not clear it, so he only had two choices, either crash into the school, or to, uh, do a maneuver to avoid it, and he did just that. He maneuvered the plane, and it became vertical, and he crashed into the ground there about 50, probably maybe 75 yards, from the school property. &#13;
&#13;
And, uh, that’s about it. After that, uh, my business teacher, Novella [Noella] Holland across the hallway came and got me and she said, “Jimmy go over and check on Mert and Bill Ward,” friends of hers that lived there by the crash. So, I took her old car and managed to get over there. ‘Course they were okay, and I went to the scene of the crash. Nothing anybody could do, of course. &#13;
&#13;
And, uh, that was about it. It was, uh, a tragic day. It was a hectic five or six seconds is all that it took. Thank you.&#13;
&#13;
Mello 	&#13;
Okay. My name is Steve Mello. I started at Oviedo in—in the 5th grade. Um, moved over here from Sanford. Um, I was at the school when the plane incident happened. I was out in the playground area, having Phys-Ed (clears throat). I was in the, uh, 8th grade at the time. &#13;
&#13;
I noticed the plane coming in, but I really didn’t pay much attention to it. I wasn’t sure what I was looking at. Then all of a sudden I saw a parachute come out and then the plane started to turn. And as it was turning it was coming down and crashed over by Clark Street, I guess. A bunch of us started moving down the railroad tracks at that time and, uh, they stopped us and said, “Don’t go—don’t go down that way. You know, just, uh, hold fast where you’re at.” And that was about it. &#13;
&#13;
And it took a while for it to sink in, what had actually happened, you know, then they talked about it in school the next day in assembly. And that—that was, uh—that was my experience with it. &#13;
&#13;
Scott	&#13;
Hi, I’m Mary Courier Scott. I was in the 4th grade when the plane crash occurred, and I was on the east side of the building, so I did not see anything. I was in Marguerite Parton’s, uh, room. And she had two daughters at the high school then (background chatter). &#13;
&#13;
And all I know is that we heard a crash and we saw a lot of smoke. And heard a lot of commotion going on. And then later learned from our teacher what had happened, and we had to stay in the classrooms for the rest of the day. But what a sacrifice this man made for us. &#13;
&#13;
And my grandmother lived in Sanford near the, uh, naval air base. Actually rented, uh, an apartment to navy pilots, and one of them knew about the crash and all. So anyway, a sad day. But what a great honor for us to be able to do this and have the family with us. Thank you.&#13;
&#13;
Minter	&#13;
Uh, I’m Tom Minter. Uh, I was in the 10th grade. I was on the playground. Uh, actually heard the planes coming just as they cleared the, uh, oak trees on the west end of the field. Um, I was later told that the two outside planes were actually trying to give him some lift on that center plane that was having engine trouble. &#13;
&#13;
When he saw the kids on the playground, he just pulled the thing up and did a backflip, flipped off kind of to his right side. Um, one of the guys parachuted out and, um—and crashed right there. Um, and that was just kinda pretty much it. It was, uh—it happened just in mere seconds, uh, just a real split-second decision on his part to, uh—to avoid hitting a playground. And, um, I’m sure it saved a lot of people’s lives right there when he did it. &#13;
&#13;
Playground was pretty much full. Well, as much as it could be at that time. But anyway, um, that’s my account. That’s about it. Thanks.&#13;
&#13;
Evans	&#13;
All right my name is David Evans. Uh, I was born in Orlando, a—at—um—at the, uh, old, uh, Florida Hospital, uh, Orlando Sanitarium. And, um—but I grew up in Oviedo, and I was in the 8th grade. Um, and what I remember so distinctly is that we were out on the—out on the playground, and we heard this crash, uh, we ran down the railroad track,  uh, towards the corner of, uh, Lake Jesup and Clark Street. And a—a ball of—a ball of smoke was going up, uh, and there was a parachute in a tree, uh, on the corner there. Um, the northwest corner was a Dancy tangerine grove owned by Billy West. And up rolls up a fire engine, uh, from the volunteer fire department, um, and it was all a blur and, um, at, uh, 14 years of age and in the 8th grade, um (background chatter). &#13;
&#13;
Now some 50 some-odd, 60 years later it’s a little—a little difficult to, uh, to separate all of it, uh, but it was, um, really remarkable. I’ve looked up—the A3D is, um—was the first, uh, jet bomber that the navy had that was capable of landing on a—a—a, uh—uh, landing on a, uh, aircraft carrier and also capable of, um, of, um, carrying a nuclear weapon, and to—it was one the first early jets that did not have ejection seats, which kind of explains why uh, the—the pilots and, uh, the crew were not able to get out except for—for the one survivor.&#13;
&#13;
So, um, that’s my record—recollection and, um—and I’m just excited to be here and—and, um—and honor the pilots and, uh—and the crew, uh, and the—and the family that was able to return back to Oviedo here some, um—some, uh, 50 or 60 years later. Um, alright. Thank you much.&#13;
&#13;
Cravero		&#13;
Alright.&#13;
&#13;
Lingo	&#13;
My name is Thad Lingo. I—I was, uh, 16 years old when the event occurred. I was in English class on the first floor of the two-story school. Uh, uh, we always heard jets, but on that particular day the jet noise was real loud. We all looked in the direction it was coming from and there was a jet airplane flying very low coming right at the school. &#13;
&#13;
I saw a guy come out of the airplane on the left side. It was right over the treetops when he went out and the jet exhaust blew his parachute open, he was horizontal, and then he was on the ground that quick. And during that same happening, the pilot pulled the nose of the plane up, made a right turn, and went I think tail first right into the railroad bank, and there was a humongous explosion. We could feel the heat in the school coming through the window—the windows were open ‘cause we didn’t have air conditioning. &#13;
&#13;
Uh, it was—as soon as it happened, I thought, “Well, the fire department needs to know about this.” So—(background chatter) and I happened to remember, at 16, the fire department. So, I ran from the school to the fire station, we had, uh, an air raid siren. Push the button for that would sound the siren to get the fire department involved. And my dad was fire chief. &#13;
&#13;
He pulled up. It was just us two there at the time. He said, “Son you take that fire truck, I’ll take this one.” And I drove to the scene of the crash. And it was a horrible, horrible sight. And I’ll never forget the man that got out had walked across the street to the crash site. He was standing there looking at that thing, and it just was heartbreaking to see that. And, uh, that’s it.&#13;
&#13;
Moon	&#13;
Okay. Thomas Moon. I was in the—the 6th grade at the time. And, uh, we were on the playground out here in high school—or Oviedo High School at that time. And uh, we heard a big roar coming our way and turned around and looked and saw two planes go over. And I happened to see a parachute drop into the orange grove right there on the corner of Lake Jesup and, uh, Clark Street. And then all of a sudden, we had a big—that big fireball came up when it hit the—hit the ground there. And I mean the playground just cleared out. Everybody was running towards the—towards the bank—the main buildings. And it was really a scary situation.&#13;
&#13;
And I grew up right on Clark Street. And my mother said that the windows shook in the house when that plane hit the ground. And just everybody was so, you know—e—everybody was so worried about the people that were on board. And even at 12, 11—12 years old—it really—it really was a shock for a long time there before it kind of got up—¬a little bit got over it. And pretty much, uh, you know, we—I tried to keep up with the names of the guys when they—when the—the three that were in the plane and then the one that parachuted out. And there was a little article in the Orla—in the Sanford Herald at that time about him. How he broke—broke a leg or two. And that was his third time bailing out of an aircraft going down. And he said, “I think I’m going to look for ground duty (laughs) from here on out.” &#13;
&#13;
My dad said, uh, “I don’t blame him. I think the first one I would’ve been looking for ground duty after that.” But, uh, pretty much that’s, uh,  that’s the account that I have. &#13;
&#13;
Hodgate	&#13;
I’m Charles Richard Hodgate. I was born in Sanford, Florida in 1960. Um, my mom—Charles—Lieutenant Charles Hodgate was my father. My mom moved to Massachusetts about 1964, which is where I—I live today. Um, say that I was very, very young when my father passed away. So less than two years old.  My sister wasn’t—wasn’t yet born. So there was—I only have the vaguest memories of my father. Being picked up by strong hands and whirled around when we were hurt. And tickled a little. And rough whiskers and kisses. And laughing. And I’m not even sure that those memories are real. But I hold them dear, nonetheless. My sister doesn’t even have that, as my mom was pregnant when the—my father died. &#13;
&#13;
So it was— I don’t know how much of it was a sense of loss, but there’s always been a piece missing in the family, who, uh, growing up, um, I—it doesn’t go away, really. Yeah. ‘Cause I remember one day, uh, my daughter asked me when she was adult on Christmas night, you know, if I could have had anything for Christmas what would it have been. And I said, “I wish I could just play catch with my dad one time.” That’s what I—that’s the one thing I could do. Wish I could’ve played catch with my dad. That’s all I’ve got.&#13;
&#13;
Montour	&#13;
Hi, I am Tracy Hodgate Montour. Um, Lieutenant Charles Hodgate was my father. Uh, he never knew I existed. Um, my mom realized she was pregnant the day of the funeral. Um, we grew up, uh, in Massachusetts. after I was born here in Sanford. Um, but we moved to Massachusetts to be close to my father’s mother, who was—uh, he was her only child. So he had grown up in Fall River, Massachusetts. And that’s where we grew up as well. &#13;
&#13;
Um, we grew up hearing stories not so much from our mom but from my dad’s best friend, who is also, um, my brother’s godfather. Uh, we would meet with them probably once every couple of months. Get together on (background chattering) a regular basis. And that’s where we learned most about, um, my dad and what he liked and what he didn’t like, um.&#13;
&#13;
And, uh, you know, we—we grew up knowing he was a hero, but we didn’t know the whole story of what happened until Jim Jones contacted us and he gave us his, um, (background chatter)—his memories of it. And that—that’s kind of clarified things a bit for us. And we’ve just—we’ve just been amazed with everything that we’ve learned here and all the people we’ve met. And just so grateful to have been able to come here. Thank you all. </text>
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                <text>Originally created by Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;.</text>
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                <text>Robison Jim. &lt;a href="https://www.worldcat.org/title/796757419" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Around Oviedo&lt;/em&gt;&lt;/a&gt;. Charleston South Carolina: Arcadia Publishing. 2012. Accessed November 4, 2022.</text>
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                <text>Originally created by Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;.</text>
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                <text>Robison Jim. &lt;a href="https://www.worldcat.org/title/796757419" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Around Oviedo&lt;/em&gt;&lt;/a&gt;. Charleston South Carolina: Arcadia Publishing. 2012. Accessed November 4, 2022.</text>
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                  <text>In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>Wooden pews from St. James AME Church on March 10, 2020, before renovations were made to convert the building into the Historic Oviedo Colored Schools Museum. The building is located at located at 2170 James Drive in Oviedo, Florida.&lt;br /&gt;&lt;br /&gt;In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>12 original color photographs: &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;, University of Central Florida, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/226" target="_blank" rel="noreferrer noopener"&gt;Historic Oviedo Colored Schools Museum Collection, Oviedo Collection, Seminole County Collection&lt;/a&gt;, RICHES.</text>
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                <text>Originally created by Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Robison Jim. &lt;a href="https://www.worldcat.org/title/796757419" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Around Oviedo&lt;/em&gt;&lt;/a&gt;. Charleston South Carolina: Arcadia Publishing. 2012. Accessed November 4, 2022.</text>
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                <text> "&lt;a href="https://www.worldcat.org/title/796757419" target="_blank" rel="noreferrer noopener"&gt;1878 -1913 Black Schools in Seminole County." Parks and Preservation, Seminole County Government&lt;/a&gt;.” Accessed November 4, 2022.</text>
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                <text> The World Outside Reunion. “&lt;a href="https://richesmi.cah.ucf.edu/omeka/items/show/5258" target="_blank" rel="noreferrer noopener"&gt;A Written and Pictorial History of the Oviedo Area Colored Schools, 1890-1967&lt;/a&gt;.” RICHES of Central Florida accessed November 4, 2022, https://richesmi.cah.ucf.edu/omeka/items/show/5258. </text>
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                  <text>In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>Seminole County Historic Marker for the Jamestown neighborhood. The marker stands outside the Historic Oviedo Colored Schools Museum, previously St. James AME Church, located at 2170 James Drive in Oviedo, Florida. The marker reads, "The name 'Jamestown' is a tribute to Benjamin and Esther James. The James' homesteaded about 1900 on 160 acres in the area known as 'The Woods' on the northern edge of the settlement of Gabriella. Mr. Ben James built a home and farm on some of his acreage in an area called 'The Woods.'&lt;br /&gt;&lt;br /&gt;After the hurricane of 1926, in the Miami area, where four hundred people died, Mr. Ben James sold acre lots to some of the new settlers that moved into this area. 'The Woods' had no real name so the residents began calling it 'Jamestown,' after Mr. Ben James.&lt;br /&gt;&lt;br /&gt;The first lots were sold to Bob and Flossie Wells, George and Nettie Davis, Morris J. and Margaret Williams. Other early settlers were: The Nails, Olivers, Perrys, Bryants, Evans, Brannons, Walkers, Ryans, and many more families in years to come. (Continued on other side)&lt;br /&gt;&lt;br /&gt;(Continued from other side) Rock Hill Missionary Baptist Church was the first church built in Jamestown. The church was shared by both Baptist and Methodist members, who alternated Sundays for church services, and it was a school for the children during the week.&lt;br /&gt;&lt;br /&gt; Mrs. Ethel Burney was the principal and teacher for the students in 1930. Ben James built St. James A.M.E. Methodist Church, named for him and his family in 1938. The school then moved to the St. James Church. Mrs. Louise Williams was the teacher until 1951-51, when the school was consolidated with Jackson Heights School in Oviedo.&lt;br /&gt;&lt;br /&gt;Ben James placed a corner stone on the front of the Church, which says: 7-30-38, St. James A.M.E., BEN JAMES &amp;amp</text>
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                <text> FAMILY, REV. J.H. HOLLINS, PASTOR, REV. A.P. POSTELL, P.E.br&amp;gt</text>
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                <text>&lt;br /&gt;The 'JAMESTOWN' community believes that they are blessed to have had ancestors who instilled in them, The Golden Rule."&lt;br /&gt;&lt;br /&gt;March 10, 2020. located at 2170 James Drive&lt;br /&gt;&lt;br /&gt;In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>4 original color photographs: &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;, University of Central Florida, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/226" target="_blank" rel="noreferrer noopener"&gt;Historic Oviedo Colored Schools Museum Collection, Oviedo Collection, Seminole County Collection&lt;/a&gt;, RICHES.</text>
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                  <text>In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>A stone marker at the Historic Oviedo Colored Schools Museum, previously St. James AME Church, located at 2170 James Drive in Oviedo, Florida. The marker reads, "7-30-38 St. James A.M.E. Ben. James and Family Rev. J.H. Hollins Pastor."&lt;br /&gt;&lt;br /&gt;In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>Robison Jim. &lt;a href="https://www.worldcat.org/title/796757419" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Around Oviedo&lt;/em&gt;&lt;/a&gt;. Charleston South Carolina: Arcadia Publishing. 2012. Accessed November 4, 2022.</text>
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                <text> The World Outside Reunion. “&lt;a href="https://richesmi.cah.ucf.edu/omeka/items/show/5258" target="_blank" rel="noreferrer noopener"&gt;A Written and Pictorial History of the Oviedo Area Colored Schools, 1890-1967&lt;/a&gt;.” RICHES of Central Florida accessed November 4, 2022, https://richesmi.cah.ucf.edu/omeka/items/show/5258. </text>
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                  <text>In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>Seminole County Historic Marker for the Jamestown neighborhood. The marker stands outside the Historic Oviedo Colored Schools Museum, previously St. James AME Church, located at 2170 James Drive in Oviedo, Florida. The marker reads, "The name 'Jamestown' is a tribute to Benjamin and Esther James. The James' homesteaded about 1900 on 160 acres in the area known as 'The Woods' on the northern edge of the settlement of Gabriella. Mr. Ben James built a home and farm on some of his acreage in an area called 'The Woods.' The photograph was taken during a groundbreaking ceremony for the museum on February 13, 2023.&lt;br /&gt;&lt;br /&gt;After the hurricane of 1926, in the Miami area, where four hundred people died, Mr. Ben James sold acre lots to some of the new settlers that moved into this area. 'The Woods' had no real name so the residents began calling it 'Jamestown,' after Mr. Ben James.&lt;br /&gt;&lt;br /&gt;The first lots were sold to Bob and Flossie Wells, George and Nettie Davis, Morris J. and Margaret Williams. Other early settlers were: The Nails, Olivers, Perrys, Bryants, Evans, Brannons, Walkers, Ryans, and many more families in years to come. (Continued on other side)&lt;br /&gt;&lt;br /&gt;(Continued from other side) Rock Hill Missionary Baptist Church was the first church built in Jamestown. The church was shared by both Baptist and Methodist members, who alternated Sundays for church services, and it was a school for the children during the week.&lt;br /&gt;&lt;br /&gt; Mrs. Ethel Burney was the principal and teacher for the students in 1930. Ben James built St. James A.M.E. Methodist Church, named for him and his family in 1938. The school then moved to the St. James Church. Mrs. Louise Williams was the teacher until 1951-51, when the school was consolidated with Jackson Heights School in Oviedo.&lt;br /&gt;&lt;br /&gt;Ben James placed a corner stone on the front of the Church, which says: 7-30-38, St. James A.M.E., BEN JAMES &amp;amp</text>
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                <text>&lt;br /&gt;The 'JAMESTOWN' community believes that they are blessed to have had ancestors who instilled in them, The Golden Rule."&lt;br /&gt;&lt;br /&gt;March 10, 2020. located at 2170 James Drive&lt;br /&gt;&lt;br /&gt;In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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                <text>Five ceremonial shovels rest on the wooden steps of the Historic Oviedo Colored Schools Museum at a groundbreaking ceremony on February 13, 2023. A banner hangs at the top of the doors that reads, "Historic Oviedo Colored Schools Museum, Inc. hocsmuseum.org." A brown welcome mat that reads, "Historic Oviedo Colored Schools Museum, Inc." sits at the foot of the steps.&lt;br /&gt;&lt;br /&gt;In 2000, Gloria Godwin and Gracia Muller Miller began talking about a reunion for the Jackson Heights Elementary School, a colored school in Oviedo during segregation. Reunion Historian, Judith Smith, began to look for artifacts from that era and struggled to locate any pictures or other information. She put the word out amongst the former students, asking to borrow photographs or other materials related to the colored school. Immediately, items began to pour in, and the result was a book entitled: “A Written and Pictorial History of the Oviedo Area Colored Schools 1890-1967, Oviedo Elementary, Jackson Heights Elementary, Geneva, Wagner, Kolokee (Snowhill), Gabriella (Jamestown).” From there, the mission was born.</text>
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&#13;
WELCOME to RINKER STENSTROM FIELD </text>
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BALL&#13;
STRIKE&#13;
OUT&#13;
H/E&#13;
&#13;
GUEST&#13;
RIVER RATS&#13;
&#13;
RUNS&#13;
HITS&#13;
ER</text>
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&lt;li&gt;perform the work publicly&lt;/li&gt;
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                  <text>Water quality--Florida</text>
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                <elementText elementTextId="560093">
                  <text>Pollution--Florida</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560094">
                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description/>
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                <elementText elementTextId="560095">
                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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              <name>Language</name>
              <description/>
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                  <text>eng</text>
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              <name>Type</name>
              <description/>
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                  <text>Lake Apopka, Florida</text>
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                  <text>Florida Game and Fresh Water Commission, Tallahassee, Florida</text>
                </elementText>
                <elementText elementTextId="560100">
                  <text>Oakland, Florida</text>
                </elementText>
                <elementText elementTextId="560101">
                  <text>Orlando, Florida</text>
                </elementText>
                <elementText elementTextId="560102">
                  <text>Saint Johns River, Florida</text>
                </elementText>
                <elementText elementTextId="560103">
                  <text>Winter Garden, Florida</text>
                </elementText>
                <elementText elementTextId="560104">
                  <text>Winter Haven, Florida</text>
                </elementText>
                <elementText elementTextId="560105">
                  <text>Zellwood, Florida</text>
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              </elementTextContainer>
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            <element elementId="138">
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                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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            <element elementId="133">
              <name>Curator</name>
              <description/>
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                  <text>Cepero, Laura</text>
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                <elementText elementTextId="560108">
                  <text>King, Joshua</text>
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              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560109">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="135">
              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560110">
                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560111">
                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
                </elementText>
              </elementTextContainer>
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      </elementSetContainer>
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      <description>A resource containing textual data.  Note that facsimiles or images of texts are still of the genre text.</description>
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        <element elementId="7">
          <name>Original Format</name>
          <description/>
          <elementTextContainer>
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              <text>2-page memorandum</text>
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      </elementContainer>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
            <description/>
            <elementTextContainer>
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                <text>Memorandum from L. E. Cromwell to John W. Woods (May 20, 1963)</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Alternative Title</name>
            <description/>
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              <elementText elementTextId="542499">
                <text>Memo from Cromwell to Woods (May 20, 1963)</text>
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            <description/>
            <elementTextContainer>
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                <text>Lake Apopka (Fla.)</text>
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                <text> Winter Garden (Fla.)</text>
              </elementText>
              <elementText elementTextId="542502">
                <text> Water quality--Florida</text>
              </elementText>
              <elementText elementTextId="542503">
                <text> Fishing--Florida</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542506">
                <text>A memorandum from L. E. Cromwell, a fisheries biologist, to John W. Woods, the Chief of Fish Management for the Florida Game and Freshwater Fish Commission. The memo describes water samples drawn from Lake Apopka, Florida, by Cromwell and gives his observations of a May 1963 fish kill.</text>
              </elementText>
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          <element elementId="51">
            <name>Type</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542507">
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          <element elementId="48">
            <name>Source</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542508">
                <text>Photocopy of original 2-page memorandum from L. E. Cromwell to John W. Woods, May 20, 1963: binder 1963, drawer 1938-1987, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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            </elementTextContainer>
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          <element elementId="111">
            <name>Requires</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542509">
                <text>&lt;a href="http://get.adobe.com/flashplayer/" target="_blank"&gt; Adobe Flash Player&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="104">
            <name>Is Part Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542510">
                <text>Binder 1963, drawer 1938-1987, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
              </elementText>
              <elementText elementTextId="542511">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Oakland Nature Preserve Collection&lt;/a&gt;, RICHES of Central Florida.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542512">
                <text>Digital reproduction of photocopied 2-page memorandum from L. E. Cromwell to John W. Woods, May 20, 1963.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542513">
                <text>Lake Apopka, Florida</text>
              </elementText>
              <elementText elementTextId="542514">
                <text> Winter Garden, Florida</text>
              </elementText>
              <elementText elementTextId="542515">
                <text> Winter Haven, Florida</text>
              </elementText>
              <elementText elementTextId="542516">
                <text> Pine Island Point, Florida</text>
              </elementText>
              <elementText elementTextId="542517">
                <text> Smith's Island, Montverde, Florida</text>
              </elementText>
              <elementText elementTextId="542518">
                <text> Gourd Neck, Florida</text>
              </elementText>
              <elementText elementTextId="542519">
                <text> Apopka Beauclair Canal, Florida</text>
              </elementText>
              <elementText elementTextId="542520">
                <text> Hull's Point, Florida</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542521">
                <text>Cromwell, L. E.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="90">
            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542522">
                <text>1963-05-20</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542523">
                <text>application/pdf</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542524">
                <text>277 KB</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542525">
                <text>2-page memorandum</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542526">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542527">
                <text>History Teacher</text>
              </elementText>
              <elementText elementTextId="542528">
                <text> Science Teacher</text>
              </elementText>
              <elementText elementTextId="542529">
                <text> Geography Teacher</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="124">
            <name>Provenance</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542530">
                <text>Originally created by L. E. Cromwell.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542531">
                <text>Copyright to this resource is held by the &lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="117">
            <name>Accrual Method</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542532">
                <text>Donation</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Contributing Project</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542533">
                <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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          <element elementId="133">
            <name>Curator</name>
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                <text>King, Joshua</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542535">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="135">
            <name>Source Repository</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542536">
                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="542537">
                <text>"&lt;a href="http://www.protectingourwater.org/watersheds/map/ocklawaha/" target="_blank"&gt;Learn About Your Watershed: Ocklawaha River Watershed&lt;/a&gt;." Florida's Water: Ours to Protect, Florida Department of Environmental Protection. Accessed June 12, 2015. http://www.protectingourwater.org/watersheds/map/ocklawaha/.</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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    </elementSetContainer>
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        <name>algae</name>
      </tag>
      <tag tagId="24465">
        <name>Apopka Beauclair Canal</name>
      </tag>
      <tag tagId="24482">
        <name>Canal Locks</name>
      </tag>
      <tag tagId="16060">
        <name>catfish</name>
      </tag>
      <tag tagId="10408">
        <name>crappie</name>
      </tag>
      <tag tagId="24477">
        <name>fish bluegill</name>
      </tag>
      <tag tagId="24298">
        <name>fish kill</name>
      </tag>
      <tag tagId="238">
        <name>fishing</name>
      </tag>
      <tag tagId="24302">
        <name>fishing lodge</name>
      </tag>
      <tag tagId="24228">
        <name>Florida Game and Freshwater Fish Commission</name>
      </tag>
      <tag tagId="3833">
        <name>Florida State Board of Health</name>
      </tag>
      <tag tagId="24466">
        <name>Gator Cove</name>
      </tag>
      <tag tagId="24398">
        <name>gizzard shad</name>
      </tag>
      <tag tagId="24257">
        <name>Gourd Neck</name>
      </tag>
      <tag tagId="24271">
        <name>Hull's Point</name>
      </tag>
      <tag tagId="24393">
        <name>Joe E. Burgess</name>
      </tag>
      <tag tagId="24478">
        <name>John W. Woods</name>
      </tag>
      <tag tagId="24479">
        <name>Johnson Fish Camp</name>
      </tag>
      <tag tagId="24463">
        <name>L. E. Cromwell</name>
      </tag>
      <tag tagId="3057">
        <name>Lake Apopka</name>
      </tag>
      <tag tagId="6636">
        <name>Montverde</name>
      </tag>
      <tag tagId="24269">
        <name>Pine Island Point</name>
      </tag>
      <tag tagId="24481">
        <name>shad</name>
      </tag>
      <tag tagId="24480">
        <name>shellcracker</name>
      </tag>
      <tag tagId="24267">
        <name>Smith's Island</name>
      </tag>
      <tag tagId="24402">
        <name>speckled bullhead</name>
      </tag>
      <tag tagId="16476">
        <name>water quality</name>
      </tag>
      <tag tagId="2928">
        <name>Winter Garden</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="7603" public="1" featured="0">
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        <src>https://richesmi.cah.ucf.edu/omeka/files/original/8d91470bb1fc9f5584338f66b7c07838.jpg</src>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="555405">
                  <text>Downtown Orlando Post Office Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="86">
              <name>Alternative Title</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="555406">
                  <text>Orlando Post Office Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="555407">
                  <text>Orlando (Fla.)</text>
                </elementText>
                <elementText elementTextId="555408">
                  <text>Post offices</text>
                </elementText>
                <elementText elementTextId="560112">
                  <text>Churches--Florida</text>
                </elementText>
                <elementText elementTextId="560113">
                  <text>Catholic Church--Florida</text>
                </elementText>
                <elementText elementTextId="560114">
                  <text>Education--Florida</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560117">
                  <text>Allison, Megan</text>
                </elementText>
                <elementText elementTextId="560118">
                  <text>Baker, Keith</text>
                </elementText>
                <elementText elementTextId="560119">
                  <text>Bernard, Sam</text>
                </elementText>
                <elementText elementTextId="560120">
                  <text>Fallen, Riley</text>
                </elementText>
                <elementText elementTextId="560121">
                  <text>Frye, Stephen</text>
                </elementText>
                <elementText elementTextId="560122">
                  <text>Gold, Stephen</text>
                </elementText>
                <elementText elementTextId="560123">
                  <text>Irizarry, Michael</text>
                </elementText>
                <elementText elementTextId="560124">
                  <text>Joshi, Ashis</text>
                </elementText>
                <elementText elementTextId="560125">
                  <text>Reed, Michael</text>
                </elementText>
                <elementText elementTextId="560126">
                  <text>Shumate, Alayna</text>
                </elementText>
                <elementText elementTextId="560127">
                  <text>Stoddard, James</text>
                </elementText>
                <elementText elementTextId="560128">
                  <text>Tran, Tristan</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="104">
              <name>Is Part Of</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560129">
                  <text>&lt;a href="http://orlandoremembered.org/" target="_blank"&gt;Orlando Remembered&lt;/a&gt; Exhibit, &lt;a href="http://tinyurl.com/o4zfrls" target="_blank"&gt;Downtown Orlando Post Office&lt;/a&gt;, Downtown Orlando, Florida.</text>
                </elementText>
                <elementText elementTextId="560130">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="560131">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/20" target="_blank"&gt;Orlando Collection&lt;/a&gt;, Orange County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="560132">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank"&gt;Orange County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560133">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
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              <name>Type</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560134">
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              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560135">
                  <text>Downtown Orlando Post Office, Downtown Orlando, Florida</text>
                </elementText>
                <elementText elementTextId="560136">
                  <text>Federal Building, Downtown Orlando, Florida</text>
                </elementText>
                <elementText elementTextId="560137">
                  <text>St. James Cathedral, Downtown Orlando, Florida</text>
                </elementText>
                <elementText elementTextId="560138">
                  <text>St. Joseph's Academy, Downtown Orlando, Florida</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="138">
              <name>Contributing Project</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560139">
                  <text>&lt;a href="http://orlandoremembered.org/" target="_blank"&gt;Orlando Remembered&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="133">
              <name>Curator</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560140">
                  <text>Cepero, Laura</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560141">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560142">
                  <text>Rajtar, Steve. &lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;A Guide to Historic Orlando&lt;/a&gt;&lt;/em&gt;. Charleston, SC: History Press, 2006.</text>
                </elementText>
                <elementText elementTextId="560143">
                  <text>"&lt;a href="https://about.usps.com/who-we-are/postal-history/welcome.htm" target="_blank"&gt;Postal History&lt;/a&gt;." United States Postal Service. https://about.usps.com/who-we-are/postal-history/welcome.htm.</text>
                </elementText>
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                  <text>&lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/23369979" target="_blank"&gt;St. James Pioneer Days: Parish &amp;amp; School Reunion : October 5-6, 1974&lt;/a&gt;&lt;/em&gt;. [Orlando, Fla.]: [St. James Parish], 1974.</text>
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                  <text>"&lt;a href="http://www.stjamesorlando.org/about-us/" target="_blank"&gt;About Us&lt;/a&gt;." St. James Cathedral. http://www.stjamesorlando.org/about-us/.</text>
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                  <text>The new Downtown Orlando Post Office building, located at 51 East Jefferson Street, in 1958. The original post office was housed in the Federal Building, located 44 East Central Boulevard in Downtown Orlando, Florida, from 1917 to 1941. In 1935, when James Beggs, Jr. became the postmaster, he began petitioning to move the post office from its Central Boulevard and Court Avenue location to a more spacious building. In 1939, St. James Catholic Church sold a plot of land on Jefferson Street for the new building. The building was designed by Louis A. Simon in the Northern Italian Palazzo Revival-style, and was constructed by J. P. Cullen and Sons. The new building opened in 1941 and housed the post office, the courthouse, and Internal Revenue Service (IRS) offices. The building was named an Orlando Historic Landmark in 1989. However, it was eventually sold back to the St. James Church. In 2003, the building was renovated and came under joint ownership by both the church and the federal government. Today, the building retains its post office services but also includes offices for the Catholic Diocese.</text>
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                <text>Letter from J. P. Cullen &amp; Son to Paul H. Heimer (April 30, 1941)</text>
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                <text>Letter from Cullen to Heimer (Apr. 30, 1941)</text>
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                <text>A letter from J. P. Cullen to construction engineer Paul H. Heimer inquiring about the name and address of the District Engineer. Cullen was the head of J. P. Cullen &amp;amp; Son, the general contractor for the construction of the new Downtown Orlando Post Office building, located at 51 East Jefferson Street. Heimer was the construction engineer.&lt;br /&gt;&lt;br /&gt;The original post office was housed in the Federal Building, located 44 East Central Boulevard in Downtown Orlando, Florida, from 1917 to 1941. In 1935, when James D. Beggs, Jr. became the postmaster, he began petitioning to move the post office from its Central Boulevard and Court Avenue location to a more spacious building. In 1939, St. James Catholic Church sold a plot of land on Jefferson Street for the new building. The building, located at 51 East Jefferson Street, was designed by Louis A. Simon in the Northern Italian Palazzo Revival-style, and was constructed by J. P. Cullen &amp;amp; Son. The new building opened in 1941 and housed the post office, the courthouse, and Internal Revenue Service (IRS) offices. The building was named an Orlando Historic Landmark in 1989. However, it was eventually sold back to the St. James Church. In 2003, the building was renovated and came under joint ownership by both the church and the federal government. Today, the building retains its post office services but also includes offices for the Catholic Diocese.</text>
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                <text>Original letter from J. P. Cullen &amp;amp; Son to Paul H. Heimer, April 30, 1941: Private Collection of Texann Ivy Buck.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/157" target="_blank"&gt;Downtown Orlando Post Office Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original letter from J. P. Cullen &amp;amp; Son to Paul H. Heimer, April 30, 1941.</text>
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                <text>Downtown Orlando Post Office, Downtown Orlando, Florida</text>
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                <text>Cullen, J. P.</text>
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                <text>Buck, Texann Ivy</text>
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                <text>1941-04-30</text>
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              <elementText elementTextId="618841">
                <text>1-page typewritten letter on J. P. Cullen &amp; Son letterhead</text>
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            <name>Language</name>
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              <elementText elementTextId="618842">
                <text>eng</text>
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                <text>Originally created by J. P. Cullen.</text>
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                <text>Copyright to this resource is held by Texann Ivy Buck and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://orlandoremembered.org/" target="_blank"&gt;Orlando Remembered&lt;/a&gt;</text>
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                <text>Stoddard, James</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Private Collection of Texann Ivy Buck</text>
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            <description/>
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                <text>Kilsheimer, Joe. "&lt;a href="http://www.worldcat.org/oclc/201942542" target="_blank"&gt;Old Post Offices Aid Revitalization Efforts&lt;/a&gt;." &lt;em&gt;AMERICAN CITY AND COUNTY&lt;/em&gt;. 119: 20-21.</text>
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              <elementText elementTextId="618852">
                <text>Rajtar, Steve. &lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;A Guide to Historic Orlando&lt;/a&gt;&lt;/em&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>"&lt;a href="https://richesmi.cah.ucf.edu/omeka/items/show/7608" target="_blank"&gt;Letter from Paul H. Heimer to J. P. Cullen &amp;amp; Son (May 3, 1941)&lt;/a&gt;." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka/items/show/7608.</text>
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        <name>construction</name>
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        <name>District Engineers</name>
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      <tag tagId="2144">
        <name>Downtown Orlando</name>
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      <tag tagId="28101">
        <name>Downtown Orlando Post Office</name>
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      <tag tagId="44449">
        <name>J. P. Cullen</name>
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      <tag tagId="44448">
        <name>J. P. Cullen &amp; Son</name>
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        <name>Paul H. Heimer</name>
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        <name>post offices</name>
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                  <text>Orlando Post Office Collection</text>
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                  <text>Post offices</text>
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                  <text>Catholic Church--Florida</text>
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                <elementText elementTextId="560114">
                  <text>Education--Florida</text>
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              </elementTextContainer>
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            <element elementId="37">
              <name>Contributor</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560117">
                  <text>Allison, Megan</text>
                </elementText>
                <elementText elementTextId="560118">
                  <text>Baker, Keith</text>
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                <elementText elementTextId="560119">
                  <text>Bernard, Sam</text>
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                  <text>Fallen, Riley</text>
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                <elementText elementTextId="560121">
                  <text>Frye, Stephen</text>
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                <elementText elementTextId="560122">
                  <text>Gold, Stephen</text>
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                <elementText elementTextId="560123">
                  <text>Irizarry, Michael</text>
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                  <text>Joshi, Ashis</text>
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                  <text>Tran, Tristan</text>
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              <description/>
              <elementTextContainer>
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                  <text>&lt;a href="http://orlandoremembered.org/" target="_blank"&gt;Orlando Remembered&lt;/a&gt; Exhibit, &lt;a href="http://tinyurl.com/o4zfrls" target="_blank"&gt;Downtown Orlando Post Office&lt;/a&gt;, Downtown Orlando, Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <elementText elementTextId="560131">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/20" target="_blank"&gt;Orlando Collection&lt;/a&gt;, Orange County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="560132">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank"&gt;Orange County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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              <name>Language</name>
              <description/>
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                <elementText elementTextId="560133">
                  <text>eng</text>
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              <description/>
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                  <text>Collection</text>
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              <name>Coverage</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560135">
                  <text>Downtown Orlando Post Office, Downtown Orlando, Florida</text>
                </elementText>
                <elementText elementTextId="560136">
                  <text>Federal Building, Downtown Orlando, Florida</text>
                </elementText>
                <elementText elementTextId="560137">
                  <text>St. James Cathedral, Downtown Orlando, Florida</text>
                </elementText>
                <elementText elementTextId="560138">
                  <text>St. Joseph's Academy, Downtown Orlando, Florida</text>
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              <name>Contributing Project</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560139">
                  <text>&lt;a href="http://orlandoremembered.org/" target="_blank"&gt;Orlando Remembered&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="133">
              <name>Curator</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560140">
                  <text>Cepero, Laura</text>
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              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560141">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560142">
                  <text>Rajtar, Steve. &lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;A Guide to Historic Orlando&lt;/a&gt;&lt;/em&gt;. Charleston, SC: History Press, 2006.</text>
                </elementText>
                <elementText elementTextId="560143">
                  <text>"&lt;a href="https://about.usps.com/who-we-are/postal-history/welcome.htm" target="_blank"&gt;Postal History&lt;/a&gt;." United States Postal Service. https://about.usps.com/who-we-are/postal-history/welcome.htm.</text>
                </elementText>
                <elementText elementTextId="560144">
                  <text>&lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/23369979" target="_blank"&gt;St. James Pioneer Days: Parish &amp;amp; School Reunion : October 5-6, 1974&lt;/a&gt;&lt;/em&gt;. [Orlando, Fla.]: [St. James Parish], 1974.</text>
                </elementText>
                <elementText elementTextId="560145">
                  <text>"&lt;a href="http://www.stjamesorlando.org/about-us/" target="_blank"&gt;About Us&lt;/a&gt;." St. James Cathedral. http://www.stjamesorlando.org/about-us/.</text>
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            </element>
            <element elementId="41">
              <name>Description</name>
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              <elementTextContainer>
                <elementText elementTextId="614018">
                  <text>The new Downtown Orlando Post Office building, located at 51 East Jefferson Street, in 1958. The original post office was housed in the Federal Building, located 44 East Central Boulevard in Downtown Orlando, Florida, from 1917 to 1941. In 1935, when James Beggs, Jr. became the postmaster, he began petitioning to move the post office from its Central Boulevard and Court Avenue location to a more spacious building. In 1939, St. James Catholic Church sold a plot of land on Jefferson Street for the new building. The building was designed by Louis A. Simon in the Northern Italian Palazzo Revival-style, and was constructed by J. P. Cullen and Sons. The new building opened in 1941 and housed the post office, the courthouse, and Internal Revenue Service (IRS) offices. The building was named an Orlando Historic Landmark in 1989. However, it was eventually sold back to the St. James Church. In 2003, the building was renovated and came under joint ownership by both the church and the federal government. Today, the building retains its post office services but also includes offices for the Catholic Diocese.</text>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="618853">
                <text>Letter from J. P. Cullen to Federal Works Agency Public Buildings Administration (April 30, 1941)</text>
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            </elementTextContainer>
          </element>
          <element elementId="86">
            <name>Alternative Title</name>
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            <elementTextContainer>
              <elementText elementTextId="618854">
                <text>Letter from Cullen to Federal Works Agency (Apr. 30, 1941)</text>
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          <element elementId="49">
            <name>Subject</name>
            <description/>
            <elementTextContainer>
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                <text>Orlando (Fla.)</text>
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              <elementText elementTextId="618856">
                <text> Post offices</text>
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          <element elementId="41">
            <name>Description</name>
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              <elementText elementTextId="618857">
                <text>A letter from J. P. Cullen to the Federal Works Agency's (FWA) Public Buildings Administration regarding photos of the construction of the Downtown Post Office. Cullen was the head of J. P. Cullen &amp;amp; Son, the general contractor for the construction of the new Downtown Orlando Post Office building, located at 51 East Jefferson Street. The letter included four sets of photographs to apprise them of the current progress of construction.&lt;br /&gt;&lt;br /&gt;The original post office was housed in the Federal Building, located 44 East Central Boulevard in Downtown Orlando, Florida, from 1917 to 1941. In 1935, when James D. Beggs, Jr. became the postmaster, he began petitioning to move the post office from its Central Boulevard and Court Avenue location to a more spacious building. In 1939, St. James Catholic Church sold a plot of land on Jefferson Street for the new building. The building, located at 51 East Jefferson Street, was designed by Louis A. Simon in the Northern Italian Palazzo Revival-style, and was constructed by J. P. Cullen &amp;amp; Son. The new building opened in 1941 and housed the post office, the courthouse, and Internal Revenue Service (IRS) offices. The building was named an Orlando Historic Landmark in 1989. However, it was eventually sold back to the St. James Church. In 2003, the building was renovated and came under joint ownership by both the church and the federal government. Today, the building retains its post office services but also includes offices for the Catholic Diocese.</text>
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                <text>Original letter from J. P. Cullen to Federal Works Agency Public Buildings Administration, April 30, 1941: Private Collection of Texann Ivy Buck.</text>
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            <description/>
            <elementTextContainer>
              <elementText elementTextId="618862">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/157" target="_blank"&gt;Downtown Orlando Post Office Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>"&lt;a href="https://richesmi.cah.ucf.edu/omeka/items/show/7608" target="_blank"&gt;Letter from Paul H. Heimer to J. P. Cullen &amp;amp; Son (May 3, 1941)&lt;/a&gt;." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka/items/show/7608.</text>
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                <text>Kilsheimer, Joe. "&lt;a href="http://www.worldcat.org/oclc/201942542" target="_blank"&gt;Old Post Offices Aid Revitalization Efforts&lt;/a&gt;." &lt;em&gt;AMERICAN CITY AND COUNTY&lt;/em&gt;. 119: 20-21.</text>
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                <text>Rajtar, Steve. &lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;A Guide to Historic Orlando&lt;/a&gt;&lt;/em&gt;. Charleston, SC: History Press, 2006.</text>
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                  <text>St. James Cathedral, Downtown Orlando, Florida</text>
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                  <text>Rajtar, Steve. &lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;A Guide to Historic Orlando&lt;/a&gt;&lt;/em&gt;. Charleston, SC: History Press, 2006.</text>
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                  <text>"&lt;a href="https://about.usps.com/who-we-are/postal-history/welcome.htm" target="_blank"&gt;Postal History&lt;/a&gt;." United States Postal Service. https://about.usps.com/who-we-are/postal-history/welcome.htm.</text>
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                  <text>&lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/23369979" target="_blank"&gt;St. James Pioneer Days: Parish &amp;amp; School Reunion : October 5-6, 1974&lt;/a&gt;&lt;/em&gt;. [Orlando, Fla.]: [St. James Parish], 1974.</text>
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                  <text>"&lt;a href="http://www.stjamesorlando.org/about-us/" target="_blank"&gt;About Us&lt;/a&gt;." St. James Cathedral. http://www.stjamesorlando.org/about-us/.</text>
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                  <text>The new Downtown Orlando Post Office building, located at 51 East Jefferson Street, in 1958. The original post office was housed in the Federal Building, located 44 East Central Boulevard in Downtown Orlando, Florida, from 1917 to 1941. In 1935, when James Beggs, Jr. became the postmaster, he began petitioning to move the post office from its Central Boulevard and Court Avenue location to a more spacious building. In 1939, St. James Catholic Church sold a plot of land on Jefferson Street for the new building. The building was designed by Louis A. Simon in the Northern Italian Palazzo Revival-style, and was constructed by J. P. Cullen and Sons. The new building opened in 1941 and housed the post office, the courthouse, and Internal Revenue Service (IRS) offices. The building was named an Orlando Historic Landmark in 1989. However, it was eventually sold back to the St. James Church. In 2003, the building was renovated and came under joint ownership by both the church and the federal government. Today, the building retains its post office services but also includes offices for the Catholic Diocese.</text>
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                <text>Letter from J. P. Cullen to Charles C. Converse (May 5, 1941)</text>
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                <text>Letter from Cullen to Converse (May 5, 1941)</text>
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                <text>A letter from J. P. Cullen to District 4 Engineer Charles C. Converse regarding photos of the construction of the Downtown Post Office. Cullen was the head of J. P. Cullen &amp;amp; Son, the general contractor for the construction of the new Downtown Orlando Post Office building, located at 51 East Jefferson Street. The letter included four sets of photographs to apprise them of the current progress of construction. The letter included four one set of photographs to apprise him of the current progress of construction.&lt;br /&gt;&lt;br /&gt;The original post office was housed in the Federal Building, located 44 East Central Boulevard in Downtown Orlando, Florida, from 1917 to 1941. In 1935, when James D. Beggs, Jr. became the postmaster, he began petitioning to move the post office from its Central Boulevard and Court Avenue location to a more spacious building. In 1939, St. James Catholic Church sold a plot of land on Jefferson Street for the new building. The building, located at 51 East Jefferson Street, was designed by Louis A. Simon in the Northern Italian Palazzo Revival-style, and was constructed by J. P. Cullen &amp;amp; Son. The new building opened in 1941 and housed the post office, the courthouse, and Internal Revenue Service (IRS) offices. The building was named an Orlando Historic Landmark in 1989. However, it was eventually sold back to the St. James Church. In 2003, the building was renovated and came under joint ownership by both the church and the federal government. Today, the building retains its post office services but also includes offices for the Catholic Diocese.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/157" target="_blank"&gt;Downtown Orlando Post Office Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by Texann Ivy Buck and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://orlandoremembered.org/" target="_blank"&gt;Orlando Remembered&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Kilsheimer, Joe. "&lt;a href="http://www.worldcat.org/oclc/201942542" target="_blank"&gt;Old Post Offices Aid Revitalization Efforts&lt;/a&gt;." &lt;em&gt;AMERICAN CITY AND COUNTY&lt;/em&gt;. 119: 20-21.</text>
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                <text>Rajtar, Steve. &lt;em&gt;&lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;A Guide to Historic Orlando&lt;/a&gt;&lt;/em&gt;. Charleston, SC: History Press, 2006.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/75" target="_blank"&gt;Volusia County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Cepero, Laura</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.cookman.edu/about_BCU/history/index.html" target="_blank"&gt;Mary McLeod Bethune Foundation&lt;/a&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/76" target="_blank"&gt;Mary McLeod Bethune Foundation Collection&lt;/a&gt;, Daytona Beach Collection, Volusia County Collection, RICHES of Central Florida.</text>
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                  <text>"&lt;a href="http://www.daytonabeach.com/resources/history/" target="_blank"&gt;Local History&lt;/a&gt;." Daytona Beach. http://www.daytonabeach.com/resources/history/.</text>
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                  <text>Cardwell, Harold D., and Priscilla D. Cardwell. &lt;a href="http://www.worldcat.org/oclc/57383041" target="_blank"&gt;&lt;em&gt;Historic Daytona Beach&lt;/em&gt;&lt;/a&gt;. Charleston, S.C.: Arcadia Pub, 2004.</text>
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                <text>A postcard depicting the Sheraton Plaza, located at 13 South Atlantic Avenue in Daytona Beach, Florida. The park is now known as Breakers Sheraton Plaza and Environmental Learning Center. Daytona Beach was originally inhabited by the Timucua before the arrival of Spaniards in 1513. After the Timucua were virtually exterminated following contact with Europeans, the area was frequented by Seminoles from Georgia and Alabama, up until the Second Seminole War. During British occupation of Florida (1763-1783), King's Road was built, extending from St. Augustine, passing through Daytona, and ending in New Smyrna Beach. After the American Revolutionary War (1775–1783), Spain regained Florida, and, in 1804, Samuel Williams was granted 3,000 acres of land in Daytona from the Spanish Crown. Williams established a cotton, rice, and sugarcane plantation. During the Second Seminole War, Seminoles razed the plantation, while Williams' son, Samuel Hill Williams, fled.&lt;br /&gt;&lt;br /&gt;In 1871, Mathias Day, Jr., a migrant from Mansfield, Ohio, purchased a large tract of land along the west bank of the Halifax River, which included the former Williams Plantation. With the construction of Day's hotel, today's Daytona Beach Historic District was created. In 1876, residents named the city "Daytona," in honor of Day, when the area was incorporated as a town. Growth continued in 1886 when the St. Johns &amp;amp; Halifax River Railway extended to Daytona.&lt;br /&gt;&lt;br /&gt;In 1926, the towns of Daytona, Daytona Beach, Kingston, and Seabreeze merged together as Daytona Beach, in an effort led by J. B. Kahn. By this time, the beach had been nicknamed "The World's Most Famous Beach." Automobile and motorcycle races began in 1902, due to the smooth, compacted sand that covered the beach. Daytona Beach became the site of various land speed record attempts. On March 8, 1836, the first stock car race was held at the Daytona Beach Road Course, which is located in present-day Ponce Inlet. William France, Sr. and the National Association for Stock Car Auto Racing (NASCAR) established the Daytona International Speedway in 1958 to replace the beach course.</text>
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            <name>Requires</name>
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                <text>&lt;a href="http://www.adobe.com/products/reader.html" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/80" target="_blank"&gt;Daytona Beach Collection&lt;/a&gt;, Volusia County Collection, RICHES of Central Florida.</text>
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                <text>Van Horn, Bob</text>
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                <text>ca. 1940-1949</text>
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                <text>371 KB</text>
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            <name>Medium</name>
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                <text>9 x 14 centimeter color postcard</text>
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            <name>Language</name>
            <description/>
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                <text>eng</text>
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            <name>Mediator</name>
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                <text>History Teacher</text>
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                <text> Geography Teacher</text>
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                <text>Originally created by Curt Teich and Company and published by the Murrell Post Card Company.</text>
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                <text>Copyright to this resource is held by Bob Van Horn and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            <name>Accrual Method</name>
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                <text>Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.daytonabeach.com/resources/history/" target="_blank"&gt;Local History&lt;/a&gt;." Daytona Beach. http://www.daytonabeach.com/resources/history/.</text>
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                <text>Cardwell, Harold D., and Priscilla D. Cardwell. &lt;a href="http://www.worldcat.org/oclc/57383041" target="_blank"&gt;&lt;em&gt;Historic Daytona Beach&lt;/em&gt;&lt;/a&gt;. Charleston, S.C.: Arcadia Pub, 2004.</text>
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        <name>beaches</name>
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      <tag tagId="44030">
        <name>Breakers Sheraton Plaza and Environmental Learning Center</name>
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      <tag tagId="915">
        <name>Daytona Beach</name>
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        <name>parks</name>
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      <tag tagId="44029">
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                  <text>Originally inhabited by the Timucua, the area of present-day Jacksonville Beach was not settled by non-indigenous peoples until the late 19th century. The first settles to migrate to the area were William Edward Scull and Eleanor Kennedy Scull in the early 1880s, naming the settlement Ruby. In 1886, the town was renamed Pablo Beach. Developers began transforming the area into a resort community, first with the construction of the Murray Hall Hotel and then by the extension of the Florida East Coast Railway (FEC) to present-day Jacksonville Beach.&lt;br /&gt;&lt;br /&gt;In 1905, Pablo Beach became a popular tourist attract for its amusement parks, such as The Pavilion, which was later renamed Little Coney Island. In 1925, the name of the town was changed to Jacksonville Beach. In 1949, the Ocean View Pavilion amusement park was destroyed by fire, and the boardwalk continued to decline in the 1950s, primarily to an anti-gambling crackdown. While this postcard shows cars driving on the beach, such activities were banned in 1979.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/192" target="_blank"&gt;Duval County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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              <name>Curator</name>
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                  <text>Cepero, Laura</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="https://cms.leoncountyfl.gov/Home/Departments/Public-Works/Operations/Mosquito-Control/Community-Education-and-Information/History-and-Facts" target="_blank"&gt;History and Facts&lt;/a&gt;." Leon County. https://cms.leoncountyfl.gov/Home/Departments/Public-Works/Operations/Mosquito-Control/Community-Education-and-Information/History-and-Facts.</text>
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                <text>Tracks on the Sand at Jacksonville Beach Postcard</text>
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                <text>A postcard depicting Jacksonville Beach, Florida. Originally inhabited by the Timucua, the area of present-day Jacksonville Beach was not settled by non-indigenous peoples until the late 19th century. The first settlers to migrate to the area were William Edward Scull and Eleanor Kennedy Scull in the early 1880s, naming the settlement Ruby. In 1886, the town was renamed Pablo Beach. Developers began transforming the area into a resort community, first with the construction of the Murray Hall Hotel and then by the extension of the Florida East Coast Railway (FEC) to present-day Jacksonville Beach.&lt;br /&gt;&lt;br /&gt;In 1905, Pablo Beach became a popular tourist attract for its amusement parks, such as The Pavilion, which was later renamed Little Coney Island. In 1925, the name of the town was changed to Jacksonville Beach. In 1949, the Ocean View Pavilion amusement park was destroyed by fire, and the boardwalk continued to decline in the 1950s, primarily to an anti-gambling crackdown. While this postcard shows cars driving on the beach, such activities were banned in 1979.</text>
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                <text>Original 9 x 14 centimeter color postcard by Curt Teich and Company: Private Collection of Bob Van Horn.</text>
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            <name>Requires</name>
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                <text>&lt;a href="http://www.adobe.com/products/reader.html" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/193" target="_blank"&gt;Jacksonville Beach Collection&lt;/a&gt;, Duval County Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original 9 x 14 centimeter color postcard by Curt Teich and Company.</text>
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                <text>Van Horn, Bob</text>
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                <text>ca. 1940-1949</text>
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                <text>267 KB</text>
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            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617800">
                <text>9 x 14 centimeter color postcard</text>
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                <text>eng</text>
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                <text>History Teacher</text>
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                <text> Geography Teacher</text>
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                <text>Originally created by Curt Teich and Company and published by the Duval News Company.</text>
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            <name>Rights Holder</name>
            <description/>
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                <text>Copyright to this resource is held by Bob Van Horn and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Cepero, Laura</text>
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          <element elementId="134">
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt; </text>
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                <text>"&lt;a href="http://www.jacksonvillebeach.org/government/about-jacksonville-beach/history" target="_blank"&gt;History&lt;/a&gt;." Jacksonville Beach. http://www.jacksonvillebeach.org/government/about-jacksonville-beach/history.</text>
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        <name>automobiles</name>
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        <name>beaches</name>
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        <name>cars</name>
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      <tag tagId="44033">
        <name>Jacksonville Beach</name>
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      <tag tagId="35010">
        <name>motor vehicles</name>
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                  <text>Collection of archival items related to the history of Miami, Florida. The Tequestas were the first known inhabitants of the Miami area before explorer Pedro Menéndez de Avilés (1519-1574) claimed the land in 1566 for Spain, which established a mission there the following year. After Spain ceded the Florida Territory in 1821, the U.S. constructed Fort Dallas, which served as an important battlefront during the Second Seminole War. For much of the 19th century, Miami remained a region of wilderness, and it was one of the few area's to survive the Great Freeze of 1894 with relatively few damages. Soon after, Henry Flagler (1830-1913) expanded his Florida East Coast Railway (FEC) to the area, and Miami was officially incorporated as a city on July 28, 1896.&lt;br /&gt;&lt;br /&gt;Like other parts of Florida, Miami prospered during the Florida Land Boom of the 1920s, but also floundered when the real estate bubble burst in 1925. The following year, the Great Miami Hurricane of 1926 devastated South Florida and the Great Depression began just three years later. During World War II, Miami played a vital role in battling German submarines, resulting in increased population growth in the post-ward period. Miami experienced another spurt in population growth when hundreds of thousands of people fled Cuba, following the takeover by Fidel Castro (1926-). Despite a number of social crises in the 1980s and 1990s, Miami remains a major international, financial, and cultural center.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/182"&gt;Miami-Dade County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Cepero, Laura</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>External Reference</name>
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                <elementText elementTextId="611842">
                  <text>"&lt;a href="http://www.miamigov.com/home/history.html" target="_blank"&gt;City of Miami History&lt;/a&gt;." City of Miami. http://www.miamigov.com/home/history.html.</text>
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                <elementText elementTextId="611843">
                  <text>"&lt;a href="http://www.historymiami.org/research-miami/topics/history-of-miami/" target="_blank"&gt;MIAMI: ONE HUNDRED YEARS OF HISTORY&lt;/a&gt;." HistoryMiami. http://www.historymiami.org/research-miami/topics/history-of-miami/.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <description/>
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                <text>Palms on Biscayne Blvd. Postcard</text>
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                <text>Palms on Biscayne Blvd. Postcard</text>
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            <name>Subject</name>
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                <text>Miami (Fla.)</text>
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                <text> Trees--Florida</text>
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                <text> Hotels--Florida</text>
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                <text>A postcard depicting palm trees along Biscayne Boulevard in Downtown Miami, Florida. The most prominent building in this postcard is one of Miami's first skyscrapers, McAllister Hotel, located at 10 Biscayne Boulevard. Designed by Walter De Garmo (1876-1951), the hotel opened in 1917 and was considered the tallest building Miami until 1925. Next to the McAllister Hotel is the Columbus Hotel, which opened in 1926. Both hotels were demolished in 1989 and replaced with the Columbus Bazaar shopping arcade. 50 Biscayne later replaced the bazaar in 2007.</text>
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          <element elementId="48">
            <name>Source</name>
            <description/>
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                <text>Original 9 x 14 centimeter color postcard by Curt Teich and Company: Private Collection of Bob Van Horn.</text>
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            <name>Requires</name>
            <description/>
            <elementTextContainer>
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                <text>&lt;a href="http://www.adobe.com/products/reader.html" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
              </elementText>
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            <name>Is Part Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617819">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/183" target="_blank"&gt;Miami Collection&lt;/a&gt;, Duval County Collection, RICHES of Central Florida.</text>
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          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
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                <text>Digital reproduction of original 9 x 14 centimeter color postcard by Curt Teich and Company.</text>
              </elementText>
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            <name>Coverage</name>
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                <text>McAllister Hotel, Downtown Miami, Florida</text>
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              <elementText elementTextId="617822">
                <text> Columbus Hotel, Downtown Miami, Florida</text>
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            <name>Creator</name>
            <description/>
            <elementTextContainer>
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                <text>Curt Teich and Company</text>
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            <name>Publisher</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617824">
                <text>Gulf Stream Card and Distributing Company</text>
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            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description/>
            <elementTextContainer>
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                <text>Van Horn, Bob</text>
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          <element elementId="90">
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            <description/>
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              <elementText elementTextId="617826">
                <text>ca. 1930-1949</text>
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            <name>Format</name>
            <description/>
            <elementTextContainer>
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                <text>application/pdf</text>
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          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617828">
                <text>267 KB</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617829">
                <text>9 x 14 centimeter color postcard</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617830">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617831">
                <text>History Teacher</text>
              </elementText>
              <elementText elementTextId="617832">
                <text> Geography Teacher</text>
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          <element elementId="124">
            <name>Provenance</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617833">
                <text>Originally created by Curt Teich and Company and published by the Gulf Stream Card and Distributing Company.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617834">
                <text>Copyright to this resource is held by Bob Van Horn and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            <description/>
            <elementTextContainer>
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                <text>Donation</text>
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          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
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                <text>Cepero, Laura</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="617837">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
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                <text>Nevins, Buddy. "&lt;a href="http://articles.sun-sentinel.com/1988-01-06/features/8801020020_1_front-desk-biscayne-bay-buildings" target="_blank"&gt;The End Of An Era&lt;/a&gt;." &lt;em&gt;The Sun Sentinel&lt;/em&gt;, January 6, 1988. http://articles.sun-sentinel.com/1988-01-06/features/8801020020_1_front-desk-biscayne-bay-buildings.</text>
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                <text>Semple, Kirk. "&lt;a href="http://www.miaminewtimes.com/news/dades-greatest-hits-6363582" target="_blank"&gt;Dade's Greatest Hits&lt;/a&gt;." &lt;em&gt;The Miami New Times&lt;/em&gt;, July 27, 1995. http://www.miaminewtimes.com/news/dades-greatest-hits-6363582.</text>
              </elementText>
            </elementTextContainer>
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        <name>Biscayne Boulevard</name>
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      <tag tagId="44035">
        <name>Columbus Hotel</name>
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      <tag tagId="44034">
        <name>Hotel McAllister</name>
      </tag>
      <tag tagId="15670">
        <name>hotels</name>
      </tag>
      <tag tagId="377">
        <name>Miami</name>
      </tag>
      <tag tagId="216">
        <name>palm trees</name>
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      <tag tagId="8128">
        <name>palms</name>
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              <name>Alternative Title</name>
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                  <text>Sarasota Collection</text>
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                  <text>The first recorded contact of European explorers in present-day Sarasota, Florida, was at Charlotte Harbor in 1513. Following American acquisition of the Florida Territory, the U.S. Army established Fort Armistead along the bay. The first permanent Euro-American settler was William Henry Whitaker (1821-1888), who arrived in the early 1840s. Other pioneer families include the Webbs, Lewis Colson, the Brownings, John Hamilton Gillespie (1852-1923), Owen Burns (1869-1937), and Bertha Palmer (1849-1918).&lt;br /&gt;&lt;br /&gt;The Village of Sarasota was incorporated, with Gillespie as mayor, in 1902, the same year that the West Indies Railroad was extended to the area. Sarasota was re-platted in 1912 and incorporated as a city in 1913, under the leadership of Mayor A. B. Edwards. Several of the Ringling brothers, who established the Ringling Brothers Circus in 1884, also settled in Sarasota. Charles Edward Ringling (1863-1926) and John Ringling (1866-1936) were especially instrumental in the development of Sarasota.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/195" target="_blank"&gt;Sarasota County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Cepero, Laura</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Elder, Amy A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/52982457" target="_blank"&gt;&lt;em&gt;Sarasota&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2003.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://www.sarasotagov.com/InsideCityGovernment/Content/Commissioners/GeneralInfo/OurHistory.html" target="_blank"&gt;History of Sarasota&lt;/a&gt;." The City of Sarasota. http://www.sarasotagov.com/InsideCityGovernment/Content/Commissioners/GeneralInfo/OurHistory.html.</text>
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                <text>A postcard depicting the Sarasota Trailer Park's recreation center in Sarasota, Florida. To the right of the postcard is the Trailer City Headquarters, which housed a grocery store and a post office substation. The trailer park was founded in the 1920s on land donated to the City of Sarasota by Calvin Payne. In the 1980s, there was public controversy regarding the misuse of the land because it had  been deeded specifically for public park space. In 2007, the land was reopened as a public park.</text>
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                <text>&lt;a href="http://www.adobe.com/products/reader.html" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/196" target="_blank"&gt;Sarasota Collection&lt;/a&gt;, Sarasota County Collection, RICHES of Central Florida.</text>
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                <text>Sarasota Trailer Park Recreation Center, Sarasota, Florida</text>
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                <text>Curt Teich and Company</text>
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              <elementText elementTextId="617906">
                <text>Russell, M. E.</text>
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            <name>Contributor</name>
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                <text>Van Horn, Bob</text>
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              <elementText elementTextId="617908">
                <text>ca. 1930-1939</text>
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                <text>application/pdf</text>
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          <element elementId="112">
            <name>Extent</name>
            <description/>
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              <elementText elementTextId="617910">
                <text>371 KB</text>
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            <name>Medium</name>
            <description/>
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              <elementText elementTextId="617911">
                <text>9 x 14 centimeter color postcard</text>
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            <name>Language</name>
            <description/>
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              <elementText elementTextId="617912">
                <text>eng</text>
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            <name>Mediator</name>
            <description/>
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              <elementText elementTextId="617913">
                <text>History Teacher</text>
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                <text> Geography Teacher</text>
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            <name>Provenance</name>
            <description/>
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                <text>Originally created by Curt Teich and Company and published by M. E. Russell.</text>
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            <name>Rights Holder</name>
            <description/>
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              <elementText elementTextId="617916">
                <text>Copyright to this resource is held by Bob Van Horn and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Cepero, Laura</text>
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            <description/>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt; </text>
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            <name>External Reference</name>
            <description/>
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                <text>Wilson, Jarred R. "&lt;a href="http://www.sarasotahistoryalive.com/history/articles/government-photography-program-at-the-sarasota-trailer-park/" target="_blank"&gt;Government Photography Program at the Sarasota Trailer Park&lt;/a&gt; ." Sarasota History Alive! http://www.sarasotahistoryalive.com/history/articles/government-photography-program-at-the-sarasota-trailer-park/.</text>
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                <text> Wilpon, Bonnie. &lt;a href="http://www.worldcat.org/oclc/42669378" target="_blank"&gt;&lt;em&gt;Sarasota and Bradenton&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 1999.</text>
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        <name>Coca-Cola</name>
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        <name>Louis Parks</name>
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      <tag tagId="44044">
        <name>Mildred Parks</name>
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      <tag tagId="23678">
        <name>Sarasota</name>
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        <name>Sarasota Trailer Park</name>
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        <name>Sarasota Trailer Park Recreation Center</name>
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      <tag tagId="44042">
        <name>Trailer City Headquarters</name>
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        <name>trailer parks</name>
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        <name>trailers</name>
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                  <text>Jesse Cutler Collection</text>
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              <name>Alternative Title</name>
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                  <text>Cutler Collection</text>
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              <name>Language</name>
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                  <text>eng</text>
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              <name>Curator</name>
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              <name>Description</name>
              <description/>
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                  <text>Collection of digital images, documents, and oral histories depicting the life and work of Jesse Cutler. Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early ‘70s through the late ‘90s, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print.</text>
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              <name>Subject</name>
              <description/>
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                  <text>Music--Florida</text>
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                <elementText elementTextId="690818">
                  <text>Winter Park (Fla.)</text>
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                <elementText elementTextId="690829">
                  <text>Godspell (Motion picture)</text>
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              <name>Type</name>
              <description/>
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              <name>Coverage</name>
              <description/>
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                  <text>Winter Park, Florida</text>
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                <elementText elementTextId="690821">
                  <text>Los Angeles, California</text>
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                <elementText elementTextId="690822">
                  <text>New York, New York</text>
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              <description/>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>Source Repository</name>
              <description/>
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                  <text>Personal Collection of Jesse Cutler</text>
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              <name>External Reference</name>
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                  <text>&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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              <name>Is Part Of</name>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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        <name>Dublin Core</name>
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            <name>Click to View (Movie, Podcast, or Website)</name>
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                <text>&lt;a href="https://youtu.be/CX5rMcYJi-E?si=v5_qpDbQ5S33YklC" target="_blank" rel="noreferrer noopener"&gt;Oral History of Jesse Cutler&lt;/a&gt;</text>
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            <name>Title</name>
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</text>
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            <name>Alternative Title</name>
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                <text>Oral History, Jesse Cutler (Part One)&#13;
</text>
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            <name>Subject</name>
            <description/>
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                <text>Music--Florida</text>
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              <elementText elementTextId="690836">
                <text>Godspell (Motion picture)</text>
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            <name>Description</name>
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                <text>Part One of an oral history of Jesse Cutler conducted by Geoffrey Cravero at Trevor Colbourn Hall at the University of Central Florida on February 8, 2024. Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early seventies through the late nineties, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print. Some of the topics covered include growing up and attending schools in New York, becoming involved in the Broadway musical Godspell, finding a manager, starting a career in the music industry and signing with his first record label, enjoying his success, purchasing a penthouse and a dog, taking his first trip to Beverly Hills, California, meeting Stevie Wonder and starting a romantic relationship with Jolie Jones, moving to Beverly Hills with Jolie Jones and meeting her sisters, starting a romantic relationship with Deana Martin, meeting Tupac Shakur, encountering interesting women and his advice to young people, performing at the Whisky a Go Go and having a dangerous encounter with Pamela Courson, reflecting on missed opportunities, signing with United Artists Records, his love for R&amp;B music, astrology and numerology, and meeting Michael Jackson and Marvin Gaye.</text>
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                <text>0:00:00 Growing up and attending schools in New York &lt;br /&gt;0:03:17 Becoming involved in the Broadway musical Godspell &lt;br /&gt;0:05:49 Finding a manager, starting a career in the music industry and signing with his first record label &lt;br /&gt;0:08:02 Enjoying his success, purchasing a penthouse and a dog &lt;br /&gt;0:11:12 Taking his first trip to Beverly Hills, California, meeting Stevie Wonder and starting a romantic relationship with Jolie Jones &lt;br /&gt;0:14:435 Moving to Beverly Hills with Jolie Jones and meeting her sisters&lt;br /&gt;0:17:47 Starting a romantic relationship with Deana Martin&lt;br /&gt;0:20:52 Meeting Tupac Shakur&lt;br /&gt;0:21:45 Encountering interesting women and his advice to young people&lt;br /&gt;0:23:02 Performing at the Whisky a Go Go and having a dangerous encounter with Pamela Courson&lt;br /&gt;0:28:31 Reflecting on missed opportunities&lt;br /&gt;0:31:09 Signing with United Artists Records, his love for R&amp;amp;B music, astrology and numerology, and meeting Michael Jackson and Marvin Gaye</text>
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            <name>Creator</name>
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                <text>Cutler, Jesse</text>
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              <elementText elementTextId="690841">
                <text>Cravero, Geoffrey</text>
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            <name>Source</name>
            <description/>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text>&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                <text>Cravero	&#13;
Okay [smacks lips]. This is Geoffrey Cravero. And with me is, uh, Mr. Jesse Cutler . We are conducting an interview in Trevor Colbourn Hall at the University of Central Florida in Orlando on Thursday, February 8th, 2024. &#13;
&#13;
Mr. Cutler, thank you so much for speaking with us today. Would you please begin by stating your name and telling us a little bit about where you’re from and what life was like for you growing up?&#13;
&#13;
Cutler	&#13;
Well, my name is Jesse Cutler. Uh, I was born in Brooklyn, New York, ah, a long time ago. 1951. And, as a child, I, uh, had an older sister. And, uh, grew up. Had a little puppy. I went to a Catholic school, uh, fifth—when I was five and six, until my dad built a house on Long Island. Malverne, Long Island. And, uh, I went to Valley Stream North High School . And then I attended, uh, uh, the Highland School Preparatory  in Jamaica Estates, which was predominantly Jewish. And being, Italian, well, it kind of went together. We—we all had a good time. I—there was only three Italian boys. We were branded “mafia children” because who could afford $10,000 a year to go to high school?&#13;
&#13;
But it was good move thanks to my—my father, uh, who wanted me to get a really good education. There were only a hundred kids in the whole school out of three grades. 10th, 11th, and 12th grade. One hundred kids. That’s very small. So some of my classes, I would have only maybe five or six kids in a class. Sometimes it was two. My French class. But, uh, that’s my early—early childhood. &#13;
&#13;
And after I graduated from high school, uh, I was lucky to get a, uh—a scholarship to Stanford University. And, uh, one day, I was up in the Catskills and my dad was walking with me. I had a band playing, uh, for kids during—when the parents—they were staying at the Kutsher’s Country Club , which had something to do with Ashton Kutcher . I think it might be his grandfather. Uh, we would play for the kids when the—when the parents were dining. And we would—we would entertain them. Uh, so my dad comes up to visit, and as we’re walking down, I—I go, “Dad. Do you realize I got a—I got a scholarship to uh, an Ivy Leage school? It’s like Harvard. I go, “It’s a scholarship. You don’t have to pay anything.” He goes, “Well, you know I’d really like you to stay in New York. You know? California’s far. It’s 3,000 miles away.” He goes, “I’ll tell you what. If you stick around New York, go to any college in New York. I’ll buy you any car you want.” Well, you don’t say that to a 17-year-old kid just getting ready to graduate high school. I go, “Any car? Uh, a British racing green Jaguar convertible with wire wheels and a wooden steering wheel?” “Yeah. Sure.” &#13;
&#13;
So, my father, in a way, changed my life. Because, had I gone the other way to California to go to Stanford, I would have ended up in law school. And I would have been an entertainment lawyer. That’s what I wanted to be. But since I stuck around New York, my good friend Rick Shutter—drummer who was in my early band at 13, 14 years old called the Young Executives, calls me up and said, “Somebody’s coming over the house. He wrote a play. Bring your guitar over.” I go, “I’m not interested. I’m going to end up going to NYU Law School .” “Uh, just bring your guitar over.”&#13;
So, I go over there. I walk in. There’s a guy named Stephen  sitting in a chair and getting ready to—I didn’t know who he was. He’s getting ready to go over to the piano. Ricky’s piano. And all of a sudden, he plays 15 songs. “Now that’s pretty good.” I go, “What do you call that?” He goes, “Godspell.” I go, “You mean like gospel?” “No. Godspell.” I go, “That’s pretty good. But that’s guitar music. That’s not piano music.” So, I—I have instant recall. I was blessed with that. So, I could play back some of what he played. He goes, “Man, I want you in the show.” &#13;
&#13;
I told my dad about it. And he goes, “Those shows close in two weeks.” Godspell not only got a Grammy for the original cast album, became a motion picture for Columbia Pictures , but it ran not for two weeks. It ran for 12 years on Broadway. And I did close to 800 shows. That’s 800—that’s eight shows a week every week for I—close to a year and a half. About 18 months.&#13;
&#13;
So, I was fortunate in a way to be part of that original cast. I’m the lead guitarist and singer on “On the Willows”, which is all over the world. But that’s really not where I was—originally wanted to go. And so, my life shifter from becoming an entertainment lawyer to becoming an entertainer. And, uh, that’s the beginning of that story.&#13;
&#13;
So, yeah. That’s a big jump from 5 years old with my little beagle, walking down the block to Catholic school. Then, walking out of the, uh, Cherry Lane Theatre  in Greenwich Village. And then, uh, the bigger theater uptown, uh, in Godspell. I mean that’s night and day. &#13;
&#13;
Uh, so after that, uh, I walked around town looking for a manager. Somebody—the president of MGM , he was the head of the publishing company, said to me, “Listen. You—you already played guitar on the original cast album. You already played on the Columbia Pictures soundtrack. There’s nothing more for you here. You need a manager.” So, I went around town [knocks table]. I’ll never forget walking around town with my guitar. My Martin guitar. Knocking on doors until I finally connected with somebody. And they brought me to Fabergé , who launched their new record label called Brut Records . And I was the first artist. Michael Franks  was the second, and a—a—a comedian —what’s his name [taps table]? Um, famous comedian, who I toured with. I opened the show with him. I’m trying to remember. When you get old, your memory starts to go a little bit. Uh, but I’ll get back to that one.&#13;
&#13;
And, uh, I recorded three singles for Brut Records. And they were good. And the people backing me was Aretha Franklin’s  band with, uh, Bernard Purdie  w—he was known as “Pretty” Purdie, Cornell Dupree , uh, uh, Chuck Rainey  on bass. This is Aretha Franklin’s band on all her hit records. On a lot of other hits, too. And the reality is, the best compliment I ever got as a musician is when “Pretty” Purdie, the drummer, said to me, “You know, for a white boy, you got perfect time.” And I take that compliment knowing who that is on “Rock Steady” and all those big s—oh, the Cadillac. And all those Aretha songs. That he gave me that compliment that I had perfect time. I mean that—even—that was 50 years ago, and I still remember it like it was yesterday. Let’s see. But who was that guy? Mike—Michael Franks. I’m trying to think of the comedian’s name. &#13;
&#13;
Anyway, I have 101 stories I could tell of what happened after Fabergé during the three masters. Uh, I—they gave me money when I signed the contract. And all of a sudden, I got myself my own penthouse on East 51st Street. 300 East 51st Street. And my best friend, Mark, and I hung out at the beach. He got married, uh, he had from[sic] Long Island. From Long Beach. And, uh, all of a sudden, I’m in Manhattan. I had money in the bank. And I go to any restaurant I want to go. Take anybody out. &#13;
Uh, I bought a dog. And, uh, I bought a Siberian Husky. And the day my dad came to visit, we’re inside the—the dog store. And, uh, the woman goes, “Well, this is a—a championship—from a championship bloodline. The sire and dam for this dog are champions. So, you can breed this dog. So, I’m looking at this gorgeous dog—puppy with blue eyes and eyeliner. I love Siberian Huskies. Do you know that Siberian Huskies are the only dogs that have a certain enzyme in their mouth that they don’t have bad breath? I’m sure most people don’t know that. So, if you’re an Eskimo in an igloo with 12 huskies, if they had—didn’t have that you would die of asphyxiation for sure. So, they’re the only dogs.&#13;
&#13;
Uh, so, on the way home, I’m walking the dog and my father goes, “How much you pay for that dog?” “$600.” “$600?” I guess that was a lot back then in 1973. I go, “Look. It’s my money. It’s my apartment. It’s my dog.” Because when I had my first little dog, I only had him for about a month. I came home one day from St. Brigid’s Catholic School  in uh, uh—in—in—and, uh, what was it? Ridgewood, Brooklyn. I came home. I go, “Where’s Tiny?” And my—my mother goes, “I gave him to Uncle John. But he’s got 20 acres that he could run around all over.” I go, “You gave my dog away? I don’t like you very much. That’s it. Our relationship—” I was six years old. Like that’s it. So, when I bought the dog myself years later, and I’m walking home—oh, my father kept saying, “$600. Wait ‘til I tell your mother.” “Go tell her what you want. It’s my money, my place, my dog. And I’m going to keep that—” I kept that dog for 15 years. And I loved that dog. He was—his name was Zeus. And when I walked through Central Park, New York, uh, on the weekends, different girls would come over. I used to look at him. I go, “I don’t know. Is it you or me? It’s probably you. They all want to pet you.” Like he goes, “Well, maybe it’s you, too. Ha, ha ha.” Anyway, uh, so life in New York was great.&#13;
&#13;
And so, I took my first trip with my friend, Mark, to Beverly Hills, and that was a lot of fun. Back in ’73. And, uh, I went and got a—I ride horses when I can. And I—I had a custom pair of riding boots made. They were $800. I didn’t care. Unfortunately, on the way back, Mark and I were, uh, in a 747, up the spiral staircase. And up there, there used to be a bar and a piano. And who’s up there? Stevie Wonder.  We walk in there and I introduce myself. We’re hanging out with Stevie Wonder. And I go, “Oh, my God. I forgot my boots.” And my friend, Mark, says, “Ah. You got plenty of money. Get another pair.” “No. Those were custom made boots, man.” &#13;
&#13;
Two weeks later, I get a phone call. “Hi. Is this Jesse Cutler?” I go, “Yeah.” “Oh. This is Jolie . I have your boots.” “You have my boots? Where are you?” “I’m on 63rd and—and—and 3rd Avenue. 61st and 3rd Avenue in Penthouse B.” “Penthouse B? I’ll be right over.” So, I could call Fabergé up and get a limousine driver, Danny, to pick me up. I go over there. I go upstairs. The door opens up and this girl is holding my boots. Like this. Gorgeous mulatto chick. And, uh, she doesn’t really tell me who she is. And I go, “Listen. I have a limo downstairs. Let me take you to lunch.” &#13;
&#13;
So, where do I take her? I took her to Joe Namath’s  place, Bachelors III,  because he was on the contract of Fabergé, and I wanted to show off a little bit. Because when I walked in, he went, “Hey, Jesse. How you doing?” ‘Cause I met him up in the offices of Fabergé, and, uh, I thought she’d be impressed. But I still didn’t know who she was. I realized that was no big deal until she goes, “Can we go to Bloomingdale’s  after we have lunch?” I go, “Sure.” We go to Bloomingdale’s. And a Black cash register—the cash lady—the cashier in—in Bloomingdale’s in the lingerie department sees her and says, “Oh, my God. It’s you. I just saw you on the cover of Jet  and Ebony  magazine. And I’m wondering, Who is this chick? I don’t—I—I—I still don’t know who she is. I go, “Let’s go to my place. I have a—I have my own penthouse.” “Really?” I go. &#13;
&#13;
So, we get to my place. And, uh, she stayed with me. And a couple day later, I get a phone call. Like this. “Hi. Is, uh, Jolie there?” I go, “Who’s this?” He goes, “This is Q.” I go, “Who? Q-tip?” And he laughed. I go—it—because those were landlines then, so it’s scratchy. I go, “It’s, uh, very scratchy. Where are you?” He goes, “Oh, I’m in Japan.” I go, “What are you doing in Japan?” I don’t know who it is. “Oh, I’m on tour.” And all of a sudden, if you saw my face, I went like this t—to Jolie. I went, “Are you Quincy Jones’s  daughter?” She goes, “Oh, daddy.” She takes the phone out of my hand. And, uh, I went into the bathroom. I went—my afro then. Picked it all out. I come out. Lit a cigarette. I’m like, “Oh, so you’re Quincy Jones’s daughter [laughs]. Sauve. You know?&#13;
&#13;
She ended up staying with me the whole summer. And she kept saying, “I’m gonna go back to L.A., and you should come. And you—you belong in Beverly Hills. You—not New York.” And that was a big deal, looking back in time. Had I stayed in New York, Fabergé with Brut Records would have pushed me all over the place, as far as my career. But I guess I was impressed. And I was seduced to go to Beverly Hills with Quincy Jones’s daughter. And to do—and to make sure I would—came out, she took my Siberian Husky with her as collateral. And there I was with Mark, Jolie Jones, and me and my dog, Zeus, in the cage in the limo, looking at me going, “What the fu¬¬—where are we going?” You know? She walked him on—she took him onto the plane. &#13;
And I stayed in New York for a couple more months. And, uh, the end of the summer, I packed up and I ended up being picked up at the airport in a white Bentley. Uh, and she was making cocktails in the back. And—and interestingly enough, she took me to a private club on the way from the airport before—before we got to the house. And as I walked up the stairs, who did I meet? I met the guy who was the star of the cowboy, uh—he was a—he was one of the TV stars. He looked at me and he goes, “You look like an interesting character. Let me buy you a drink.” And I’m trying to remember his name. But, uh, I go, “My mother’s in love with you. I—every time you’re on TV.” He goes, “That’s my man.” Like he said, “For real?” I go, “Yeah. You and a couple other guys.”&#13;
&#13;
But anyway. Uh, so we finish there, and we end up back in the limo. Back—back in the Bentley. And we go up—all the way up to Benedict Canyon.  And we go down. And all of a sudden, we get to these gates. And the gates open up. Go into the driveway. Like a few acres. A beautiful house. We walked in there. And, um, next morning, I woke up and there were two little girls running around named Rashida  and Kidada Jones , who today, you may know, you know, uh, uh, Rashi—uh, Rashida starred in The Office  [taps table]. And she’s in a lot of commercials now [taps table]. She’s a beautiful girl [taps table]. Her mother was Peggy Lipton.  Which I never knew that Peggy Lipton from The Mod Squad  was part of the Lipton family.  From the tea family. I d—I didn’t know. I could figure out why that happened [laughs]. Quincy. It turns out, like in my life, when you get a little fame, it doesn't matter how much money you have. People—women are attracted to your talent because it’s unique. And it’s—and it’s been addressed and promoted. And, uh, they have tons of millions of dollars. They don’t care. You know?&#13;
&#13;
So, I, uh, met Dean Mar—I was introduced to Dean Martin’s daughter at a party for the guy that created Botox  from Switzerland. And, uh, my friend came over. He goes, “I’m going to change your life.” And he walks this girl over. I don’t know who she is. She goes, “This is Deana .” “Hi.” And, uh, later that night, I get a phone call. “Hi.” “Oh, this is Deana Martin.” I go, “Well, that’s a great name. That sounds like Dean Martin .” She goes, “Well, Dean Martin’s my father.” I almost dropped the phone. I go, “You the girl I met at the party on Sunset Boulevard?” She goes, “Yeah. Listen. I’d love to take you out to dinner with me. Uh, I’m having dinner with Michael Caine  and Steve, uh, uh—the comedian. Steve, uh.&#13;
&#13;
Cravero	&#13;
Martin?&#13;
&#13;
Cutler	&#13;
Steve Martin. &#13;
&#13;
Cravero	&#13;
[clears throat].&#13;
&#13;
Cutler	&#13;
I—I’d never thought of it. Deana Martin. Steve Martin. Could there be a relation? Or who knows? I doubt it. But, uh—and there I was. I had a ch—said, “Let me check my calendar.” It’s like 2 o’clock in the morning. I, uh—I went picked her up. Went up to Bel Aire. This restaurant [knocks table]. And there I am. Sitting next to Steve Martin and looking—and Deana. And looking at Michael Caine and his wife, Shakira , at the time. And, uh, like I’m back to normal. I felt back to normal. &#13;
&#13;
But, you know? Dean Martin’s daughter knew everybody. I mean is—you couldn’t get bigger than Dean Martin. You know? Frank Sinatra . Dean [knocks table] Martin. Sammy [knocks table] Davis . Joey [knocks table] Bishop . The Rat Pack. I mean you couldn’t get bigger than that. You could get as big, but not bigger. There isn’t any bigger at the time. Anyway. &#13;
&#13;
There was really, uh—Well, Michael Jackson  was starting to pop. Uh, I remember one day, since I’m telling stories, uh, when I signed with Fabergé, I had a—a new magazi—Cashbox  and Record World . And, uh, uh, these magazines were the—the top magazines in the music industry. And I remember opening up Cashbox and there’s my picture on the top with Richard Barry, the vice-president and the owner’s son, who is in charge of Brut Records—a picture of me and him. And right below me is a picture of Prince  signing his first, uh, contract with Warner Brothers. He was 18 and I was 21. And of all the people I met, and I met pretty much everybody—I was more R&amp;B. I always learned to the R&amp;B music. So, when I met Marvin Gaye  and Barry White , I was thrilled. And Berry Gordy . That was a big thrill. I never met Prince. I met Michael Jackson.&#13;
&#13;
And, um—oh, so years later, I’m sitting in Quincy Jones’s living room, and I see a guy sitting in one of the chairs with a bandana on. He’s bald with a bandana on his head. And I walk over. I go, “Shupat. Shupat Takur—what is it? Tupac Shakur .” I go, “It’s you.” He goes, “I think it’s me.” He goes, “Man.” That is the greatest night. Tupac Shakur. He—he stood up. He was kind of short. He was about this big. And, uh, we did this kind of thing. And he—he was engaged to Kidada Jones. To Quincy’s daughter. And, uh, that’s how she popped up on the, uh—the news reels. Uh, she—uh, she wasn’t really an actress like—like Rashida. &#13;
&#13;
But, uh, Jolie Jones married the producer of Simply, uh, Red  [hums song]. They were good. They were from Ireland I think. Simply Red. But she married him. I didn’t marry her.&#13;
&#13;
So, uh, all these interesting women came around me. Very interesting. Susan Sears from Sears and Roebuck . She picked me up in her baby blue Bentley. A Rolls-Royce actually. They came around. I was young, you know? I didn’t think about marriage until I was more thirtyish. And I—anybody who’s watching this, I highly recommend that you do get a good education. And then, they—today’s world, you should get your master’s degree. And even go, if you can, to a PhD. That’s a great accomplishment. Anybody would—anybody anywhere will give you respect. Um, and not to get married until—for women, like 28 plus. And men should be 30. 30 plus. Just saying, um, from experience, you’d be much happier and more grounded at that point.&#13;
&#13;
Um, so, I went on after that. And living in L.A. I say goodbye to Fabergé. I’m at—living in L.A. I’m—I’m doing concerts. I started out at the Whisky a Go Go . I opened for Blondie . Deborah Harry . And I was there three nights. And who comes backstage? Uh, my manager brings this redhead—very pretty—backstage. And, uh, she comes over. She goes, “I think you’re great.” I was up there for two hours, and I blew that audience away. I had a great band. And my band was great. Not only was my band great but stars out of the audience—Lou—Lou—the—the—the—the horn player for Chicago  came onstage. Played with us. Claudia Lennear , who sang with the Rolling Stones , came onstage. And place was rocking.&#13;
&#13;
So, now I’m backstage, and this little redhead with blue eyes is looking at me, telling me, “I think you’re fantastic.” “Oh. Thanks. Uh, appreciate it.” Anyway, we’re backstage, and there’s—they have like a bar back there. And everybody’s doing things. All the groupies come in.&#13;
&#13;
Well, anyway, I get home. It’s about 3:30 in the morning. And I get a pho—another phone call. And, uh, it’s, uh, “Hello.” “Listen. This is me. I’m the girl that told you you were great. The redhead. Are you—you wanna come over my house?” I go, “Where are you?” “I’m in Hancock Park .” That’s in L.A. That’s a nice area in L.A. “Okay. What’s your address [laughs]?” &#13;
&#13;
So, I went over there. And this is real. Um, Pamela Courson  was her name. I didn’t know who she was at the time. So, I knock on the door. She opens up. I’m all dressed ‘cause I, you know—it was from the night I was there. I was wearing a real nice outfit. I think they had put makeup on me. Whatever. You know [rubs hands together]? And it was, uh—this was the first night we were at the Whisky a Go Go. And all I kept thinking about, going to her house, is I can’t wait to see the reviews in the¬¬¬¬—in Hollywood Reporter and Variety. Like the reviews.&#13;
&#13;
So, I’m sitting there on the couch next to her. And all of a sudden, I hear [knocks]. And she says, “Oh, no. It’s Ronnie.” It’s 4 o’clock in the morning. The door come—both—the door comes open, and a guy walks in with a gun. And he’s holding it. And he goes, “What you doing with my bitch?” And he hit me like this. And goes like this. Click. Uh, with a .38 caliber. So, I’m looking at bullets. Remember, all I kept thinking about is my reviews. I got to stay alive. And then, he put the gun down. I mean it was just a little something there. But he dragged her away. And the first thing I did was I—I figured out how to open the gun. Dumped all the bullets out in the cushion. I put the gun back. Well, you can’t kill me now. I’m going to fight my way out. When you’re from Brooklyn, you’re a—you’re tough. You’re just tough. &#13;
&#13;
Anyway, uh, uh, he—he comes out. He came in like a lion, and he left like a lamb, going like this. “Man. I’m sorry, man. I didn’t mean to. I didn’t mean to do nothing. I mean, I didn’t know you with the Q.” With the Q. I had to think about that. And then, he—“I’m just gonna take my little gun and go.” And he left. The next thing you know, sh—this girl—I—I still don’t know who she is. This girl’s[sic] comes crawling in, and she says, “And if you weren’t here—you saved my life. I’m[sic] should take you to—to, uh—to France and hold a press conference in Paris and tell the world you’re going to be the biggest rock star.” I’m looking at her. She goes, “I have millions of dollars.” I go, “Well, that’s good.” I go, “Who are you [laughs]?” She’s, “I’m Jim Morrison’s  widow. From the Doors .” &#13;
&#13;
Yeah. That was kind of freaky. That’s[sic] really happened. And, uh, uh, since I was there and that happened, I said, “Listen. I have the pink caddy outside.” I had this really cool Cadillac. White top. Pink Body. It was—it was a sedan DeVille. But it was like an older car. Uh, but in good shape. And I said, “Why don’t you follow me with your car to my house?”&#13;
&#13;
So, we get to my house in, uh, Laurel Canyon . I park. I said, “Park in the driveway.” We get up. I knock on the door. And Angel, my drummer—Steven Angel opens the door. And I go, “Shh. Don’t say anything. Jim Morrison’s widow’s behind me. Don’t—but don’t say nothing [laughs].” “Yeah. Okay [laughs].” We go in. It’s 4:30 in the morning now. And now, uh, she stayed with me for a couple days [taps table]. And—but in my mind—oh. &#13;
&#13;
So, the next day, yeah, we went to the s—newsstand to get a copy of my, uh—my, uh, report from Variety. And I got a very good review. I was very thrilled about that. Um, with Jim Morrison’s wife—was pushing me to go to—to take me to Paris to hold a press conference. She said, “I could hold a press conference. Everybody will come. And I’ll say this is the next big star.” That could have happened. I could have married Dean Martin’s daughter. That could have happened. I could have stayed with Fabergé. That could have—that would have happened. So, a lot of lucky, good things happened to me. And a lot of things I turned down because I wanted to do it on my own. &#13;
&#13;
And so, after, uh, uh, Quincy’s daughter and I split up, uh, I got my own apartment. I got my dog back. And I put a new band together. And I played all over town. Up and down the West Coast. And, um, I then, uh, actually returned to New York and, uh, stayed there for—for about six months. Went down to Florida to visit my parents. And every day, I would go along the boardwalk in Hollywood Beach and play the piano. So, I wrote a whole bunch of new songs. &#13;
&#13;
And when I went back to L.A., I had my bag full of new songs. And on Valentine’s Day, which is coming up in 2024 now shortly, I had my briefcase, two pieces of luggage, and my two guitars. Pulling up to my friend, Stanley B. Herman, the actor’s, condominium. And a girl and two guys are walking along. And she says, “Do you need any help?” I go, “Yeah. Oh, that’d be really nice.” We end—we end up in the elevator with my two—all my bags and guitars. We get upstairs. And this girl named Randi Pitch, who, uh—who I should have married, we connected. We stayed together. We got our own apartment. We got our own place. And she was the luckiest person, for me, that I ever met. And I’m still in touch with her. And it’s 45 years later. &#13;
&#13;
The reality is, I ended up getting signed to United Artists Records , being produced by Academy Award winner Joe Renzetti . And there I am in the studio with, uh, the best triple scale musicians and my dream—because I always loved R&amp;B music. I love the Stylistics , the Delfonics , Jerry Butler , I—Marvin Gaye. Because with the R&amp;B music, it had great beats. But it had sweeping strings and horns. And that’s what I liked. I don’t like gothic music. I don’t like [impersonates gothic music]. See? That makes no sense to me. Some of the bands are great. And the guitar playing is great. But that screaming—my—my friend who owns the uh, uh, Studio Live USA —is a very good engineer. Genius, actually. When I call him, I go, “Who’s there today?” He goes, “I have the angry people.” I knew right away what he meant. Because I can hear in the background [impersonates gothic music]. I don’t get it. You know? &#13;
&#13;
And I’ve figured out this. You could tell a lot about a person by the kind of music that they select. That they want to take into their brain. You could tell a lot about a personality. Not—with that. I’m into astrology and I’m into numerology. If you know about all this, you can figure people out in two seconds by simply asking what—what is the number of the day you were born from 1 to 31. All those numbers mean something. Because in numerology, it’s one to nine. No zeros. That’s it. However, there’s the next level. &#13;
&#13;
And here’s a cute—here’s a cute story. So, I’m sitting in Quincy’s house. And who’s sitting next to me? Michael Jackson [taps table]. And Quincy, which is know as Q, is sitting right over there. And I go, “Michael, you bleaching?” And Quin—Quincy goes like this. Did I really ask Michael Jackson that? I go, “Q. I was born August 28th. Michael, tell Quincy when you were born.” He was born August 29th. The day after me. But the difference is 28 is a ten. Two plus eight is ten. Take away the zeros. I’m one. I’m the hermit. The loner. Michael was 29. That’s 11. That’s the master number of the universe. But I was right next—I’m always next to the greatness. And I call it the “Cutler Edge”. So, if you ev—ever want to check me out, go to thecutleredge.com. And you’ll go to jessecutler.com. &#13;
&#13;
Anyway, Michael was very humble and lowkey and fantastic. And, in my life, I was blessed to meet some of the greatest entertainment people ever. Gene Kelly , uh, Bill Cosby , Michael Jackson. Uh, when I met Marvin Gaye, I was like a girl. I was thrilled. I was in the R&amp;B room at the auditorium in L.A. during the Grammy’s  and Berry Gordy’s mistress, uh, said, “Who you want to meet in the R&amp;B room?” I go, “Anybody?” She goes, “Yeah. Who?” I go, “Uh, Marvin Gaye.” She goes, “Come on over.” So, we walk in there, and I see Smokey Robinson  and Lionel Richie . And I see Diana Ross . They’re all sitting there having cocktails. And—and there I am, looking at Marvin Gaye, who was quite tall actually. And I go, “Marvin…”&#13;
[Interview cuts off due to camera issues.]&#13;
&#13;
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text>&lt;br /&gt;&lt;br /&gt;"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text>&lt;br /&gt;&lt;br /&gt;&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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        <name>Jesse Cutler</name>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>The Young Executives with Sammy Davis Jr.</text>
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                <text>Three photographs of The Young Executives with Sammy Davis Jr. The back of one of the photographs contains a yellow post-it note that says, "Jesse Cutler with drummer, Rik Shutter and Sammy Davis, Jr. in New York City 1960's." Samuel George Davis Jr. was an American entertainer, including singing, acting, comedy and dance.&lt;br /&gt;&lt;br /&gt;Initially called the Executives, the band was formed in 1963 by Jesse Cutler (then known as Lou London), Ricky Shutter and Steve Wagner. The band signed to Mercury Records in 1964, where they recorded a hit single called "Everybody Do the Duck". That same year, the band appeared as guests on the Joe Franklin Show, Wonderama, The Clay Cole Show, American Bandstand, Hullaballoo and Shindig. Over the next two years they performed at charity events and private celebrity parties all over Long Island and New York City. They played in the company of the Rolling Stones, Sammy Davis Jr., Barbra Streisand, Anthony Newley, Joan Collins and the Beatles. The group broke up in 1966.&lt;br /&gt;&lt;br /&gt;Jesse Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early ‘70s through the late ‘90s, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/227" target="_blank" rel="noreferrer noopener"&gt;Jesse Cutler Collection&lt;/a&gt;, &lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>New York City, New York</text>
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                <text>Cutler, Jesse</text>
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                <text> Shutter, Ricky</text>
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                <text> Wagner, Steve</text>
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                <text> Davis Jr, Samuel George </text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>ca. 1963 to 1966</text>
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                <text> 1.09 MB</text>
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                <text> Music Teacher&#13;
</text>
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                <text>Originally created and published by Jesse Cutler, Ricky Shutter, Steve Wagner Samuel George Davis Jr.</text>
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                <text>Copyright to this resource is held by Jesse Cutler and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text>&lt;br /&gt;&lt;br /&gt;"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text>&lt;br /&gt;&lt;br /&gt;&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>Sammy Davis Sits In With The 'Executives' of Malverne</text>
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                <text>A newspaper article entitled, "Sammy Davis Sits In With The 'Executives' of Malverne". Included in the article is an image of Davis playing the drums with Ricky Shutter. Lou London, also known as Jesse Cutler, stands on the left side of the photo holding an electric guitar. Samuel George Davis Jr. was an American entertainer, including singing, acting, comedy and dance.&lt;br /&gt;&lt;br /&gt;Initially called the Executives, the band was formed in 1963 by Jesse Cutler (then known as Lou London), Ricky Shutter and Steve Wagner. The band signed to Mercury Records in 1964, where they recorded a hit single called "Everybody Do the Duck". That same year, the band appeared as guests on the Joe Franklin Show, Wonderama, The Clay Cole Show, American Bandstand, Hullaballoo and Shindig. Over the next two years they performed at charity events and private celebrity parties all over Long Island and New York City. They played in the company of the Rolling Stones, Sammy Davis Jr., Barbra Streisand, Anthony Newley, Joan Collins and the Beatles. The group broke up in 1966.&lt;br /&gt;&lt;br /&gt;Jesse Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early ‘70s through the late ‘90s, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print.</text>
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                <text>Original newspaper article: "Sammy Davis Sits In With The 'Executives' of Malverne." ca. 1963 to 1966: Private Collection of Jesse Cutler.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/227" target="_blank" rel="noreferrer noopener"&gt;Jesse Cutler Collection&lt;/a&gt;, &lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>eng </text>
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                <text> Music Teacher&#13;
</text>
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                <text>Originally created by Jesse Cutler, Ricky Shutter, Steve Wagner Samuel George Davis Jr. and published by an unknown newspaper.</text>
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                <text>Copyright to this resource is held by Jesse Cutler and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text>&lt;br /&gt;&lt;br /&gt;"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text>&lt;br /&gt;&lt;br /&gt;&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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        <name>Jesse Cutler</name>
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        <name>Lou London</name>
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        <name>Samuel George Davis Jr</name>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>A photograph of the Young Executives performing live in concert.&lt;br /&gt;
&lt;br /&gt;
Initially called the Executives, the band was formed in 1963 by Jesse Cutler (then known as Lou London), Ricky Shutter and Steve Wagner. The band signed to Mercury Records in 1964, where they recorded a hit single called "Everybody Do the Duck". That same year, the band appeared as guests on the Joe Franklin Show, Wonderama, The Clay Cole Show, American Bandstand, Hullaballoo and Shindig. Over the next two years they performed at charity events and private celebrity parties all over Long Island and New York City. They played in the company of the Rolling Stones, Sammy Davis Jr., Barbra Streisand, Anthony Newley, Joan Collins and the Beatles. The group broke up in 1966.&lt;br /&gt;&lt;br /&gt;Jesse Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early ‘70s through the late ‘90s, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>Jesse Cutler with Murray Kauffman, also known as "Murray the K", at a private party by the band, the Rolling Stones, in 1964. Cutler was invited to attend the party with his band, The Executives. "Murray the K" was a New York City rock and roll impresario and disc jockey from the 1950s to the 1970s. A Post-it note on the back of the photograph reads, "JESSE CUTLER at ROLLING STONES PRIVATE PARTY AGE 13 WITH MURRAY the K KNOWN as THE 5th BEATLE 1964."&lt;br /&gt;
&lt;br /&gt;
Initially called the Executives, the band was formed in 1963 by Jesse Cutler (then known as Lou London), Ricky Shutter and Steve Wagner. The band signed to Mercury Records in 1964, where they recorded a hit single called "Everybody Do the Duck". That same year, the band appeared as guests on the Joe Franklin Show, Wonderama, The Clay Cole Show, American Bandstand, Hullaballoo and Shindig. Over the next two years they performed at charity events and private celebrity parties all over Long Island and New York City. They played in the company of the Rolling Stones, Sammy Davis Jr., Barbra Streisand, Anthony Newley, Joan Collins and the Beatles. The group broke up in 1966.&lt;br /&gt;&lt;br /&gt;Jesse Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early ‘70s through the late ‘90s, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print.</text>
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                <text>Originally created and published by Jesse Cutler. </text>
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                <text>Copyright to this resource is held by Jesse Cutler and is provided here by  &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt; for educational purposes only.</text>
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                <text> &lt;br /&gt;&lt;br /&gt;"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text> &lt;br /&gt;&lt;br /&gt;&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/227" target="_blank" rel="noreferrer noopener"&gt;Jesse Cutler Collection&lt;/a&gt;, &lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>eng </text>
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                <text>Originally created and published by Jesse Cutler and Stephen Schwartz. </text>
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                <text>Copyright to this resource is held by Jesse Cutler and is provided here by  &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text> &lt;br /&gt;&lt;br /&gt;"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text> &lt;br /&gt;&lt;br /&gt;&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>Collection of digital images, documents, and oral histories depicting the life and work of Jesse Cutler. Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early ‘70s through the late ‘90s, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;span&gt;"&lt;/span&gt;&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>Three color Polaroid photographs of Jesse Cutler and Stevland Hardaway Morris, also known as Stevie Wonder, with unidentified women at a West Hollywood party in 1982.&lt;br /&gt;&lt;br /&gt;Jesse Cutler has spent an illustrious career, beginning at age 12, as a musician, composer, actor, producer, and entrepreneur. Starting in New York City in the 1960s and then in Los Angeles from the early ‘70s through the late ‘90s, Jesse performed with his bands and in the original cast of Godspell on Broadway, made records that saw Billboard’s Top 100, formed his own companies and appeared on TV and radio and in national print.</text>
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                <text>Morris, Stevland Hardaway</text>
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                <text>3 original color photographs, 1982: Personal Collection of Jesse Cutler.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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              <elementText elementTextId="709184">
                <text>ca. 1982</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/227" target="_blank" rel="noreferrer noopener"&gt;Jesse Cutler Collection&lt;/a&gt;, &lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>Originally created and published by Jesse Cutler. </text>
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                <text>Copyright to this resource is held by Jesse Cutler and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text>&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>Originally created and published by Jesse Cutler. </text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text>&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                  <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/140" target="_blank" rel="noreferrer noopener"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;</text>
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                <text>Cutler, Jesse. "&lt;em&gt;&lt;a href="https://search.worldcat.org/title/268957223" target="_blank" rel="noreferrer noopener"&gt;Starlust : The Price of Fame&lt;/a&gt;&lt;/em&gt;. Garden City, N.Y.: Morgan James Publishing. 2008.</text>
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                <text>"&lt;a href="http://www.wphistory.org/explore-history/winter-park/" target="_blank" rel="noreferrer noopener"&gt;WINTER PARK HISTORY&lt;/a&gt;." Winter Park History Museum, Winter Park Historical Society. http://www.wphistory.org/explore-history/winter-park/.</text>
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                <text>&lt;a href="http://cityofwinterpark.org/" target="_blank" rel="noreferrer noopener"&gt;City of Winter Park&lt;/a&gt;&lt;span&gt;." City of Winter Park, Florida. http://cityofwinterpark.org/.&lt;/span&gt;</text>
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                  <text>"&lt;a href="http://www.putnam-fl-historical-society.org/Historic/Historical%20Documents/PALHIST.html" target="_blank"&gt;A BRIEF HISTORY OF PALATKA&lt;/a&gt;." Putnam County Historical Society. http://www.putnam-fl-historical-society.org/Historic/Historical%20Documents/PALHIST.html.</text>
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                <text>Copyright to this resource is held by Leonard Dakin and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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&#13;
Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon.&#13;
&#13;
The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869.&#13;
&#13;
In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally.&#13;
&#13;
The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development.</text>
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                  <text>Sanford Collection</text>
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                  <text>&lt;a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank"&gt;Museum of Seminole County History&lt;/a&gt;</text>
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                <elementText elementTextId="505404">
                  <text>&lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt;</text>
                </elementText>
                <elementText elementTextId="505405">
                  <text>&lt;a href="http://sanfordhistory.tripod.com/" target="_blank"&gt;Sanford Historical Society, Inc.&lt;/a&gt;</text>
                </elementText>
                <elementText elementTextId="505406">
                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="104">
              <name>Is Part Of</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="505407">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank"&gt;Seminole County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="505408">
                  <text>eng</text>
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            <element elementId="133">
              <name>Curator</name>
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              <elementTextContainer>
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                  <text>Marra, Katherine</text>
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                <elementText elementTextId="505412">
                  <text>Cepero, Laura</text>
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            </element>
            <element elementId="134">
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
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                  <text>Sanford Historical Society (Fla.). &lt;a href="http://www.worldcat.org/oclc/53015288" target="_blank"&gt;&lt;em&gt;Sanford&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2003.</text>
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                <elementText elementTextId="505415">
                  <text>"&lt;a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank"&gt;Sanford: A Brief History&lt;/a&gt;." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48.</text>
                </elementText>
                <elementText elementTextId="505416">
                  <text>&lt;em&gt;The Seminole Herald&lt;/em&gt;. &lt;a href="http://www.worldcat.org/oclc/52633016" target="_blank"&gt;&lt;em&gt;Sanford: Our First 125 Years&lt;/em&gt;&lt;/a&gt;. [Sanford, FL]: The Herald, 2002.</text>
                </elementText>
                <elementText elementTextId="505451">
                  <text>&lt;span&gt;Mills, Jerry W., and F. Blair Reeves. &lt;a href="http://www.worldcat.org/oclc/11338196" target="_blank"&gt;&lt;em&gt;A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;, 1975.&lt;/span&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="101">
              <name>Has Part</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="510766">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank"&gt;&lt;em&gt;Celery Soup: Florida’s Folk Life Play&lt;/em&gt; Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510767">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank"&gt;Churches of Sanford Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510768">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank"&gt;Creative Sanford, Inc. Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510769">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank"&gt;Georgetown Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510770">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank"&gt;Marie J. Francis Collection&lt;/a&gt;, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510771">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank"&gt;Sanford Avenue Collection&lt;/a&gt;, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510772">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank"&gt;Goldsboro Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510773">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank"&gt;Henry L. DeForest Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510774">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank"&gt;Hotel Forrest Lake Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510775">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank"&gt;Ice Houses of Sanford Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510776">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank"&gt;Milane Theatre Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510777">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank"&gt;Naval Air Station Sanford Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510778">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank"&gt;Sanford Baseball Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510779">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank"&gt;Sanford Cigar Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510780">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank"&gt;Sanford Riverfront Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="555049">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank"&gt;Sanford State Farmers' Market Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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          <name>Original Format</name>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description/>
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                <text>Former Lot of Ford Motor Company Dealership</text>
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          <element elementId="86">
            <name>Alternative Title</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550507">
                <text>Former Ford Dealership Lot</text>
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          <element elementId="49">
            <name>Subject</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550508">
                <text>Sanford (Fla.)</text>
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              <elementText elementTextId="550509">
                <text> Parking lots</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550510">
                <text>The former lot of the Ford Motor Company dealership that was located on the southeast corner of Palmetto Avenue and Commercial Avenue in Downtown Sanford, Florida. The dealership was located here in the 1920s. At the time that this photograph was taken in 2012, the location was being used as a parking lot.</text>
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            <description/>
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          <element elementId="48">
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            <elementTextContainer>
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                <text>Original color photograph by Christine Dalton, 2012: Elton Moughton Archives, Private Collection of Christine Dalton.</text>
              </elementText>
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          </element>
          <element elementId="104">
            <name>Is Part Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550513">
                <text>Elton Moughton Archives, Private Collection of Christine Dalton.</text>
              </elementText>
              <elementText elementTextId="550514">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank"&gt;Sanford Collection&lt;/a&gt;, Seminole County Collection, RICHES of Central Florida.</text>
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            <elementTextContainer>
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                <text>Digital reproduction of original color photograph by Christine Dalton, 2012.</text>
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                <text>Downtown Sanford, Florida</text>
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          <element elementId="39">
            <name>Creator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550517">
                <text>Dalton, Christine</text>
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          <element elementId="90">
            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550518">
                <text>2012</text>
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          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550520">
                <text>78.7 KB</text>
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            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550521">
                <text>1 color photograph</text>
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            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550522">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550523">
                <text>History Teacher</text>
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              <elementText elementTextId="550524">
                <text> Geography Teacher</text>
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          </element>
          <element elementId="124">
            <name>Provenance</name>
            <description/>
            <elementTextContainer>
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                <text>Originally created by Christine Dalton.</text>
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          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550526">
                <text>Copyright to the resource is held by Christine Dalton and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
              </elementText>
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            <name>Accrual Method</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550527">
                <text>Donation</text>
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          <element elementId="138">
            <name>Contributing Project</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550528">
                <text>&lt;a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank"&gt;Building Blocks&lt;/a&gt;</text>
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          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
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                <text>Cepero, Laura</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550530">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
              </elementText>
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          </element>
          <element elementId="135">
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            <description/>
            <elementTextContainer>
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                <text>Elton Moughton Archives</text>
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            </elementTextContainer>
          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550532">
                <text>&lt;em&gt;The Seminole Herald&lt;/em&gt;. &lt;a href="http://www.worldcat.org/oclc/52633016" target="_blank"&gt;&lt;em&gt;Sanford: Our First 125 Years&lt;/em&gt;&lt;/a&gt;. [Sanford, FL]: The Herald, 2002.</text>
              </elementText>
              <elementText elementTextId="550533">
                <text>Sanford Historical Society (Fla.). &lt;a href="http://www.worldcat.org/oclc/53015288" target="_blank"&gt;&lt;em&gt;Sanford&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2003.</text>
              </elementText>
              <elementText elementTextId="550534">
                <text>"&lt;a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank"&gt;Sanford: A Brief History&lt;/a&gt;." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48.</text>
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      <tag tagId="19785">
        <name>Dalton, Christine</name>
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      <tag tagId="242">
        <name>Downtown Sanford</name>
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      <tag tagId="20643">
        <name>Ford Motor Company</name>
      </tag>
      <tag tagId="339">
        <name>Palmetto Avenue</name>
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      <tag tagId="26974">
        <name>parking lot</name>
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      <tag tagId="400">
        <name>Sanford</name>
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                  <text>The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state.&#13;
&#13;
Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon.&#13;
&#13;
The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869.&#13;
&#13;
In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally.&#13;
&#13;
The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development.</text>
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              <name>Alternative Title</name>
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              <name>Subject</name>
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                <elementText elementTextId="505402">
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            <element elementId="37">
              <name>Contributor</name>
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                <elementText elementTextId="505403">
                  <text>&lt;a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank"&gt;Museum of Seminole County History&lt;/a&gt;</text>
                </elementText>
                <elementText elementTextId="505404">
                  <text>&lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt;</text>
                </elementText>
                <elementText elementTextId="505405">
                  <text>&lt;a href="http://sanfordhistory.tripod.com/" target="_blank"&gt;Sanford Historical Society, Inc.&lt;/a&gt;</text>
                </elementText>
                <elementText elementTextId="505406">
                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="104">
              <name>Is Part Of</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="505407">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank"&gt;Seminole County Collection&lt;/a&gt;, RICHES of Central Florida.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="505408">
                  <text>eng</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="51">
              <name>Type</name>
              <description/>
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                  <text>Sanford, Florida</text>
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            </element>
            <element elementId="133">
              <name>Curator</name>
              <description/>
              <elementTextContainer>
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                  <text>Marra, Katherine</text>
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                <elementText elementTextId="505412">
                  <text>Cepero, Laura</text>
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              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="505413">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="505414">
                  <text>Sanford Historical Society (Fla.). &lt;a href="http://www.worldcat.org/oclc/53015288" target="_blank"&gt;&lt;em&gt;Sanford&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2003.</text>
                </elementText>
                <elementText elementTextId="505415">
                  <text>"&lt;a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank"&gt;Sanford: A Brief History&lt;/a&gt;." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48.</text>
                </elementText>
                <elementText elementTextId="505416">
                  <text>&lt;em&gt;The Seminole Herald&lt;/em&gt;. &lt;a href="http://www.worldcat.org/oclc/52633016" target="_blank"&gt;&lt;em&gt;Sanford: Our First 125 Years&lt;/em&gt;&lt;/a&gt;. [Sanford, FL]: The Herald, 2002.</text>
                </elementText>
                <elementText elementTextId="505451">
                  <text>&lt;span&gt;Mills, Jerry W., and F. Blair Reeves. &lt;a href="http://www.worldcat.org/oclc/11338196" target="_blank"&gt;&lt;em&gt;A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;, 1975.&lt;/span&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="101">
              <name>Has Part</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="510766">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank"&gt;&lt;em&gt;Celery Soup: Florida’s Folk Life Play&lt;/em&gt; Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510767">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank"&gt;Churches of Sanford Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510768">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank"&gt;Creative Sanford, Inc. Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510769">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank"&gt;Georgetown Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510770">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank"&gt;Marie J. Francis Collection&lt;/a&gt;, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510771">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank"&gt;Sanford Avenue Collection&lt;/a&gt;, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510772">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank"&gt;Goldsboro Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510773">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank"&gt;Henry L. DeForest Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510774">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank"&gt;Hotel Forrest Lake Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510775">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank"&gt;Ice Houses of Sanford Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510776">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank"&gt;Milane Theatre Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510777">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank"&gt;Naval Air Station Sanford Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510778">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank"&gt;Sanford Baseball Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510779">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank"&gt;Sanford Cigar Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="510780">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank"&gt;Sanford Riverfront Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
                <elementText elementTextId="555049">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank"&gt;Sanford State Farmers' Market Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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        <element elementId="7">
          <name>Original Format</name>
          <description/>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description/>
            <elementTextContainer>
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                <text>Northwest Corner of South Magnolia Avenue and East Second Street</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="86">
            <name>Alternative Title</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550602">
                <text>Magnolia Ave. and 2nd St.</text>
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            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550603">
                <text>Sanford (Fla.)</text>
              </elementText>
              <elementText elementTextId="550604">
                <text> Buildings--Florida</text>
              </elementText>
              <elementText elementTextId="550605">
                <text> Parking lots</text>
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          <element elementId="41">
            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550606">
                <text>The parking lot on the northwest corner of South Magnolia Avenue and East Second Street in Downtown Sanford, Florida, in 2012. In the 1920s, a building designed by architect Elton James Moughton was located here.</text>
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            </elementTextContainer>
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            <name>Type</name>
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            <elementTextContainer>
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                <text>Original color photograph by Christine Dalton, 2012: Elton Moughton Archives, Private Collection of Christine Dalton.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="104">
            <name>Is Part Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550609">
                <text>Elton Moughton Archives, Private Collection of Christine Dalton.</text>
              </elementText>
              <elementText elementTextId="550610">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank"&gt;Sanford Collection&lt;/a&gt;, Seminole County Collection, RICHES of Central Florida.</text>
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          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550611">
                <text>Digital reproduction of original color photograph by Christine Dalton, 2012.</text>
              </elementText>
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          <element elementId="38">
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            <description/>
            <elementTextContainer>
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                <text>Downtown Sanford, Florida</text>
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            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550613">
                <text>Dalton, Christine</text>
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          <element elementId="90">
            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550614">
                <text>2012</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="42">
            <name>Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550615">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550616">
                <text>116 KB</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550617">
                <text>1 color photograph</text>
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            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description/>
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                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
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                <text>History Teacher</text>
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              <elementText elementTextId="550620">
                <text> Geography Teacher</text>
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            </elementTextContainer>
          </element>
          <element elementId="124">
            <name>Provenance</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550621">
                <text>Originally created by Christine Dalton.</text>
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          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550622">
                <text>Copyright to the resource is held by Christine Dalton and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
              </elementText>
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          <element elementId="117">
            <name>Accrual Method</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550623">
                <text>Donation</text>
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          <element elementId="138">
            <name>Contributing Project</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550624">
                <text>&lt;a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank"&gt;Building Blocks&lt;/a&gt;</text>
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          </element>
          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550625">
                <text>Cepero, Laura</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550626">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="135">
            <name>Source Repository</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550627">
                <text>Elton Moughton Archives</text>
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            </elementTextContainer>
          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="550628">
                <text>&lt;em&gt;The Seminole Herald&lt;/em&gt;. &lt;a href="http://www.worldcat.org/oclc/52633016" target="_blank"&gt;&lt;em&gt;Sanford: Our First 125 Years&lt;/em&gt;&lt;/a&gt;. [Sanford, FL]: The Herald, 2002.</text>
              </elementText>
              <elementText elementTextId="550629">
                <text>Sanford Historical Society (Fla.). &lt;a href="http://www.worldcat.org/oclc/53015288" target="_blank"&gt;&lt;em&gt;Sanford&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2003.</text>
              </elementText>
              <elementText elementTextId="550630">
                <text>"&lt;a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank"&gt;Sanford: A Brief History&lt;/a&gt;." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48.</text>
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            </elementTextContainer>
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      <tag tagId="4588">
        <name>2nd Street</name>
      </tag>
      <tag tagId="242">
        <name>Downtown Sanford</name>
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      <tag tagId="841">
        <name>Magnolia Avenue</name>
      </tag>
      <tag tagId="26974">
        <name>parking lot</name>
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      <tag tagId="400">
        <name>Sanford</name>
      </tag>
      <tag tagId="1103">
        <name>Second Street</name>
      </tag>
    </tagContainer>
  </item>
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      <file fileId="4358">
        <src>https://richesmi.cah.ucf.edu/omeka/files/original/298fa4199b1be42ccad13d5166f7c745.mp3</src>
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            <element elementId="50">
              <name>Title</name>
              <description/>
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              <name>Alternative Title</name>
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              <name>Subject</name>
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                  <text>Music--United States</text>
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                <elementText elementTextId="523465">
                  <text>Jazz--United States</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”&#13;
&#13;
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.&#13;
&#13;
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.&#13;
&#13;
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.&#13;
</text>
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                  <text>&lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="104">
              <name>Is Part Of</name>
              <description/>
              <elementTextContainer>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
                </elementText>
              </elementTextContainer>
            </element>
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              <name>Type</name>
              <description/>
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                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <name>Coverage</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="523471">
                  <text>Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida</text>
                </elementText>
                <elementText elementTextId="523472">
                  <text>DeLand, Florida</text>
                </elementText>
                <elementText elementTextId="523473">
                  <text>Young Musicians Camp, University of Miami, Miami, Florida</text>
                </elementText>
                <elementText elementTextId="560067">
                  <text>WUCF-TV, University of Central Florida, Orlando, Florida</text>
                </elementText>
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              <name>Curator</name>
              <description/>
              <elementTextContainer>
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                  <text>Cepero, Laura</text>
                </elementText>
                <elementText elementTextId="523475">
                  <text>Cravero, Geoffrey</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="523476">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
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                  <text>Alkyer, Frank. &lt;a href="http://www.worldcat.org/oclc/319491298" target="_blank"&gt;&lt;em&gt; DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology&lt;/em&gt;&lt;/a&gt;. New York: Hal Leonard, 2009.</text>
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                  <text>Gioia, Ted. &lt;a href="http://www.worldcat.org/oclc/36245922" target="_blank"&gt;&lt;em&gt;The History of Jazz&lt;/em&gt;&lt;/a&gt;. New York: Oxford University Press, 1997.</text>
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                <text>An audio recording of "Hot House," composed by Tadd Dameron (1917-1965), and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Hot House" was written by Dameron and recorded by Sandoval for his 1998 Grammy award-winning album of the same name.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank"&gt;Jazz Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES of Central Florida</text>
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                <text>1999-10-09</text>
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                <text>Originally created by Tadd Dameron, performed by Arturo Sandoval, and published by &lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;.</text>
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                <text>Copyright to this resource is held by Tadd Dameron and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Simon, Robert, Arturo Sandoval, and Marianela Sandoval. &lt;a href="http://www.worldcat.org/oclc/880150347" target="_blank"&gt;&lt;em&gt;John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval&lt;/em&gt;&lt;/a&gt;. Chicago, IL: GIA Publications, 2014</text>
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                <text>Meredith, Bill. "&lt;a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank"&gt;Arturo Sandoval : From Cuba, With Love&lt;/a&gt;." &lt;em&gt;Jazz Times&lt;/em&gt;, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015).</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/files/original/298fa4199b1be42ccad13d5166f7c745.mp3" target="_blank"&gt;"Hot House" by Arturo Sandoval&lt;/a&gt;</text>
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                  <text>Weeki Wachee Collection</text>
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                  <text>Weeki Wachee Collection</text>
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                  <text>Along with a group of investors, Newton Perry opened Weeki Wachee Springs to the public in October of 1947. At the time, roadside attractions were becoming popular stops along Florida roadways. The attraction consisted of an amalgamation of vendors, an orchid garden, a river boat tour, as well as the star attraction: a mermaid show that took place in an underwater theater. Eventually, the May Museum of the Tropics, an "abandoned Seminole village", a show called “Birds of Prey”, and a petting zoo were added. After peaking in the 1950s and 1960s, attendance began to decline as theme parks and highways changed the dynamics of Florida's tourism. The State of Florida took over the attraction as a state park in 2008. Since then, the park has focused on appealing to a modern audience while preserving its history.</text>
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                  <text>Tourism--Florida</text>
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                  <text>Schumacher, Elmer "Sparky"</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/63" target="_blank"&gt;Hernando County Collection&lt;/a&gt;, RICHES.</text>
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                  <text>eng</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>External Reference</name>
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                  <text>&lt;span&gt;"&lt;/span&gt;&lt;a href="http://weekiwachee.com/about-us/history-of-weeki-wachee-springs.html" target="_blank"&gt;History of Weeki Wachee Springs&lt;/a&gt;&lt;span&gt;." Weeki Wachee Springs State Park. http://weekiwachee.com/about-us/history-of-weeki-wachee-springs.html.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Pelland, Maryan, and Dan Pelland. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/67516850" target="_blank"&gt;&lt;em&gt;Weeki Wachee Springs&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Charleston, SC: Arcadia, 2005.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Vickers, Lu, and Bonnie Georgiadis. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/780478262" target="_blank"&gt;&lt;em&gt;Weeki Wachee Mermaids: Thirty Years of Underwater Photography&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville: University Press of Florida, 2012.&lt;/span&gt;</text>
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                  <text>Rebecca Schwandt's Thesis Project</text>
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                <text>Letter from Val Darling to Newton "Newt" Perry (March 26, 1981)</text>
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                <text>Letter from  Darling to Perry (March 26, 1981)</text>
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                <text> Tourism--Florida</text>
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                <text> Perry, Newton, 1908-1987 </text>
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                <text>A letter dated March 26, 1981, from the Acting Chairman of the &lt;a href="https://flasportshof.org/" target="_blank"&gt;Florida Sports Hall of Fame&lt;/a&gt;, Val Darling, to Newton "Newt" Perry, informing Perry of his selection to the Florida Sports Hall of Fame for his "immense contributions to the world of sports" and inviting him to an induction ceremony on April 17, 1981.&lt;br /&gt;&lt;br /&gt;
Newton "Newt" Perry was born in Valdosta, Georgia in 1908, and moved with his family to Ocala, Florida in 1922. He was a member of the swimming and diving teams at the University of Florida. Perry earned the nickname "The Human Fish" for his performances of underwater stunts in advertising clips and film shorts, and acted as a swim double for actors in movies and TV shows, including Johnny Weissmuller as "Tarzan." Perry also advised filmmakers filming underwater scenes at Silver Springs, Wakulla Springs, and Weeki Wachee Springs, and developed a system for breathing underwater using an air compressor and hose, which was used in the 1948 film "Mr. Peabody and the Mermaid" and during Weeki Wachee Springs' mermaid shows.&lt;br /&gt;&lt;br /&gt;
Perry worked as a lifeguard, public school principal, coach, swimming and scuba diving instructor, and Ocala city pool manager. He opened Perry's Swim School in 1955, and taught more than 120,000 individuals to swim during his career. Perry was inducted into the Florida Sports Hall of Fame in 1981. Perry's daughter Delee Perry took over Perry's Swim School following her father's death in 1987, and it was still in operation as of 2020.&lt;br /&gt;&lt;br /&gt;
Along with a group of investors, Newton Perry opened Weeki Wachee Springs to the public in October of 1947, and used his experiences working at Silver Springs and Wakulla Springs to develop the original concepts for its underwater theater and mermaid shows. Perry sold his stake in Weeki Wachee Springs in 1950. After peaking in the 1950s and 1960s, attendance began to decline as theme parks and highways changed the dynamics of Florida's tourism. The State of Florida took over the attraction as a state park in 2008. Since then, the park has focused on appealing to a modern audience while preserving its history.</text>
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Rizzo, Marian. "&lt;a href="https://www.ocala.com/article/LK/20130814/News/604145183/OS" target="_blank"&gt;'Human Fish' Had a Life Filled With Aquatic Exploits&lt;/a&gt;." &lt;em&gt;Ocala Star Banner&lt;/em&gt;. August 14, 2013. https://www.ocala.com/article/LK/20130814/News/604145183/OS. Accessed May 15, 2020.</text>
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Schwandt, Rebecca. "&lt;a href="https://stars.library.ucf.edu/etd/6189" target="_blank"&gt;Revisiting Roadside Attractions: A 'Deep Dive' into Florida's Weeki Wachee Springs&lt;/a&gt;." &lt;em&gt;Electronic Theses and Dissertations, 2004-2019 (6189), 2018. https://stars.library.ucf.edu/etd/6189.</text>
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Turtle, Howard. "Kansas Citians Stage Shows in Deep Water in Florida." &lt;em&gt;Kansas City Star&lt;/em&gt;. March 7, 1948.&lt;/em&gt;</text>
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• reproduce the work in print or digital form&lt;br /&gt;
• create derivative works&lt;br /&gt;
• perform the work publicly&lt;br /&gt;
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This resource is provided here by &lt;a href="https://riches.cah.ucf.edu/"&gt;RICHES&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="https://www.copyright.gov/title17/92chap1.html#105"&gt;Section 5&lt;/a&gt; of &lt;a href="https://www.copyright.gov/title17/92chap1.html"&gt;Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code&lt;/a&gt;.</text>
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A notable resident listed in this record is Alf Amundsen. Born in Brevik, Norway, in 1909, Amundsen immigrated to the United States in 1928 with his parents and brother. He and his family lived in North Bergen, New Jersey, where Amundsen worked as a baker. In February of 1943, Amundsen entered the United States Army and served abroad in Europe. He reached the rank of Private First Class during his service. While serving in England, Amundsen met his wife, Betty, and they married in 1945. The couple moved to New Jersey, where they started a family. In the 1970s, they moved to New Port Richey, Florida. Amundsen passed away in 1996, and is memorialized at the Florida National Cemetery in Bushnell, Florida.&lt;br /&gt;&lt;br /&gt;
In 2017, the University of Central Florida was one of three universities selected to launch the National Cemetery Administration’s &lt;a href="https://vlp.cah.ucf.edu/"&gt;Veterans Legacy Program Project&lt;/a&gt;. The program engaged a team of scholars to make the life stories of veterans buried in the Florida National Cemetery available to the public. The project engages UCF students in research and writing and fosters collaboration between students, faculty and local Central Florida schools to produce interactive curriculum for k-12 students. The corresponding website exhibit uses RICHES Mosaic Interface to create a digital archive of related data. The public can use the project-developed augmented-reality app at more than 100 gravesites at the Florida National Cemetery, where they can access the UCF student-authored biographies of veterans.</text>
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• reproduce the work in print or digital form&lt;br /&gt;
• create derivative works&lt;br /&gt;
• perform the work publicly&lt;br /&gt;
• display the work&lt;br /&gt;
• distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;br /&gt;&lt;br /&gt;
This resource is provided here by &lt;a href="https://riches.cah.ucf.edu/"&gt;RICHES&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="https://www.copyright.gov/title17/92chap1.html#105"&gt;Section 5&lt;/a&gt; of &lt;a href="https://www.copyright.gov/title17/92chap1.html"&gt;Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code&lt;/a&gt;.</text>
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                  <text>&lt;p&gt;&lt;span&gt;The &lt;/span&gt;Florida-France Soldier Stories&lt;span&gt;project seeks to tell the stories of the Florida soldiers buried in the American Battle Monuments Commission cemeteries in France. Our goal is to honor and commemorate the brave individuals who gave their lives supporting the Allied forces, liberating France, and defeating Germany in the Second World War. Simultaneously, our goal is to teach the students who participate in this research project about the history of France and Florida during World War II, about the history of individual servicemen, and about how to implement historical research methods in their work.&lt;/span&gt;&lt;/p&gt;</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resources is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.copyright.gov/title17/92chap1.html#105" target="_blank"&gt;Section 5&lt;/a&gt; of &lt;a href="http://www.copyright.gov/title17/92chap1.html" target="_blank"&gt;Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code&lt;/a&gt;.</text>
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                <text>Originally created by James Davis and published by the &lt;a href="http://www.census.gov/" target="_blank"&gt;Bureau of the Census&lt;/a&gt;.</text>
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                <text>David, Powell. "&lt;a href="http://www.bravecannons.org/History/red_devil.html" target="_blank"&gt;Unit History: The 1/92nd Field Artillery Association - Vietnam&lt;/a&gt;." Brave Cannons. Accessed March 21, 2016. http://www.bravecannons.org/History/red_devil.html.</text>
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                <text>"&lt;a href="https://www.newspapers.com/image/39103540/?terms=Calhoun" target="_blank"&gt;To Receive Degree from U. of Florida&lt;/a&gt;." &lt;em&gt;The Panama City News-Herald&lt;/em&gt;, January 18, 1942. https://www.newspapers.com/image/39103540/?terms=Calhoun.</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”&#13;
&#13;
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.&#13;
&#13;
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.&#13;
&#13;
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.&#13;
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                  <text>&lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Cravero, Geoffrey</text>
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                  <text>Alkyer, Frank. &lt;a href="http://www.worldcat.org/oclc/319491298" target="_blank"&gt;&lt;em&gt; DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology&lt;/em&gt;&lt;/a&gt;. New York: Hal Leonard, 2009.</text>
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                  <text>Gioia, Ted. &lt;a href="http://www.worldcat.org/oclc/36245922" target="_blank"&gt;&lt;em&gt;The History of Jazz&lt;/em&gt;&lt;/a&gt;. New York: Oxford University Press, 1997.</text>
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                  <text>Ward, Geoffrey C., and Ken Burns. &lt;a href="http://www.worldcat.org/oclc/42404676" target="_blank"&gt;&lt;em&gt;Jazz: A History of America's Music&lt;/em&gt;&lt;/a&gt;. New York: Alfred A. Knopf, 2000.</text>
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                <text>An audio recording of "Lover Man," composed by Jimmy Davis (1915-1997), Ram Ramirez (1913-1994), and James Sherman and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. The jazz standard, "Lover Man," was written in 1941 by Davis, Ramirez, and Sherman for Billie Holiday (1915-1959), whose 1945 version would be inducted into the Grammy Hall of Fame.</text>
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                <text>Original 4-minute and 35-second audio recording: Davis, Jimmy, Ram Ramirez, and James Sherman. "Lover Man," by the Jazz Professors: &lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;, Orlando, Florida, December 10, 2007.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank"&gt;Jazz Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES of Central Florida</text>
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                <text> Humanities Teacher</text>
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                <text>Originally composed by Jimmy Davis, Ram Ramirez, and James Sherman, performed by The Jazz Professors, and published by &lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;.</text>
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                <text>Copyright to this resource is held by Jimmy Davis, Roger "Ram" J. Ramirez, and James Sherman, and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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Present-day Christmas was originally occupied by the Timucuan tribe, which was eventually obliterated by European diseases when the Spanish arrived in Florida. In the early 18th century, the Seminole tribes began migrating to Florida to raise cattle and grow citrus. Due to the outbreak of the Second Seminole War, the United States began the construction of Fort Christmas on December 25, 1837. The fort was used as a supply depot for its strategic location, but was abandoned in March 1838 as the Seminoles moved southward.&#13;
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In the late 1970s, the Orange County Department of Parks and Recreation and the Fort Christmas Historical Society constructed a replica of the historic Fort Christmas just south of Christmas Creek. Fort Christmas Historical Park, located at 1300 Fort Christmas Road, was dedicated in 1977.</text>
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                <text>Affidavit of the Master or Commanding Officer, or First or Second Officer</text>
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                <text>U.S.S. Lake Felicity Manifest, 1920</text>
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                <text>The affidavit of the master or commanding officer, or first or second officer, for the SS Lake Felicity, signed by Leo Davis as the master of the ship on January 22, 1920. On this voyage, the ship sailed from Matanzas, Cuba, to New York, New York. The cargo ship was 250 feet long and powered by steam. Starting in 1918, the Detroit Ship Building Company began construction of the ship for Great Britain under the name SS War Lynx. However, the war ended before construction was finished. The ship was purchased by the United States and, upon completion, renamed the SS Lake Felicity. From 1925 to 1934, the ship was renamed yet again as the SS Norte for Argentina, and finally from 1934 to 1943 as the SS Tiete for Brazil. In 1944, the ship sank after a collision.&lt;br /&gt;&lt;br /&gt;
A notable crewmember was Leo Rosser Davis (1880-1951). Born in Tallahassee, Florida, to James and Nora Davis, Leo was the oldest of four children. On June 1, 1918, at the age of thirty-eight, Leo received a commission as a Lieutenant in the United States Navy Reserve. He reported to the Naval Auxiliary Reserve in New York on June 3, 1918. Then, on June 22, he began his service aboard the USS Lykens (SP-876/AT-56). By late July, Leo commanded the ship, which operated in the northern Atlantic, off the coast of New England. Leo continued to command the ship through the end of World War I. On April 18, 1919, he was discharged and returned to Florida. After having spent so much time at sea, Leo earned the title of a master mariner. He sailed the civilian cargo ship SS Lake Felicity, a 250-foot steam-powered ship. On at least three occasions in 1919 and 1920, he commanded this ship and sailed between New Orleans, Louisiana, various Caribbean islands, and New York. On March 20, 1951, Leo passed away in the Bay Pines Hospital after spending nearly his entire life in the St. Petersburg area. He was survived by his wife Anna, his stepson William, his brothers Claude and Herbert, and his mother Nora. Leo is buried in Bay Pines National Cemetery at Section 16, Row 6, Site 11.&lt;br /&gt;&lt;br /&gt;
In 2017, the University of Central Florida was one of three universities selected to launch the National Cemetery Administration’s &lt;a href="https://vlp.cah.ucf.edu/"&gt;Veterans Legacy Program Project&lt;/a&gt;. The program engaged a team of scholars to make the life stories of veterans buried in the Florida National Cemetery available to the public. The project engages UCF students in research and writing and fosters collaboration between students, faculty and local Central Florida schools to produce interactive curriculum for K-12 students. The corresponding website exhibit uses RICHES Mosaic Interface to create a digital archive of related data. The public can use the project-developed augmented-reality app at more than 100 gravesites at the Florida National Cemetery, where they can access the UCF student-authored biographies of veterans.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/210" target="_blank"&gt;Veterans Legacy Program Project&lt;/a&gt;
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                <text>Davis, Leo Rosser</text>
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                <text>&lt;a href="https://www.dol.gov" target="_blank"&gt;United States Department of Labor&lt;/a&gt;</text>
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                <text>ca. 1920-01-22</text>
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                <text>Originally created by Leo Rosser Davis and published by the &lt;a href="https://www.dol.gov" target="_blank"&gt;United States Department of Labor&lt;/a&gt;.</text>
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                <text>This resource is not subject to copyright in the United States and there are no copyright restrictions on reproduction, derivative works, distribution, performance, or display of the work. Anyone may, without restriction under U.S. copyright laws:&lt;br /&gt;&lt;br /&gt; 
• reproduce the work in print or digital form&lt;br /&gt;
• create derivative works&lt;br /&gt;
• perform the work publicly&lt;br /&gt;
• display the work&lt;br /&gt;
• distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;br /&gt;&lt;br /&gt;
This resource is provided here by &lt;a href="https://riches.cah.ucf.edu/"&gt;RICHES&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="https://www.copyright.gov/title17/92chap1.html#105"&gt;Section 5&lt;/a&gt; of &lt;a href="https://www.copyright.gov/title17/92chap1.html"&gt;Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code&lt;/a&gt;.</text>
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                <text>O'Neil, Rhiannon</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <elementText elementTextId="671848">
                <text> &lt;a href="https://vlp.cah.ucf.edu/" target="_blank"&gt;Veterans Legacy Program Project&lt;/a&gt;</text>
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                <text> &lt;a href="https://www.ancestry.com/" target="_blank"&gt;Ancestry.com&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.archives.gov/" target="_blank"&gt;National Archives and Records Administration&lt;/a&gt;</text>
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            <name>External Reference</name>
            <description/>
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              <elementText elementTextId="671851">
                <text>Abney, Barb. "&lt;a href="https://today.ucf.edu/va-selects-ucf-historians-archive-stories-deceased-veterans/" target="_blank"&gt;VA Selects UCF Historians to Archive Stories of Deceased Veterans Veterans&lt;/a&gt;." &lt;em&gt;UCF Today&lt;/em&gt;, March 13, 2017. Accessed August 9, 2017. https://today.ucf.edu/va-selects-ucf-historians-archive-stories-deceased-veterans/.</text>
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                <text> Tuchman, Barbara W., and Robert K. Massie. &lt;a href="http://www.worldcat.org/oclc/881458391" target="_blank"&gt;&lt;em&gt;The Guns of August: The Outbreak of World War I&lt;/em&gt;&lt;/a&gt;. 2014.</text>
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        <name>U.S.S. Lake Felicity</name>
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        <name>USS Lake Felicity</name>
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        <name>Veterans Legacy Program</name>
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                  <text>Jazz--United States</text>
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                  <text>Orlando (Fla.)</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”&#13;
&#13;
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.&#13;
&#13;
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.&#13;
&#13;
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.&#13;
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                  <text>&lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida</text>
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                <elementText elementTextId="523472">
                  <text>DeLand, Florida</text>
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                  <text>Young Musicians Camp, University of Miami, Miami, Florida</text>
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                  <text>Cepero, Laura</text>
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                <elementText elementTextId="523475">
                  <text>Cravero, Geoffrey</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>Alkyer, Frank. &lt;a href="http://www.worldcat.org/oclc/319491298" target="_blank"&gt;&lt;em&gt; DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology&lt;/em&gt;&lt;/a&gt;. New York: Hal Leonard, 2009.</text>
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                  <text>Gioia, Ted. &lt;a href="http://www.worldcat.org/oclc/36245922" target="_blank"&gt;&lt;em&gt;The History of Jazz&lt;/em&gt;&lt;/a&gt;. New York: Oxford University Press, 1997.</text>
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                  <text>Ward, Geoffrey C., and Ken Burns. &lt;a href="http://www.worldcat.org/oclc/42404676" target="_blank"&gt;&lt;em&gt;Jazz: A History of America's Music&lt;/em&gt;&lt;/a&gt;. New York: Alfred A. Knopf, 2000.</text>
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                <text>"Nardis" by The Jazz Professors</text>
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                <text>"Nardis" by Jazz Professors</text>
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                <text> Jazz--United States</text>
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                <text>An audio recording of "Nardis," composed by Miles Davis (1926-1991) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors are a sextet of professors from the University of Central Florida (UCF) in Orlando, Florida, who play professionally and have released two albums with Flying Horse Records, a professional jazz record label operated by the university. They have recorded and toured with a number of prominent guest musicians. "Nardis" was written by Davis in 1958, during his modal period. In modal jazz, musical modes are used as a harmonic framework, rather than chord progressions. The song is often associated with Bill Evans (1929-1980), who recorded several versions.</text>
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                <text>Original 4-minute and 34-second audio recording: Davis, Miles. "Nardis," by the Jazz Professors: &lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;, Orlando, Florida, December 10, 2007.</text>
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                <text>Multimedia software, such as &lt;a href="http://www.apple.com/quicktime/download/" target="_blank"&gt; QuickTime&lt;/a&gt;.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank"&gt;Jazz Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES of Central Florida</text>
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                <text>&lt;a href="http://wucf.ucf.edu/" target="_blank"&gt;WUCF-FM&lt;/a&gt;</text>
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                <text>Originally created by Ouida Davis and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank" rel="noreferrer noopener"&gt;RICHES&lt;/a&gt;.</text>
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                <text>City of DeBary. "&lt;a href="https://debary.org/309/DeBary-History/" target="_blank" rel="noreferrer noopener"&gt;DeBary History&lt;/a&gt;.” City of DeBary. Accessed July 21, 2026. https://debary.org/309/DeBary-History.</text>
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                <text>&lt;em&gt;Orlando Sentinel&lt;/em&gt;. "&lt;a href="https://www.orlandosentinel.com/1998/01/27/the-debary-family-can-read-up-on-its-history-thanks-to-citys-present/" target="_blank" rel="noreferrer noopener"&gt;The DeBary Family Can Read Up on Its History Thanks to City’s Present&lt;/a&gt;.” January 27, 1998. https://www.orlandosentinel.com/1998/01/27/the-debary-family-can-read-up-on-its-history-thanks-to-citys-present/.</text>
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                <text>National Portrait Gallery, "&lt;a href="https://npg.si.edu/blog/everett-dirksen-forgotten-civil-rights-champion" target="_blank" rel="noreferrer noopener"&gt;Everett Dirksen: Forgotten Civil Rights Champion&lt;/a&gt;.” National Portrait Gallery Blog, June 10, 2014, accessed July 22, 2026, https://npg.si.edu/blog/everett-dirksen-forgotten-civil-rights-champion.</text>
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John M. Antuono was born in Port Tampa, Florida, to Italian immigrants, Vincent and Christina Antuono. Antuono was drafted into the United States Army on October 8, 1917, and served in several units. He served in Europe with the 324th Infantry, which was part of the 81st Division. He left the military on September 3, 1919. After his service, Antuono held several jobs involving the cigar industry and bookkeeping, until his death on March 20, 1992. He is buried in the Florida National Cemetery in Bushnell, Florida.&lt;br /&gt;&lt;br /&gt;
In 2017, the University of Central Florida was one of three universities selected to launch the National Cemetery Administration’s &lt;a href="https://vlp.cah.ucf.edu/"&gt;Veterans Legacy Program Project&lt;/a&gt;.  The program engaged a team of scholars to make the life stories of veterans buried in the Florida National Cemetery available to the public.  The project engages UCF students in research and writing and fosters collaboration between students, faculty and local Central Florida schools to produce interactive curriculum for k-12 students.  The corresponding website exhibit uses RICHES Mosaic Interface to create a digital archive of related data.  The public can use the project-developed augmented-reality app at more than 100 gravesites at the Florida National Cemetery, where they can access the UCF student-authored biographies of veterans.</text>
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• reproduce the work in print or digital form&lt;br /&gt;
• create derivative works&lt;br /&gt;
• perform the work publicly&lt;br /&gt;
• display the work&lt;br /&gt;
• distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;br /&gt;&lt;br /&gt;
This resource is provided here by &lt;a href="https://riches.cah.ucf.edu/"&gt;RICHES&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="https://www.copyright.gov/title17/92chap1.html#105"&gt;Section 5&lt;/a&gt; of &lt;a href="https://www.copyright.gov/title17/92chap1.html"&gt;Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code&lt;/a&gt;.</text>
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                <text> Tuchman, Barbara W., and Robert K. Massie. &lt;a href="http://www.worldcat.org/oclc/881458391" target="_blank"&gt;&lt;em&gt;The Guns of August: The Outbreak of World War I&lt;/em&gt;&lt;/a&gt;. 2014.</text>
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                <text>Florida Department of Military Affairs. "&lt;a href="https://www.floridamemory.com/items/show/206485" target="_blank"&gt;Charles Crummer&lt;/a&gt;." Online database with images, &lt;em&gt;FloridaMemory&lt;/em&gt;. St. Augustine, Florida. Box 4. Accessed July 26, 2018. https://www.floridamemory.com/items/show/206485.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn S. Dawes to Henry Shelton Sanford (December 8, 1881) </text>
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                <text>Letter from Dawes to Sanford (December 8, 1881)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated December 8, 1881. In the letter, Dawes noted that he had received several letters from Sanford that were addressed to the board of the Florida Land and Colonization Company (FLCC); he had decided to hold onto the letters and instead asked Sanford "to reconsider whether or not they should be put in." Dawes warned about the consequences of disseminating Sanford's letters, noting that, "if put forward they are certain to create an estrangement between yourself and the other members of the Board." The contents of Sanford's original letters contained complaints about the company's agents in Florida, Gerald Waller and G. A. Thompson. Later in the letter, Dawes pointed to disagreements in business strategy between the board and Sanford. Knowing of Sanford's limited financial capabilities, Dawes adds that, "we would be willing to part with all shares and retire" if Sanford were able to find new suitors who would be able to pay for their shares and replace them. The letter reflects the often tense relationship between Sanford and the British board members of the FLCC. &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).</text>
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 8, 1881: box 53, folder 7, subfolder 53.7.2, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 8, 1881.</text>
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                <text>Gray Dawes and Company, London, England, United Kingdom</text>
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                <text>Dawes, Edwyn Sandys</text>
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                <text>1881-12-08</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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              <elementText elementTextId="522498">
                <text>Donated to the &lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt; after 1901.</text>
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                <text>Loaned to the &lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt; for processing until June 1, 1960.</text>
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                <text>Acquired by the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in 1960.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>Fedorka, Drew M. </text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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            <description/>
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              <elementText elementTextId="522506">
                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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        <name>Florida Land and Colonization Company</name>
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        <name>Gerald Waller</name>
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        <name>Gray Dawes and Company</name>
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        <name>Henry Shelton Sanford</name>
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      <tag tagId="410">
        <name>insurance</name>
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        <name>investments</name>
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        <name>investors</name>
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                  <text>Florida Land Colonization Company Collection</text>
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                  <text>FLCC Collection</text>
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                  <text>Sanford, Henry Shelton, 1823-1891</text>
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                  <text>Sumter County (Fla.)</text>
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                <elementText elementTextId="459673">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>Fedorka, Drew M.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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              <description/>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Amundson, Richard J. "&lt;a href="http://www.worldcat.org/oclc/4894931414" target="_blank"&gt;The Florida Land and Colonization Company&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 44, no. 3 (Jan. 1966): 153-168.</text>
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                  <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (January 5, 1882) </text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated  January 6, 1882. The letter acknowledged earlier correspondence and also served to thank Sanford for some boxes of fruit sent to London, England. The letter ended with some passing references to Sir William MacKinnon (1823-1893) and Gertrude Ellen Dupuy Sanford (1841-1902), Sanford's wife. The letter may provide some evidence to Sanford's usage of citrus to enhance his diplomatic and business relationships and dealings.   &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon. Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).</text>
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, January 6, 1882: box 53, folder 7, subfolder 53.7.3, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>Donated to the &lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt; after 1901.</text>
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                <text>Acquired by the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in 1960.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Amundson, Richard J. "&lt;a href="http://www.worldcat.org/oclc/4894931414" target="_blank"&gt;The Florida Land and Colonization Company&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 44, no. 3 (Jan. 1966): 153-168.</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (January 24, 1882)</text>
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                <text>Letter from Dawes to Sanford (January 24, 1882)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated January 24, 1882. In the letter, Dawes acknowledged Sanford's earlier requests for company information, indicating that he had "requested Mr. Waller to send [Sanford] all the particulars [Sanford] asked for." Dawes also informed Sanford that William MacKinnon (1823-1893) would be in London for the upcoming board meeting, adding that he would defer to MacKinnon's discretion regarding reading Sanford's earlier, and potentially inflammatory, letter before the board of directors. Dawes feared that the letter in question, in which Sanford offered a "severe criticism" of Florida Land and Colonization Company (FLCC) agent G. A. Thompson, "would create an awkward breach." The letter followed with some subtle jabs at Sanford's role in the company and his inability to raise the financial capital to buy out the fellow investors, including Dawes, with whom he had strong disagreements. The letter reflects the often tense relationship established between Sanford and the London-based board members of the FLCC. &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon. Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).</text>
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, January 24, 1882: box 53, folder 7, subfolder 53.7.4, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, January 24, 1882.</text>
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                <text>Gray Dawes and Company, London, England, United Kingdom</text>
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                <text>Dawes, Edwyn Sandys</text>
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                <text>1882-01-24</text>
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                <text>Economics Teacher</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>Donated to the &lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt; after 1901.</text>
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                <text>Loaned to the &lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt; for processing until June 1, 1960.</text>
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                <text>Acquired by the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in 1960.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>Fedorka, Drew M. </text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <elementText elementTextId="522569">
                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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            <description/>
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              <elementText elementTextId="522570">
                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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        <name>Edwyn Sandys Dawes</name>
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        <name>FLCC</name>
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        <name>Florida Land and Colonization Company</name>
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        <name>G. A. Thompson</name>
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        <name>Gray Dawes and Company</name>
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        <name>Henry Shelton Sanford</name>
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      <tag tagId="410">
        <name>insurance</name>
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        <name>investments</name>
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      <tag tagId="45611">
        <name>investors</name>
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                  <text>Florida Land Colonization Company Collection</text>
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                  <text>FLCC Collection</text>
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                  <text>Sanford, Henry Shelton, 1823-1891</text>
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                  <text>Sumter County (Fla.)</text>
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                  <text>Hernando County (Fla.)</text>
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                <elementText elementTextId="459673">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>Cepero, Laura</text>
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                  <text>Fedorka, Drew M.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            <element elementId="135">
              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="459695">
                  <text>General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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            <element elementId="136">
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              <description/>
              <elementTextContainer>
                <elementText elementTextId="459696">
                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Amundson, Richard J. "&lt;a href="http://www.worldcat.org/oclc/4894931414" target="_blank"&gt;The Florida Land and Colonization Company&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 44, no. 3 (Jan. 1966): 153-168.</text>
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                  <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
                </elementText>
                <elementText elementTextId="459700">
                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (October 26, 1883)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated October 26, 1883. In this letter, he indicated to Sanford his upcoming schedule, with regard to the ultimate goal of meeting with Sanford in London, England.&#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).</text>
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, October 26, 1883: box 53, folder 7, subfolder 53.7.5, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (March 14, 1884)</text>
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                <text>Letter from Dawes to Sanford (March 14, 1884)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated March 14, 1884. The letter discussed the recent correspondence of Sanford and highlighted the growing rift between the London-based board members and Sanford within the Florida Land and Colonization Company (FLCC). This included complaint about a breach in an earlier agreement between Sanford and the company. The initial agreement was that, at the insistence of Sanford, the company would buy the Powell Grant, a vast tract of land in Florida. In exchange, Sanford would agree "not to go to Florida nor interfere there in the company's affairs." This agreement was evidently disregarded, as Dawes noted. The letter also indicated other discussions and company concerns directed toward some of Sanford's proposals and actions. The letter offered evidence of the often difficult and contentious relationship between Sanford and other influential members of the FLCC.   &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company.</text>
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, March 14, 1884: box 53, folder 7, subfolder 53.7.6, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, March 14, 1884.</text>
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                <text>Dawes, Edwyn Sandys</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>Donated to the &lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt; after 1901.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Amundson, Richard J. "&lt;a href="http://www.worldcat.org/oclc/4894931414" target="_blank"&gt;The Florida Land and Colonization Company&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 44, no. 3 (Jan. 1966): 153-168.</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn S. Dawes to Jules Levita (April 15, 1884)</text>
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                <text>Letter from Dawes to Levita (Apr. 15, 1884)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Jules Levita, dated April 15, 1884. Levita was a business associate and lawyer based in Paris, France, at the time. The letter discussed plans to schedule a meeting between Dawes and Levita. Dawes covered matters related to the Florida Land and Colonization Company (FLCC), including a lengthy discussion of Henry Shelton Sanford's (1823-1891) proposals and business strategies, many of which were rejected by the London-based board members. The letter offers evidence of how Sanford was often at odds with the board of directors regarding business strategy. It also reveals the negative perception of Sanford held by Dawes and others. Though the letter is ostensibly directed towards Levita, it is unclear how or why it came to be in Sanford's possession.   &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes. Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).&#13;
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, April 15, 1884: box 53, folder 7, subfolder 53.7.7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, April 15, 1884.</text>
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                <text>Dawes, Edwyn Sandys</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>Donated to the &lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt; after 1901.</text>
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                <text>Loaned to the &lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt; for processing until June 1, 1960.</text>
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                <text>Acquired by the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in 1960.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>Fedorka, Drew M. </text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>Sumter County (Fla.)</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Amundson, Richard J. "&lt;a href="http://www.worldcat.org/oclc/4894931414" target="_blank"&gt;The Florida Land and Colonization Company&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 44, no. 3 (Jan. 1966): 153-168.</text>
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                  <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn S. Dawes to Henry Shelton Sanford (July 28, 1884)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated July 28, 1884. The brief letter discussed personal plans as well as an update from the Florida Land and Colonization Company (FLCC) viaG. A. Thompson. Dawes indicates that, according to Thompson, the company expected some $200,000 in sales for the following year.&#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).&#13;
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, July 28, 1884: box 53, folder 7, subfolder 53.7.8, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>Loaned to the &lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt; for processing until June 1, 1960.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn S. Dawes to Henry Shelton Sanford (November 3, 1884)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated November 3, 1884. In this letter, topics included discussion of business related to the Florida Land and Colonization Company (FLCC), as well as Sir William MacKinnon. &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).&#13;
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, November 3, 1884: box 53, folder 7, subfolder 53.7.9, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, November 3, 1884.</text>
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                <text>Dawes, Edwyn Sandys</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>Donated to the &lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt; after 1901.</text>
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                <text>Loaned to the &lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt; for processing until June 1, 1960.</text>
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                <text>Acquired by the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in 1960.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Amundson, Richard J. "&lt;a href="http://www.worldcat.org/oclc/4894931414" target="_blank"&gt;The Florida Land and Colonization Company&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 44, no. 3 (Jan. 1966): 153-168.</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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                <text>Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (December 5, 1884)</text>
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                <text>Letter from Dawes to Sanford (Dec. 5, 1884)</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated December 5, 1884. The letter included a discussion of the "Abrams suit," referring to a lawsuit involving Sanford, as well as the Powell Grant proposal and the company's effort to purchase more land. Dawes also discussed the insufficiency of company's funds and capital as it related to various business efforts.   &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).&#13;
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                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 5, 1884: box 53, folder 7, subfolder 53.7.10, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                <text>Originally created by Edwyn Sandys Dawes.</text>
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                <text>Acquired by the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in 1960.</text>
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                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank"&gt;William MacKinnon Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
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                  <text>General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Fry, Joseph A. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/8475473" target="_blank"&gt;&lt;em&gt;Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Reno, NV: University of Nevada Press, 1982.&lt;/span&gt;</text>
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                  <text>Tischendorf, Alfred P. "&lt;a href="http://www.worldcat.org/oclc/35894049" target="_blank"&gt;Florida and the British Investor: 1880-1914&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 33, no. 2 (Oct. 1954): 120-129.</text>
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                  <text>Amundson, Richard J. "&lt;a href="http://www.worldcat.org/oclc/4894931414" target="_blank"&gt;The Florida Land and Colonization Company&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 44, no. 3 (Jan. 1966): 153-168.</text>
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                  <text>Kendall, John S. &lt;a href="http://www.worldcat.org/oclc/1836396" target="_blank"&gt;&lt;em&gt;History of New Orleans&lt;/em&gt;&lt;/a&gt;. Chicago: Lewis Publishing Company, 1922.</text>
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                  <text>The Florida Land and Colonization Company (FLCC) was a joint-stock venture that invested in Florida land development and sales in the 1880s and early 1890s. The company was formed by Henry Shelton Sanford (1823-1891) with help from a group of British investors. The original impetus for the company's formation was Sanford's inability to continue his land acquisition and development efforts in Florida independently. In 1879, faced with financial difficulties, Sanford turned to a trusted associate in the United Kingdom, a Scottish industrialist named Sir William Mackinnon (1823-1893), to help him attract investors. The formation of the company was in large part due to the efforts of MacKinnon, whose reputation and influence helped bring investors on board.&lt;br /&gt;&lt;br /&gt;Located at 13 Austin Friars, the company was officially registered in London on June 10, 1880. With the formation of the FLCC, all of Henry Sanford's Florida properties were transferred to the company in exchange for a £10,000 cash payment and another £50,000 in company stock. The one-time cash payment was a needed reprieve for Sanford, who faced financial difficulties by the end of the 1870s. The board of directors included Mackinnon, as well as W. C. Gray and Edwyn Sandys Dawes, partners in Gray-Dawes and Company, a London-based banking and investment house. Other directors included Alexander Fraser, Anthony Norris, George A. Thomson, and Eli Lee. Sanford was named President and Chairman of the Board. In 1880, the company owned 26,000 acres scattered across Florida, including in the cities of Jacksonville, St. Augustine, and Sanford, as well as in Alachua County and Marion County. &lt;br /&gt;&lt;br /&gt;Almost from the outset, there was serious friction between the British board members and Henry Sanford. Disagreements erupted over business strategy, as Sanford frequently proposed initiatives deemed too bold for the cautious British investors. From 1882 to 1892, the company saw steady, if meager, profits. Most of its income came from the sale of lots in the city of Sanford. From 1885 until 1890, the company, while remaining solvent, continued to see declining profits. From 1886 to 1890, the profits were so modest that the company declined to pay dividends on its yearly profits. Needed improvements and developments in the city of Sanford during the late 1880s sapped much of the company's income. Following Henry Sanford's death in 1891, many of the investors lost the motivation to continue. On September 15, 1892, the various directors acted to dissolve the company. Its assets, including roughly 65,000 acres of Florida land, were divided among shareholders.</text>
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              <name>Contributor</name>
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                <elementText elementTextId="511647">
                  <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
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            </element>
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              <name>Provenance</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="511649">
                  <text>&lt;span&gt;Collection dontated to the &lt;/span&gt;&lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt;&lt;span&gt; after 1901.&lt;/span&gt;</text>
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                <elementText elementTextId="511650">
                  <text>&lt;span&gt;Collection loaned to the &lt;/span&gt;&lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt;&lt;span&gt; for processing until June 1, 1960.&lt;/span&gt;</text>
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                <elementText elementTextId="511651">
                  <text>&lt;span&gt;Collection acquired by the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in 1960.&lt;/span&gt;</text>
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            <element elementId="125">
              <name>Rights Holder</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="511652">
                  <text>&lt;span&gt;The displayed collection items are housed at the General Henry S. Sanford Memorial Library, &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. &lt;/span&gt;&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;&lt;span&gt; has obtained permission from the &lt;/span&gt;&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;&lt;span&gt; to display this item for educational purposes only.&lt;/span&gt;</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
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              <elementText elementTextId="522759">
                <text>Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (December 28, 1884)</text>
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              <elementText elementTextId="522760">
                <text>Letter from Dawes to Sanford (Dec. 28, 1884)</text>
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            <elementTextContainer>
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                <text>Investments--Florida</text>
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              <elementText elementTextId="522762">
                <text>Insurance--Florida</text>
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                <text>A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891),dated December 28, 1884. The letter discussed topics related to the Florida Land and Colonization Company (FLCC), including the issuing of new shares and the purchase of new lands in Florida. &#13;
&#13;
Dawes was one of the founding partners of Gray Dawes and Company, a London-based company founded in 1865 by business partners Archie Gray and Edwyn Sandys Dawes (1838-1903). Located at 13 Austin Friars in London, England, the company was focused, at least initially, on maritime insurance. By the mid-1870s, the company had also expanded its operations into shipping, overseeing a fleet of steamships that circulated within a trade network including London, Calcutta, Madras, and elsewhere. The company was closely linked to the Scottish shipping titan, Sir William MacKinnon (1823-1893). Gray was Mackinnon's nephew. Dawes, meanwhile, went on to become a close and trusted business partner to MacKinnon. As such, the firm became a useful means for MacKinnon to reward his friends and business associates. The company availed insurance accounts to these select individuals, accounts that could be used as a source of credit to be paid at a later date. The company became associated with Henry Shelton Sanford thanks to the mutual connection to MacKinnon. In 1880, MacKinnon lent Sanford, who was faced at the time with financial difficulties, some £8,000 to facilitate the founding of a Florida land investment company. The money offered by MacKinnon was in fact loaned to Sanford by Gray Dawes and Company. Additionally, at the behest of MacKinnon, both Gray and Dawes became reluctant subscribers to Sanford’s land investment scheme, the Florida Land and Colonization Company (FLCC).&#13;
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            <name>Source</name>
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              <elementText elementTextId="522767">
                <text>Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 28, 1884: box 53, folder 7, subfolder 53.7.11, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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            <name>Requires</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522768">
                <text>&lt;a href="https://get.adobe.com/reader/" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
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            <name>Is Part Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522769">
                <text>Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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              <elementText elementTextId="522770">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank"&gt;Florida Land Colonization Company Collection&lt;/a&gt;, Henry Shelton Sanford Papers Collection, RICHES of Central Florida.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522771">
                <text>Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 28, 1884.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522772">
                <text>Mount Ephraim, Faversham, England, United Kingdom</text>
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          <element elementId="39">
            <name>Creator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522773">
                <text>Dawes, Edwyn Sandys</text>
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          <element elementId="90">
            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522774">
                <text>1884-12-28</text>
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          </element>
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            <name>Format</name>
            <description/>
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                <text>application/pdf</text>
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          </element>
          <element elementId="112">
            <name>Extent</name>
            <description/>
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              <elementText elementTextId="522776">
                <text>263 KB</text>
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              <elementText elementTextId="522777">
                <text>4-page handwritten letter</text>
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            <name>Language</name>
            <description/>
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              <elementText elementTextId="522778">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
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              <elementText elementTextId="522779">
                <text>History Teacher</text>
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              <elementText elementTextId="522780">
                <text>Economics Teacher</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="124">
            <name>Provenance</name>
            <description/>
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              <elementText elementTextId="522781">
                <text>Originally created by Edwyn Sandys Dawes.</text>
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              <elementText elementTextId="522782">
                <text>Donated to the &lt;a href="http://www.chs.org/" target="_blank"&gt;Connecticut Historical Society&lt;/a&gt; after 1901.</text>
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              <elementText elementTextId="522783">
                <text>Loaned to the &lt;a href="http://www.tn.gov/tsla/" target="_blank"&gt;Tennessee State Library and Archives&lt;/a&gt; for processing until June 1, 1960.</text>
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              <elementText elementTextId="522784">
                <text>Acquired by the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in 1960.</text>
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          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522785">
                <text>The displayed collection item is housed at the General Henry S. Sanford Memorial Library, &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; in Sanford, Florida. Rights to this item belong to the said institution, and therefore inquiries about the item should be directed there. RICHES of Central Florida has obtained permission from the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; to display this item for educational purposes only.</text>
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            <name>Accrual Method</name>
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              <elementText elementTextId="522786">
                <text>Donation</text>
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            <name>Curator</name>
            <description/>
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              <elementText elementTextId="522787">
                <text>Fedorka, Drew M. </text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522788">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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          </element>
          <element elementId="135">
            <name>Source Repository</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522789">
                <text>&lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;</text>
              </elementText>
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          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="522790">
                <text>Munro, J. Forbes. &lt;a href="http://www.worldcat.org/oclc/57653564"&gt;&lt;em&gt;Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893&lt;/em&gt;&lt;/a&gt;. Rochester, NY: Boydell Press, 2003.</text>
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        <name>board of directors</name>
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      <tag tagId="36222">
        <name>Edwyn Sandys Dawes</name>
      </tag>
      <tag tagId="6430">
        <name>FLCC</name>
      </tag>
      <tag tagId="2551">
        <name>Florida Land and Colonization Company</name>
      </tag>
      <tag tagId="7575">
        <name>Gray Dawes and Company</name>
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      <tag tagId="39341">
        <name>Henry Shelton Sanford</name>
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      <tag tagId="410">
        <name>insurance</name>
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      <tag tagId="29611">
        <name>investments</name>
      </tag>
      <tag tagId="45611">
        <name>investors</name>
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      <tag tagId="28053">
        <name>William MacKinnon</name>
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