18 100 4936 https://richesmi.cah.ucf.edu/omeka/files/original/96f8fc552e66ca20bea5a0c20e213a37.pdf 4e56ab6f19b44c10c94b28e29a7b8b5b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (March 14, 1884) Alternative Title Letter from Dawes to Sanford (March 14, 1884) Subject Investments--Florida Insurance--Florida Description 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. 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. Type Text Source 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, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Requires <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, March 14, 1884. Coverage Gray Dawes and Company, London, England, United Kingdom Creator Dawes, Edwyn Sandys Date Created 1884-03-14 Format application/pdf Extent 752 KB Medium 5-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Edwyn Sandys Dawes. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. board of directors E. R. Trafford Edwyn Sandys Dawes FLCC Florida Land and Colonization Company G. A. Thompson Gray Dawes and Company Henry Shelton Sanford insurance investments investors Powell Grant William Beardall William MacKinnon https://richesmi.cah.ucf.edu/omeka/files/original/937ffc1d93d343ccc548fa58a03340a5.pdf 2161916c994439152b26a089fb3f18ea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Edwyn S. Dawes to Jules Levita (April 15, 1884) Alternative Title Letter from Dawes to Levita (Apr. 15, 1884) Subject Investments--Florida Insurance--Florida Description 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. 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). Type Text Source 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, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Requires <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, April 15, 1884. Coverage Gray Dawes and Company, London, England, United Kingdom Creator Dawes, Edwyn Sandys Date Created 1884-04-15 Format application/pdf Extent 386 KB Medium 4-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Edwyn Sandys Dawes. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. board of directors Edwyn Sandys Dawes FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors Jules Levita Mitford https://richesmi.cah.ucf.edu/omeka/files/original/f2bfa82091cf824bb6fc404ce22fc774.pdf 1b096a737148339a9809e9641ca990cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Edwyn S. Dawes to Henry Shelton Sanford (July 28, 1884) Alternative Title Letter from Dawes to Sanford (July 28, 1884) Subject Investments--Florida Insurance--Florida Description 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. 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). Type Text Source 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, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Requires <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, July 28, 1884. Coverage Gray Dawes and Company, London, England, United Kingdom Creator Dawes, Edwyn Sandys Date Created 1884-06-28 Format application/pdf Extent 240 KB Medium 3-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Edwyn Sandys Dawes. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. board of directors Edwyn Sandys Dawes FLCC Florida Land and Colonization Company G. A. Thompson Gray Dawes and Company Henry Shelton Sanford insurance investments investors Thompson, G. A. https://richesmi.cah.ucf.edu/omeka/files/original/53fe867f34b806e3a4d0848c84481a98.pdf cc3b16613f4da789ea187486445a2bf0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Edwyn S. Dawes to Henry Shelton Sanford (November 3, 1884) Alternative Title Letter from Dawes to Sanford (Nov. 3, 1884) Subject Investments--Florida Insurance--Florida Description 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. 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). Type Text Source 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, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Requires <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, November 3, 1884. Coverage Gray Dawes and Company, London, England, United Kingdom Creator Dawes, Edwyn Sandys Date Created 1884-11-03 Format application/pdf Extent 251 KB Medium 3-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Edwyn Sandys Dawes. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. board of directors Edwyn Sandys Dawes FLCC Florida Land and Colonization Company G. A. Thompson Gray Dawes and Company Henry Shelton Sanford insurance investments investors William MacKinnon https://richesmi.cah.ucf.edu/omeka/files/original/363dd2c2e907fa70490043dde65337b7.pdf 7343ff688c29c684054b29fd88b735a9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (December 5, 1884) Alternative Title Letter from Dawes to Sanford (Dec. 5, 1884) Subject Investments--Florida Insurance--Florida Description 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. 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). Type Text Source 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, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Requires <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 5, 1884. Coverage Mount Ephraim, Faversham, England, United Kingdom Creator Dawes, Edwyn Sandys Date Created 1884-12-05 Format application/pdf Extent 422 KB Medium 6-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Edwyn Sandys Dawes. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. board of directors E. R. Trafford Edwyn Sandys Dawes FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors https://richesmi.cah.ucf.edu/omeka/files/original/8fa81bbef77034ea1733997861ee5bed.pdf 3c8d5d9662a20e7c089a1e0a6d9e1d77 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (December 28, 1884) Alternative Title Letter from Dawes to Sanford (Dec. 28, 1884) Subject Investments--Florida Insurance--Florida Description 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. 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). Type Text Source 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, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Requires <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 28, 1884. Coverage Mount Ephraim, Faversham, England, United Kingdom Creator Dawes, Edwyn Sandys Date Created 1884-12-28 Format application/pdf Extent 263 KB Medium 4-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Edwyn Sandys Dawes. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. board of directors Edwyn Sandys Dawes FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors William MacKinnon https://richesmi.cah.ucf.edu/omeka/files/original/34818bbe759b6f760f7b5a134fab7c13.pdf 0e126eb9ccbfc569fe43663088228fbc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Edwyn Sandys Dawes to Henry Shelton Sanford (December 31, 1884) Alternative Title Letter from Dawes to Sanford (Dec. 31, 1884) Subject Investments--Florida Insurance--Florida Description A letter from Edwyn Sandys Dawes (1838-1903) to Henry Shelton Sanford (1823-1891), dated December 31, 1884. Dawes was one of the founding partners of Gray Dawes and Company. The lengthy letter discussed a number of business matters related to the Florida Land and Colonization Company (FLCC). In particular, Dawes rejected a loan proposal put forth by the Manayunk Bank, a Philadelphia-based financial institution with some ties to Sanford. Early in the letter, Dawes noted that "the board recognize[sic] [Sanford] as having control over affairs" and that he was sorry that the company's letter dated November 16th "failed to convey this to [Sanford's] mind," perhaps reflecting a fraught struggle for control and influence over the direction of the company. Later in the letter, Dawes confessed that "all your colleagues, myself included, have felt a good deal of timidity in following you in all that you have recommended and chiefly on financial grounds." The letter demonstrates the often tense relationship between Sanford and his London-based partners in the FLCC. Sanford's financial strategies were often deemed too risky by his business partners. 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. Type Text Source Original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 31, 1884: box 53, folder 7, subfolder 53.7.12, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Requires <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Edwyn Sandys Dawes to Henry Shelton Sanford, December 31, 1884. Coverage Gray Dawes and Company, London, England, United Kingdom Creator Dawes, Edwyn Sandys Date Created 12/31/1884 Format application/pdf Extent 671 KB Medium 4-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Edwyn Sandys Dawes. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. board of directors Edwyn Sandys Dawes FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors Manayunk Bank William MacKinnon https://richesmi.cah.ucf.edu/omeka/files/original/03ff753fa8bd1bcc862127b2d2d013bd.jpg a90f002e74eafbf8ac4aec302f744b8a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (April 21, 1887) Alternative Title Letter from Gray Dawes to Sanford (Apr. 21, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891), dated April 21, 1887. The letter acknowledged Sanford's renewal of three promissory notes held with the company, valued respectively at £2,000; £1,500; and £1,500. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon (1823-1893). Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, April 21, 1887: box 53, folder 7, subfolder 53.7.14, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, April 21, 1887. Coverage Gray Dawes and Company, London, England, United Kingdom Brussels, Belgium Creator Gray Dawes and Company Date Created 1887-04-21 Format image/jpg Extent 137 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors https://richesmi.cah.ucf.edu/omeka/files/original/fa77c1ef50f906f8d2ea5356257980a0.jpg 08245a091516339522b947b01ab1a8e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (April 23, 1887) Alternative Title Letter from Gray Dawes to Sanford (Apr. 23, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891), dated April 23, 1887. The letter acknowledged receipt of a check from the Banque de Paris et des Pay-Bas in the amount of £79.15.2 toward the extension of various promissory notes in the full amount of £5,000. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon (1823-1893). Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, April 23, 1887: box 53, folder 7, subfolder 53.7.15, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, April 23, 1887. Coverage Gray Dawes and Company, London, England, United Kingdom Brussels, Belgium Creator Gray Dawes and Company Date Created 1887-04-23 Format image/jpg Extent 145 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors https://richesmi.cah.ucf.edu/omeka/files/original/35a5be494263a6bdaee2553371a02b80.jpg f831503af518a24f65413816b59ce2d3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (August 5, 1887) Alternative Title Letter from Gray Dawes to Sanford (Aug. 5, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891), dated August 5, 1887. The letter noted that Sir William MacKinnon (1823-1893), whom the loan was owed, was willing to extend the payment due date for the promissory note of £6,423.17.6. Operating under the assumption that Sanford would renew the notes for an additional amount of time, the letter indicated that a "discount" and stamps for the extension, billed at £200.14.4, were enclosed in the letter. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon. Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, August 5, 1887: box 53, folder 7, subfolder 53.7.16, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, August 5, 1887. Coverage Gray Dawes and Company, London, England, United Kingdom Brussels, Belgium Creator Gray Dawes and Company Date Created 1887-08-05 Format image/jpg Extent 153 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors William MacKinnon https://richesmi.cah.ucf.edu/omeka/files/original/f7c006347703187dec1d665d0658e6aa.jpg f648f540e40e28917a1501bac1673120 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (August 8, 1887) Alternative Title Letter from Gray Dawes to Sanford (Aug. 8, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891), dated August 8, 1887. The letter acknowledged receipt of an earlier letter from Sanford and indicated the successful renewal of several promissory notes amounting to a total of £6,423.17.6. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon (1823-1893). Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, August 8, 1887: box 53, folder 7, subfolder 53.7.17, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, August 8, 1887. Coverage Gray Dawes and Company, London, England, United Kingdom Chateau de Gingelom, Gingelom, Belgium Creator Gray Dawes and Company Date Created 1887-08-08 Format image/jpg Extent 151 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors William MacKinnon https://richesmi.cah.ucf.edu/omeka/files/original/a7742d6cef93857e847d431e9f4a57b7.jpg d327676a46620cdd3f64f2e6cfa02090 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (August 11, 1887) Alternative Title Letter from Gray Dawes to Sanford (Aug. 11, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891), dated August 11, 1887. The letter acknowledged receipt of Sanford returning four promissory notes in the amount of £6,423.17.6, extended for an additional period of six months. The letter also acknowledged that Sanford had "given instructions to have the amount of the discount of £200.14.4 remitted" to Gray Dawes and Company. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon (1823-1893). Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, August 11, 1887: box 53, folder 7, subfolder 53.7.18, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, August 11, 1887. Coverage Gray Dawes and Company, London, England, United Kingdom Chateau de Gingelom, Gingelom, Belgium Creator Gray Dawes and Company Date Created 1887-08-11 Format image/jpg Extent 157 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors https://richesmi.cah.ucf.edu/omeka/files/original/514d921215c3b4a0f6edb224e17cba35.jpg 1f4024eddafa0cefab50aa4bec26a590 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (August 15, 1887) Alternative Title Letter from Gray Dawes to Sanford (Aug. 15, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891), dated August 15, 1887. The letter acknowledged receipt of a requested £200.14.4, paid for by Sanford in the form of a bank check issued by the Banque de Paris et des Pay-Bas. The amount owed was for the renewal of several promissory notes held by the company in the amount of £6,423.17.6. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon (1823-1893). Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, August 15, 1887: box 53, folder 7, subfolder 53.7.19, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, August 15, 1887. Coverage Gray Dawes and Company, London, England, United Kingdom Chateau de Gingelom, Gingelom, Belgium Creator Gray Dawes and Company Date Created 1887-08-15 Format image/jpg Extent 158 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Banque de Paris et des Pay-Bas FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors https://richesmi.cah.ucf.edu/omeka/files/original/06905766201bbda563ee9ebbb280b817.jpg bc68f469880f5db08f5275b5a7287802 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (October 27, 1887) Alternative Title Letter from Gray Dawes to Sanford (Oct. 27, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891) on October 27, 1887. The letter indicates that, "at the request of Mr. William MacKinnon," Gray Dawes and Company had issued Sanford three promissory notes—valued at £2,000, £1,500, and £1,500, respectively—serving to extend Sanford's outstanding debt for an additional three-month period. For the extension, the company requested an amount of £80.11.7. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon (1823-1893). Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, October 27, 1887: box 53, folder 7, subfolder 53.7.20, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, October 27, 1887. Coverage Gray Dawes and Company, London, England, United Kingdom Chateau de Gingelom, Gingelom, Belgium Creator Gray Dawes and Company Date Created 1887-10-27 Format image/jpg Extent 151 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors William MacKinnnon https://richesmi.cah.ucf.edu/omeka/files/original/85aa6de877e2c6796a3ca5f2763d8941.jpg 3cc578c4e4fac244f82372875387c8a6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (November 16, 1886) Alternative Title Letter from Gray Dawes to Sanford (Nov. 16, 1886) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891), dated November 16, 1886. The letter indicated several transactions made by the company, including remitting of £520 to the Banque de Paris et des Pays-Bas, the amount "being dividend warrant of the Florida Land and Colonization Company." The letter also noted that Gray Dawes and Company had "further remitted them for [Sanford's] credit £23.5.6 being amount" of FLCC dividend and warrant in the amount of £320. This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, like Sir William MacKinnon (1823-1893). Gray Dawes and Company was 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). Type Text Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, November 16, 1886: box 53, folder 7, subfolder 53.7.21, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, November 16, 1886. Coverage Gray Dawes and Company, London, England, United Kingdom Chateau de Gingelom, Gingelom, Belgium Creator Gray Dawes and Company Date Created 1886-11-16 Format image/jpg Extent 155 KB Medium 1-page handwritten letter Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Accrual Method Donation Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Banque de Paris et des Pay-Bas FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors William MacKinnon https://richesmi.cah.ucf.edu/omeka/files/original/1ad802c3e3fe3644f73042f1a8f50fcf.jpg 4907145d423d4464b52af0a820f9ccd7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Florida Land Colonization Company Collection Alternative Title FLCC Collection Subject Sanford, Henry Shelton, 1823-1891 Sanford (Fla.) Mackinnon, William, 1823-1893 Polk County (Fla.) Sumter County (Fla.) Hernando County (Fla.) Brevard County (Fla.) Volusia County (Fla.) Manayunk (Philadelphia, Pa.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/107" target="_blank">William MacKinnon Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Manayunk Bank, Manayunk, Philadelphia, Pennsylvania New York City, New York Washington, D.C. Brussels, Belgium Gingelom, Belgium Hombourg, Belgium Berlin, Germany Florida Land and Colonization Company, London, England, United Kingdom Curator Cepero, Laura Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Fry, Joseph A. <a href="http://www.worldcat.org/oclc/8475473" target="_blank">Henry S. Sanford: Diplomacy and Business in Nineteenth-Century America</a>. Reno, NV: University of Nevada Press, 1982. Tischendorf, Alfred P. "<a href="http://www.worldcat.org/oclc/35894049" target="_blank">Florida and the British Investor: 1880-1914</a>." Florida Historical Quarterly 33, no. 2 (Oct. 1954): 120-129. Amundson, Richard J. "<a href="http://www.worldcat.org/oclc/4894931414" target="_blank">The Florida Land and Colonization Company</a>." Florida Historical Quarterly 44, no. 3 (Jan. 1966): 153-168. Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. Kendall, John S. <a href="http://www.worldcat.org/oclc/1836396" target="_blank">History of New Orleans</a>. Chicago: Lewis Publishing Company, 1922. Description 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. 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. 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. Contributor <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> Provenance Collection dontated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Collection loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Collection acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection items are housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in Sanford, Florida. Rights to these items belong to the said institution, and therefore inquiries about items should be directed there. <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> has obtained permission from the <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Letter from Gray Dawes and Company to Henry Shelton Sanford (April 19, 1887) Alternative Title Letter from Gray Dawes to Sanford (Apr. 19, 1887) Subject Investments--Florida Insurance--Florida Description A letter from Gray Dawes and Company to Henry Shelton Sanford (1823-1891) on April 19, 1887. The letter acknowledged renewal of three promissory notes held by Sanford with the company. According to the letter, the company was operating under the instruction of Sir William MacKinnon (1823-1893). This correspondence demonstrates the ongoing business relationship between Sanford and London-based financial institutions. Sanford, confronted with numerous financial difficulties later in life, relied on generous loans from close business partners, such as MacKinnon. Gray Dawes and Company was 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). Creator Gray Dawes and Company Source Original letter from Gray Dawes and Company to Henry Shelton Sanford, April 19, 1887: box 53, folder 7, subfolder 53.7.13, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. Date Created 1887-04-19 Is Format Of Digital reproduction of original letter from Gray Dawes and Company to Henry Shelton Sanford, April 19, 1887. Is Part Of Box 53, Folder 7, Henry Shelton Sanford Papers, General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/98" target="_blank">Florida Land Colonization Company Collection</a>, Henry Shelton Sanford Papers Collection, RICHES of Central Florida. Format image/jpg Extent 136 KB Medium 1-page handwritten letter Language eng Type Text Coverage Gray Dawes and Company, London, England, United Kingdom Brussels, Belgium Accrual Method Donation Mediator History Teacher Economics Teacher Provenance Originally created by Gray Dawes and Company. Donated to the <a href="http://www.chs.org/" target="_blank">Connecticut Historical Society</a> after 1901. Loaned to the <a href="http://www.tn.gov/tsla/" target="_blank">Tennessee State Library and Archives</a> for processing until June 1, 1960. Acquired by the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> in 1960. Rights Holder The displayed collection item is housed at the General Henry S. Sanford Memorial Library, <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> 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 <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> to display this item for educational purposes only. Curator Fedorka, Drew M. Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank">Sanford Museum</a> External Reference Munro, J. Forbes. <a href="http://www.worldcat.org/oclc/57653564">Maritime Enterprise and Empire: Sir William MacKinnon and His Business Network, 1823-1893</a>. Rochester, NY: Boydell Press, 2003. FLCC Florida Land and Colonization Company Gray Dawes and Company Henry Shelton Sanford insurance investments investors https://richesmi.cah.ucf.edu/omeka/files/original/cf54e641fa0d4b54defe352f173e3897.pdf c11b2eb95128c7178d7e692f93672926 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title World War II Collection Alternative Title WWII Collection Subject World War II, 1939-1945 Veterans--Florida Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Contributing Project <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Description Although Japan and China were already engaged war since 1937, September 1, 1939 is generally considered the beginning date of World War II. It was on this day that Adolf Hitler (1889-1945), the Führer of Nazi Germany, invaded Poland, inciting France and the United Kingdom to declare war. Through the course of the war, belligerents were general divided into two groups: the Allied Powers, consisting of the United Kingdom, France, the Soviet Union, China, Poland, Canada, Australia, India, Yugoslavia, Greece, the Netherlands, Belgium, South Africa, New Zealand, Norway, Czechoslovakia, Ethiopia, Brazil, Denmark, Luxembourg, Cuba, Mexico, the Philippines, Mongolia, and Iran; and the Axis Powers, consisting of Germany, Japan, Italy, Hungary, Romania, and Bulgaria. The United States did not join the Allies until the Japanese attack on Pearl Harbor on December 7, 1941. War was waged for several years. On May 8, 1945, Germany surrendered to Soviet and Polish troops in response to the capture of Berlin just a few days earlier, in effect ending the war in Europe. The war in the Pacific theater did not end until Japan surrendered on August 15, 1945, in response to the atomic attacks on Hiroshima and Nagasaki. World War II transformed the globe's geopolitical context. The United Nations (UN) was established and the United States and Soviet Union emerged as opposing superpowers, setting the stage for the 46-year long Cold War. Much of Europe was left in economic collapse and decolonization began in Asia and Africa. Contributor <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections and University Archives</a>, University of Central Florida Libraries, University of Central Florida Source Repository <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. Black, Jeremy. <a href="http://www.worldcat.org/oclc/51306184" target="_blank">World War Two: A Military History</a>. London: Routledge, 2003. Maddox, Robert James. <a href="http://www.worldcat.org/oclc/24066126" target="_blank">The United States and World War II</a>. Boulder: Westview Press, 1992. Davies, Norman, and Norman Davies. <a href="http://www.worldcat.org/oclc/104891528" target="_blank">No Simple Victory: World War II in Europe, 1939-1945</a>. New York: Viking, 2007 Zeiler, Thomas W. <a href="http://www.worldcat.org/oclc/51905775" target="_blank">Unconditional Defeat: Japan, America, and the End of World War II</a>. Wilmington, Del: Scholarly Resources, 2004. Ferguson, Niall. <a href="http://www.worldcat.org/oclc/70839824" target="_blank">The War of the World: Twentieth-Century Conflict and the Descent of the West</a>. New York: Penguin Press, 2006. Reynolds, David. <a href="http://www.worldcat.org/oclc/646790595" target="_blank">From World War to Cold War Churchill, Roosevelt, and the International History of the 1940s</a>. Oxford: Oxford University Press, 2006. Coverage Naval Training Center, Orlando, Florida Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Frank V. Boffi Alternative Title Oral History, Boffi Subject Veterans--Florida World War II Description An oral history interview of Frank V. Boffi (b. 1922), who served in the U.S. Navy from 1942 to 1945 and again from 1948 to 1952. Boffi was born in Cranston, Rhode Island, on May 18, 1922. He served during both World War II and the Korean War, and was stationed on USS Bernadou, USS Hugh W. Hadley, USS Brownsonn, and USS Fiske. Boffi also took part in the Allied Invasion of Sicily, the Battle of Anzio, and the Battle of Okinawa. He received a Purple Heart, among other awards, and achieved the rank of 1st Class Machinist. This interview was conducted by Luis Santana Garcia at the University of Central Florida in Orlando, Florida. Topics discussed in the oral history include Boffi's background, his enlistment, fighting in Italy, the construction of the USS Hugh W. Hadley and its subsequent destruction, serving in the Pacific Theater, leaving the Navy, his medals and citations, and the Lone Sailor Memorial Project. Table Of Contents 0:00:00 Introduction 0:00:30 Background and family 0:02:00 Entry into service 0:08:30 First days of service 0:12:37 Invading Italy as an American of Italian heritage 0:14:30 Experience during the battles in Italy 0:19:30 USS Hugh W. Hadley construction, training, and the Pacific Theater 0:23:23 Typical day and recreational activities 0:25:30 Life after service 0:27:50 Medals, citations, and values learned 0:29:42 VIDEO SKIPS 0:30:00 Future of the Lone Sailor Memorial Project 0:31:43 Closing remarks Abstract Oral history interview of Frank V. Boffi. Interview conducted by Luis Santana Garcia. Type Moving Image Source Boffi, Frank V. Interviewed by Luis Santana Garcia. Audio/video record available. <a href="http://digitalcollections.net.ucf.edu/cdm/ref/collection/VET/id/267" target="_blank">Item DP0014888</a>, <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank"> Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank"> Java</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/95" target="_blank">World War II Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format Boffi, Frank V. Interviewed by Luis Santana Garcia. Audio/video record available. <a href="http://digitalcollections.net.ucf.edu/cdm/ref/collection/VET/id/267" target="_blank">Item DP0014888</a>, <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. Digital transcript of original 32-minute and 25-second oral history: Boffi, Frank V. Interviewed by Luis Santana Garcia. Audio/video record available. <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Cranston, Rhode Island Downtown Providence, Rhode Island Newport, Rhode Island Boston, Massachusetts Naval Training Center, Orlando, Florida Sicily, Salerno, Italy Anzio Beach, Italy Oran, Algeria Tinian, Northern Mariana Islands Okinawa, Japan Vatican Necropolis, Vatican, Vatican City Creator Boffi, Frank V. Garcia, Luis Santana Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Contributor Barnes, Mark Date Created 2014-02-26 Date Copyrighted 2014-02-26 Format application/website application/pdf Extent 12.1 MB 188 KB Medium 32-minute and 25-second Hi8 CD/DVD 15-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Luis Santana Garcia and Frank V. Boffi and published by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> External Reference Black, Jeremy. <a href="http://www.worldcat.org/oclc/51306184" target="_blank">World War Two: A Military History</a>. London: Routledge, 2003. Maddox, Robert James. <a href="http://www.worldcat.org/oclc/24066126" target="_blank">The United States and World War II</a>. Boulder: Westview Press, 1992. Davies, Norman, and Norman Davies. <a href="http://www.worldcat.org/oclc/104891528" target="_blank">No Simple Victory: World War II in Europe, 1939-1945</a>. New York: Viking, 2007. Zeiler, Thomas W. <a href="http://www.worldcat.org/oclc/51905775" target="_blank">Unconditional Defeat: Japan, America, and the End of World War II</a>. Wilmington, Del: Scholarly Resources, 2004. Ferguson, Niall. <a href="http://www.worldcat.org/oclc/70839824" target="_blank">The War of the World: Twentieth-Century Conflict and the Descent of the West</a>. New York: Penguin Press, 2006. Reynolds, David. <a href="http://www.worldcat.org/oclc/646790595" target="_blank">From World War to Cold War Churchill, Roosevelt, and the International History of the 1940s</a>. Oxford: Oxford University Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://stars.library.ucf.edu/veteransoralhistories/214/" target="_blank">Boffi, Frank V.</a> Transcript Garcia Today is February 26th, 2014. I am interviewing Frank Boffi, who served in the United States Navy. He served in World War II and ended with a rank of Machinist MAT 1st class. With me is Mark... Barnes Mark Barnes. Garcia Mark Barnes. We are interviewing Mr. Boffi as part of the University of Central Florida Community Veterans History Project and as research for the creation of a Lone Sailor Memorial Project. We are recording this interview at UCF in Orlando, Florida. Mr. Boffi, will you please start by—start us off by telling us when and where you were born? Boffi Cranston, Rhode Island, which is about nine miles north of, uh Downtown Providence[, Rhode Island]. I was born May 18th, 1922, and I’m the, uh, youngest of seven boys. We were a family of 10 children. Raised during the Great Depression which is—was hell on life—on Earth, really. So we had to get adjusted to that— not having anything. I’ve been lecturing five high schools here locally about World War II and the kids don’t believe that, during the Depression, we had no allowance, we had nothing, and, uh—but anyway, I survived the Depression. I survived three battles in the Pacif—the, uh, Mediterranean [Sea], and the one battle in the Pacific [Theater]. So I consider myself a survivor. Garcia What did your parents do for a living? Boffi They were, uh, country folks. My dad worked—was a laborer, because in Italy they lived out on farms, and came over here had really no skills. and, um, he worked for—under the WPA systems, which was the Works Progress Administration—back in the [19]30s, uh, one of the programs set by President [Franklin Delano] Roosevelt. So he was just a, uh, shovel—a reg[?] guy. He was working on the roads and the parks and stuff that the city was rocking[?] for him. That sort of thing. Garcia And when did you, uh, enter the Navy? Boffi I, uh, entered—first of all, I think it’s important to hear that we<a title="">[1]</a> got engaged December 6th, 1941, which was the night before the Pearl Harbor attack. And, um, it’s so strange: these high schools that I’ve been lecturing—that’s the one thing those kids remember when I go back the next year after that. Yeah. I ask what they remember about World War II and they all say the same thing, “You and your wife got engaged the night before Pearl Harbor.” We got—I got married at, uh, 20 years old—August 1st, 1942. And on September 15th, 1942, I went down and enlisted in the Navy, because I did not want to be drafted into the Army. I was told that the Navy, you had three square a day and clean bedding, as long as you washed it. But the Army guys had to sleep in mud and foxholes and I didn’t want that kind of stuff. But, um, yeah. We were—I—my wife and I were married 71 years this past August 1st, and then she died October 7th, [inaudible] 2014. But, uh, it was a tough life, but we hacked it through[?]. It was just two young kids. She was 22 and I was 20, but we made it and it was a real sacrifice. We only had the one son who has—now has two children and six great, uh—six grandchildren. I have six great-grandchildren. My son is a graduate of the University of Nebraska, where he has a master’s [degree] out of the university. Um, He started in engineering, but he changed it over to psychology. And I asked him why he changed his major[?] over the subject—his degree in, and he said one of his friends dove out of the six—I think he said it was a six-story window. And He was on LSD [lysergic acid diethylamide] and he just dove out the window. And that was when my son decided to change his career and help the kids that were—that were on drugs. He was—he wound up being an administrator of six counties in east Nebraska—in charge of the drug program. But Now he’s a—he was a regional manager for Xerox [Corporation], and they moved him to Washington, D.C. area. And now he’s, uh—has his own business—he and his wife—as general resources. Um, he’s chief operating officer for AmeriCom. It’s a company that deals with the government, and their biggest account is the Air Force. And he is in, uh, San Antonio[, Texas] about every four or five weeks, because we have bases there. What else you want? Garcia Now, uh, you said you were—got engaged the day before Pearl Harbor. What was your reaction to the attack on Pearl Harbor? Boffi It was kind of a shock, but We, uh, I think we were prepared for it. The—the way things were going, we knew that some war was going to come out of it. It was so strange: in Downtown Providence—I’m not sure if you’re familiar with it—they had docks there. And, uh, my buddy and I—we used to go down there. we used to walk to Providence maybe two days a week, and there were all these old rust buckets loading up with all the, um, scrap iron, and we sold millions and millions of tons of scrap iron to Japan. And then—then four or five months, the war broke out, they were firing it right back at us. Garcia Why did you join the Navy? Boffi Like I told you, I didn’t like—I didn’t like being in a foxhole, and I didn’t want to join the Army. I had one brother in the Army and two—the one in the Navy, he joined long after I did. But, uh, my other two brothers were [Boeing] B17 [Flying Fortress] bombers. And, uh, I—I just liked the water. I thought I would be better off in the Navy. Might as well do something I like, than[?] rather[?]—I had to go no matter what. I didn’t want to be drafted in the Army. Garcia Where did you attend boot camp? Boffi I, uh, went to boot camp in Newport, Rhode Island. I reported there October 15th, 1942 and got in out March 1943. And they sent me to [inaudible] Institute in Boston[, Massachusetts], which is an engineering school. And I came out of there with a, uh—with a second class machinist MAT training. It was so strange that, in those days, uh—that—that the commander of the school posted a notice one day saying anybody in the top five percentile for academics would be allowed the privilege of applying for Officer’s[sic] Candidate School. So I applied for it, and that’s all it says. And I walked up, and commander Cavinar[sp] was sitting at his desk, and I came in the door about that distance away, and he kind of looked up and says, “Frank, you don’t qualify.” I said, “But I’m in the top three percentile academically.” He said, “Yeah. Academically you can qualify, but you’re married.” They would not give you a rate[?] then—a commission [inaudible]. You had to be married first though—no. You—you couldn’t get married until after you got your commission. that’s what it was. So they refused to give me a commission. And, uh, then later on when I worked[?] the ship got sunk, I was supposed to make chief June 1st, 1945. And we got sunk on the 11th of May of 1945. That’s when I wound up in a hospital bed for the next four and a half months. So they wouldn’t give me the chief’s rating, because you had to be with an active unit. Now, today even, if you lost both legs, you’re still in the military, you get your rating or whatever. So, um, when they held its 90th birthday, the chiefs down here at NAWC [Naval Air Warfare Center] made me an honorary, um, chief with them. So I have a [U.S.] DOD [Department of Defense] certificate stating that I’m part of the chiefs’ at NAWCTSD in Orlando. They—they kind of glorified it and they gave me the rate. I asked them about it—OCS [Officer Candidate School] now, but they wouldn’t allow me [clears throat]. Garcia What was, uh, your first days of your service like? Boffi Pardon? Garcia What was the first day of your service like? First days. Boffi Well, the—the first couple of days were interesting, because we had some boys from the Midwest area[?] they were Arkansans. We had to sleep on hammocks. In those days, in boot camp. And the hammock was strung up to the ceiling and you had what you called the” jack stand.” That’s a bar, and you would jump up and grab it and you’d pull your body up. And if you knew how to do it, you would open your hammock line with one leg and then pop your butt in and then—otherwise, you would just roll off the other side. and that’s what was happening to this one boy from Arkansas. He couldn’t—he’d get in one side and roll out the other one. He couldn’t get himself—so one night, the chief told a couple of us to “Go help that kid get in that hammock.” And, Uh, We raised the sides up, but in the morning he tried to get out and he’d fall out all the time. He was a character. He never did adjust to a hammock. We kept our hammocks as part of our sea bag. And I’ve used it two or three times at sea out here in the Atlantic [Ocean]. When we had a hurricane or real bad weather, the ship would go rocking and rolling too much. My buddy and I would go out and string up our hammock underneath the gun tug, where it would be dry, and sleep in the hammocks. We just—like a baby rocking in a crib. But, um, yeah. The first ship was on was a 1918—it was commissioned in 1918—a World War I destroyer. It was an old four stacker, and we called them “rust buckets.” But Then [clears throat]—and we made the three invasions of, um, [inaudible] Sicily, Salerno, Italy, and, um—what was the last one? One of the—one—I forget the name of that one. Oh, [inaudible]. My memory is failing me, but we made the two—three invasions in Sa—Sicily, Anzio Beach, Salerno—Anzio Beach. That’s what it is. Anzio Beach, Salerno, and, um, you know, Sicily. We operated out of Oran[, Algeria], North Africa. That was kind of a[sic], uh, interesting—now that we have so much Muslim, uh, religion spreading out all over the world. There was a place in Oran that was called Medina. It was a, uh, sacred city with great big columns and you were not allowed in there unless you were a, um, Muslim religion[sic]. And my buddy and I didn’t believe it, so we started in there one day, and we get about three feet through the gates, all these Arabs started getting up from sitting on the sidewalk. And, um, we were lucky. I think I—I’m alive today, because the shore patrol was right there. They drive their Jeep in about three feet into the Medina, and told us to get in and they brought us back [inaudible]. And they told us that one of my friends, uh, Bill Suey[sp], came from Cranston, Rhode Island—.he and I went through school together. He went through Medina one night and came back in just his underwear—just his skivvies. He was lucky he got his life, but they took everything he had—his uniform, cigarettes, and—and they stripped him. They didn’t want us there. Basically, that’s what it was. We were invading their country and—and they—they didn’t realize that we were there protecting them from the Germans. I mean, they were losing their country to the Germans till we got there. And, um, so we saved them, but they’re still Muslim and that scares me till today—what’s happening in some of these cities. [clears throat] It’s a damn shame that we have to go through stuff, but I see it happening right now. Garcia Now, uh, as an Italian [American], how did it feel invading Italy? Boffi How did I feel being in Italy? Garcia Yeah. Boffi It was, uh, a good feeling. Because I was—my mom and my eldest brother came over in 1904. And this was 19—well, I didn’t get there until during the war, but I stayed in the Navy and I went back in 1950 with the ship I was on. And I got to meet my, uh, dad’s two brothers, and my cousins, and my mom’s half-sister. And her—this one half-sister has three—three daughters. And they came to my uncle’s house and the eldest—eldest daughter was, um, just—just under 18. She was a senior in—in high school—equivalent to our schedule setup. And, um, she was so excited that I was talking to an Italian in English and all that. And she kept patting my knee, and the moms kept telling them, “Don’t touch him. he’s an American sailor.” She said, “But he’s my cousin.” She said, “I don’t care if he’s your brother. Don’t lo—don’t touch him. He’s an American sailor.” But that was the kind of reputation we had all over the world. The—the sailors were people [coughs] [clears throat]. And I had one other cousin, who had a close friend of his who was a [Papal] Swiss Guard in the Vatican. So I got to, uh, go places in the Vatican that the general public had never been to. And we got way down deep into the catacombs,<a title="">[2]</a> where they used to bury all the priests and the bishops and whatever. There—it was kind of an eerie feeling being down there with all these caskets on both sides. And these guys didn’t realize that they’ve been buried there for a hundred years or longer. That was something that the general public never saw, but I got to see it because of my cousin’s—Tom’s—friend was a Swiss Guard. He allowed me to go down there [clears throat]. Garcia Now what—what was… Boffi [clears throat]. Garcia What your experience during the actual battles? Boffi What was what? Garcia What your experience during the actual battles themselves? Boffi Well, um, uh, the, uh—at the Anzio Beach location, I was on deck and that was a, uh, a 50 millimeter—50 caliber machine gun. And that really was the only action I’ve ever—I’ve ever seen. Because, um, normally, I would be engine room. You would not see any action. And, uh, It’s so strange that now I—you know, there were three destroyers in our squadron. We were all—we were all World War I destroyers. And they, uh, used us as decoys. The American government had no, um, um, information as to where the gun emplacements were. So they—the three destroyers were supposed to go in, approach the beach with all their lights out [inaudible]. And at midnight, put on our search light. We had a great big, regular search light they use at airports. And, uh, there was total darkness. I couldn’t see you guys as dark as it was. And all of a sudden, at midnight, when we put our search lights on, all hell—the beach just broke all out, and I jumped. And I found out later that that was a trigger, because I was subject to that for a long, long time. I mean, if we walked—if I walked in this room and someone tried to put the—somebody put the light on, I would react to it. And Now I—I found out that eventually, training with the VA [Veterans Administration] and, um—my son, um, met the woman who was the CO of the Purple Heart Association.<a title="">[3]</a> And she sent me a book, and then I read that—Tears of a Warrior[: A Family's Story of Combat and Living with PTSD] it’s called. I found out that that was only a “trigger,” that they called them. And so I finally got myself to overcome that, and it doesn’t bother me anymore now, but Going into this totally dark room and somebody put the light on. But—and I do it every night when I go home. It’s be totally dark in the house and I flip my own light on, but I don’t react to it anymore like I used to. ‘Cause I suddenly realized that it was just something that was back here and I had to weed it out of my system. But, uh, normally, I saw no action on my—the—on the [USS Hugh W.] Hadley. I didn’t see any action, until we got, uh, blown out of the engine room—came topside. And to this day, I don’t remember seeing any action then. And I found out from Captain [Doug] Aiken, who’s retired—he was a lieutenant on the Hadley. I asked him how long we were—were in the water, and he said about two and a half hours before we were picked up. And I’ve got—if you want me to email you, I’ve got the picture of that, uh—the ship picking up the survivors and I’ve got the DVD that I can send you and incorporate it with part[?] of yours. It shows a Kamikaze hitting the water and showed the—the bomb going off—something like that. I can get you a copy of those if you—if you wish. They’re not copyrighted at all, so you’re welcome to do with it what—whatever you want with ‘em [clears throat]. Garcia And so you—you said you were—you were sent in as a decoy. Once—once, like, you complete your mission, did they figure out where the emplacements were and then did you guys leave after that? Boffi Well, we didn’t really leave the battle area. We went out on, uh, screening. They called it “screening.” You had two or three destroyers. Well, that day, there were like 15 destroyers out there. And just—you stayed off the beach about three or four miles and tried to shoot down the planes that were coming in to attack our troops. And they were coming in to hit our supply ships [inaudible]. So we were on—on the screening most of the time, at the—Of course, I wasn’t there, but the ship was. I was in the hospital. That was—let’s see—May, June—two and a half months in the, uh, ten city hospital. We called it “ten city” in Tinian Island, which is part of the Marianas.<a title="">[4]</a> And, uh, In July of ’45, they sent me to a naval receiving hospital in San Francisco, California. stayed there a couple of weeks, and from there, they sent me to a psychiatric hospital up in Coeur d’Alene, Idaho, because I was getting a severe—I mean, real bad headaches. It was the back of my head and they thought I was going crazy, I guess. It was just blast concussion. It finally settled down. And after about six—I think six or eight weeks in Coeur d’Alene, I was transferred on down to Sun Valley, Idaho, in which there was a naval recuperation hospital. And then, in October of ’45, they transferred me to Fort Lewis, Washington. And, um, from there, to Boston to be discharged in November of 1945 [clears throat]. Garcia Alright. And, um,what—when, uh—you said that you were on, um—what was the name of the first ship you were on? Boffi The USS Bernadou, B-E-R-N-A-D-O-U. Garcia And, um, how did you, like—and then you transferred to the Hadley? Boffi No. They sent me to school for—the Hadley was so called “new construction.” It was a, uh, bigger class destroyer, and it was higher pressure. We operated at 600 pounds of pressure steam on the Hadley, and the Bernadou was only 250. So I went to North Virginia to school for 12 weeks. And then I went out to, um, San Pedro, California, and I was part of the 14 people that was the skeleton crew to watch the ship being built. That was quite interesting. And, you know, we saw them lay the keel hull in the dry dock. And we—we had to be in the dry dock every morning at eight o’ clock. That’s where they held quarters. And we literally watched the ship being built. Every—every bit of welding they did, we were there. There were 14 of us: one officer, and, uh, I think two chiefs, myself, another 1st class in engineering, and there, um—some other guys from other rates I don’t know—the yeoman[?] and [inaudible]. But, um—so I was on it when it went into the water in October of 1945—I mean ’44 — and we were sunk May of 1945. so it didn’t last very long. Garcia That was… Boffi [clears throat]. Garcia That was during the Invasion of Okinawa[, Japan]?<a title="">[5]</a> Boffi Yes. Garcia And what—what was your experience in that battle? Boffi My experience? Well, I didn’t see any action, because I was down in the engine room all the time. Garcia When you were in the engine room, what—like, what was your job, per se? Boffi Well, to keep the ship moving. We had to keep the engines running, and, um— because if you lose your engines, then you are a dead, still target. Then they just blow you out of the water. So, uh—as a matter of fact, Marc [Ennis] is in simulation, and we had no simulators in those days. And I was—I had my pump man and my messenger blindfolded when they were on the lower level, where all the pumps are. And they had the second level was the operating deck—the control deck. And I had them blindfolded, and the Chief Engineer comes down and he says, “Boffi, we don’t have any time for this blind man’s bluff games and stuff like that.” I said, “We’re not playing games, sir. I’m teaching these guys to know the engine room blindfolded.” That’s the first thing you lose on any situation is power. I mean, right now, if the power went off, we would be in a darkened room. So I said,” I’m trying teach them how to get out of there—this engine room.” And to this day, I think we all come[?]—[Don] Hackler, my master, was the last one to leave the engine room. We seemed to think he slipped down the ladder. he didn’t make it. Speedo, my bunkman, and myself got out. And that was the— Speedo got out first, and then I was second, and Hackler was—and he was only 17 years old. He had been in the Navy like 81 days. At the end of the war, they were taking real young kids in, with hardly any training at all. And, uh, Don Hackler—I think it was his name—and he was the only one that didn’t survive the—in that engine room. We lost, uh, everybody in the forward fire room, plus there were other people on deck. I think there were about 18 casualties that—fatalities that morning of the attack [clears throat]. Garcia Uh,Going back a little bit, what—what was… Boffi [coughs]. Garcia Saily life like on the Navy vessel? Boffi A normal day? Garcia Mmhmm. Boffi Normally, you get up at about five—normally, you get up about 5:30 for regular crew. But in engineering, you’re—you’re on four hours and off eight. So we would be getting up at like 3:15 in the morning for the four to eight watch. And, uh, for the midnight watch, you got on—you had to be up by quarter to 12, and that ran to—to quarter to four, and that ran to quarter to eight. And, um, once you got in the engine room though, there was no—I didn’t do much. I just sat there, che—checked the other guys, and did some checking of equipment, and stuff like that. But—mostly management. I didn’t really do anything. There was nothing you could do. Just be ready to—if you did take a hit, be ready, you know, do—to you could react. Do what you had to do. Garcia And you told us about… Boffi [coughs]. Garcia Some of the, uh, recreational things you did while you were in Italy and Africa. Were there anything in the Pacific—any areas In the Pacific that you got to experience in the Pacific? Boffi No. I never got off the ship. We never had any liberty and such. So I know noth—nothing about the Pacific Ocean, other—other than being aboard a ship. We did hit Pearl Harbor[, Hawaii] before—on the way up there—that area. We had about three days in Pearl Harbor. and that was my only experience in Hawaii for a long time. But, uh, you know, you pull into a Navy base and you really have nothing to do. most of them are kind of isolated away from the normal public. We didn’t have the, uh—the glory of—the liberty, so to speak. We got four hours off. Didn’t have enough time to run into town, grab a couple of beers, hopefully get lucky and get a woman, and back to the ship [laughs]. Garcia [laughs]. And, um… Boffi [coughs]. Garcia What—What was it like when you left the Navy—like, coming home? Boffi Well, I—I went to work for the power company. I—I wanted to—see, I used to work in jewelry—jewelry manufacturing, when I was in high school. After I got out of high school, and I told my wife—said, “I’m—I’m going to go into something that was going to be a career, like…” So I—I went to the power company, and after I got into trouble with that union, they run me off. So I got an insurance job as an engineer. And I inspected elevators and boilers, held safety meetings. Then I, um—April 1st, 1970, when the OSHA [Occupational Safety and Health Act] law came into being, it was signed by the President<a title="">[6]</a> as the—a law of the land. And I went to, uh, what is now the University of Southern Florida<a title="">[7]</a> and took a two day exam—two eight hour exams—for, uh, my—they call it Certi—CSP—Certified Safety Professional. And, um, I passed that, so they gave me the designation. That’s what I was when I retired—a Certified Safety Professional. When I was, uh, working for the insurance company, I—I did the service for a lot of power utilities and inspected elevators in a lot of buildings. My territory included Puerto Rico, the [U.S.] Virgin Islands, and [the] Bahamas. It was a tough territory to—to take care of. And, Uh, Every other month, my wife would go with me and go on the beach, where we would get the hotel in San Juan[, Puerto Rico]. I’d go do my job, and then we would fly over to Saint Thomas[, U.S. Virgin Islands] and Saint Croix[, U.S. Virgin Islands]. I—I really enjoyed it. I—I—I did 50 years in the insurance industry. The, um—I retired March 1st of ’84, and then I re—they called me back. And then I retired again in—in 2001, I think it was. In 2006, they forced me to retire. They said I was too old at 84 years old to be inspecting boilers and elevators and all that kind of stuff, so I finally decided [inaudible]. Garcia And, Um, Were you awarded any medals or citations? [inaudible]… Boffi I have a Purple Heart for my injuries, and I’ve got, uh, three battle stars for the Mediterranean, three warzones, and three battles. And I’ve got, um, one battle for the, uh, Pacific. Other than that, uh, no high rating. Um, medals or anything. Garcia Um,What values or characteristics of the Navy do you believe made an impression on—on your life? Boffi I think the camaraderie. There’s something about the Navy that the Army and the Marines never had. Uh, Like Mark, anybody would do anything for anyone else, if they were Navy. And I’m not sure that was true in the Army or the Marine Corps. My son became a Marine. He was in, uh, six years during the Vietnam [War] era. And, uh, I didn’t notice the camaraderie with them as I did in the Navy. And to this day, like I said, I go to NAWC every single day. They say I’m there more than people who get paid to be there. They don’t even show up and I’m there every morning. Garcia And What was the most valuable lesson that you learned during your time? Boffi I’m sorry? Garcia What was the most valuable lesson you learned during your time in the Navy? Boffi Well, I think that you treat everybody that you would want to be treated, for one thing. The only thing that used to really bother me and still does to this day is these ethnic groups that come [inaudible]—the— immigrants—they come over here and they want us to change to be whatever they are, you know? The Hispanics or Chinese or—I mean, when you come over here, be an American. I can still hear my dad when I was a youngster, he kept saying this great… Boffi And he, uh—to this day, I have arguments with some of these people. I am not an Italian. I’m of Italian heritage, but I was born in this country and I’m an American. I fought in several wars—battles—for the Americans. And I’d—I’d do it again if I had to, if that were necessary [clears throat]. Garcia And What do you think former Navy personnel would like to see or be reminded of when they visit—revisit the site of the base<a title="">[8]</a> and the Lone Sailor Project Memorial? Boffi What do I think of the—I think it’s going to bring back a lot of memories of a lot of people. I—I just—befriended—well, ,I’ve been friends with him for about a year and a half at the Moose Club. I didn’t know he was a photographer in the Army. And then, when he go out of the Army, he took all the photographs to the Navy base, where Mark graduated from, and he took all the shots over the Cape [Canaveral]. He went for the Cape. So, uh, that was kind of interesting. He’s telling—he was telling Mark and myself about, um, incidents that had happened there before. And, uh, he’s going to be one of our guests at the next Navy League luncheon, I think. He can tell us some of the things that are interesting. Me[sic] and Mark were talking about those days. I had no idea that there was a boot camp here. I lived up in, um, Miami since ’66, and never had an idea that there was a boot camp in Florida. So That was kind of a shock to me that I got up here and found out there was a boot camp there. I probably would have come up every weekend and go there and visit. I—I would have befriended—I would have taken the, uh, transfer—my company travels insurance wanted transferred me up here in, uh, ’69, I think it was. and I refused it. I wanted to stay around the Miami area, but, uh, if I would have known there was a boot camp up there in the Navy, um, influence, I think I would have—would have transferred. Garcia Is there anything else you would like to share about your Navy experience? Boffi It’s really helped me a lot, both psychologically and physically. I see they treat people here at NAWC. They really respect me. They show me a lot of respect. They all treat me as though I’m family. Officers, business people, and whatever. I’m just part of their big family and I enjoy it. That’s why I go every day. Garcia Thank you, Mr. Boffi. Boffi Thank you very much, and good luck in your ventures. <div> <div> <a title="">[1]</a> Boffi and his wife. </div> <div> <a title="">[2]</a> Vatican Necropolis. </div> <div> <a title="">[3]</a> Correction: Purple Heart Foundation. </div> <div> <a title="">[4]</a> Northern Mariana Islands. </div> <div> <a title="">[5]</a> Battle of Okinawa, codenamed Operation Iceberg. </div> <div> <a title="">[6]</a> Richard Milhous Nixon. </div> <div> <a title="">[7]</a> Correction: University of South Florida. </div> <div> <a title="">[8]</a> Naval Training Center (NTC) Orlando. </div> </div> Allied Invasion of Sicily Anzio Beach, Italy Arabs Attack of Pearl Harbor Battle of Anzio Battle of Okinawa battle stars Bill Suey boot camps Boston, Massachusetts camaraderie catacombs Cavinar Certified Safety Professional Coeur d'Alene, Idaho construction Cranston, Rhode Island CSP decoys destroyers Don Hackler Doug Aiken drafts engineering engineers FDR Fort Lewis Frank V. Boffi Franklin D. Roosevelt Franklin Delano Rooosevelt Frontline of Anzio and Nettuno Great Depression hammocks health care hospitals immigrants immigration insurance Islam Italian Americans Italian Campaign Italy jack stands Kamikazes Lone Sailor Memorial Project Luis Santana Garcia machinists Marc Ennis Mark Barnes Mediterranean Seas mental health Moose Club Muslims Naval Air Warfare Center Naval Air Warfare Center Training Systems Division Naval Training Center Orlando Navy League NAWC NAWCTSD New Deal Newport, Rhode Island North Africa NTC Orlando Occupational Safety and Health Act OCS Officer Candidate School Okinawa, Japan Operation Husky Operation Iceberg Operation Shingle Oran, Algeria orlando OSHA Pacific Theater Purple Heart Foundation Purple Hearts retirement San Francisco, California San Pedro, California screening skeleton crews Speedo Sun Valley, Idaho Tears of a Warrior: A Family's Story of Combat and Living with PTSD Tinian, Northern Mariana Islands training Trigger U.S. Navy UCF UCF Community Veterans History Project UCF CVHP University of Central Florida University of South Florida USF USS Bernadou USS Brownson USS Fiske USS Hugh W. Hadley VA Vatican Vatican City Vatican Necropolis veterans Veterans Administration wars Works Progress Administration World War II WPA WWII https://richesmi.cah.ucf.edu/omeka/files/original/db8499f69427f554f541ea14a806542e.jpg 02e6c14a523a937db5322d34a6bd686f https://richesmi.cah.ucf.edu/omeka/files/original/455d1289bffaa4f7ae0c6316b7b7d2e0.jpg a25da1c1b08e65daa80d3c166a0201a7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Patricia Black Collection Alternative Title Black Collection Subject Sanford (Fla.) Migrant workers Agricultural laborers--Florida Migration, Internal--United States Farm laborers Upstate New York (N.Y.) Chase and Company (Sanford, Fla.) Madison (Fla.) Houses and homes Rochester (N.Y.) Description Collection of photographs and ephemera donated by <a title="Photo of Patricia Black" href="http://s2.postimg.org/4mpxwg2u1/P3212376.jpg">Patricia Ann Black</a> (1956- ), the daughter of Pilgrim Black (1905-2002) and Lula Mae Haynes Black (1917-2007). Pilgrim was born in 1905, although some records list 1907 as his birth year. Pilgrim and Lula were migrant crew leaders, and thus migrated to Upstate New York in the summers and back to their home in Sanford, Florida, for the rest of the year. Pilgrim was the son of Harry Black (d. 1911) and Maggie Benjamin Black (ca. 1870-ca. 1934), who migrated to Sanford from South Carolina in the 1800s. Harry and Maggie had several children: Leckward Black, Mustar Black, Malachi Black, Leatha Black Walker (1889-1976), Pilgrim Black, Margaret Black Jones (1889-1976), and Harriett Black Lawson. In 1911, Harry owned a grocery store at 206 South Sanford Avenue. One day, he came home from work with pneumonia and passed away shortly thereafter. Pilgrim was nine years old when his father passed away. Maggie was the daughter of former slaves, Isaac Benjamin and Roseanna Benjamin, and the sister of Nathan Benjamin, Pledge Benjamin, Sam Benjamin, Louis Benjamin, Chainey Benjamin, Lara Benjamin, Melvina Benjamin, and Katie Benjamin. Pilgrim had to quit school at age 11 in order to provide for his mother, originally working in a mill house until he was 18 years old. After declining a management position, he traveled to Wayne County in Upstate New York to pick cherries, apples, pears, and other crops. He broke a bone after falling from an apple tree his first year and decided to try farm labor on a potato farm in Red Creek instead. Don Holdridge, the farmer who owned the land, noted Pilgrim's high rate of productivity and offered him a management position supervising up to 30 workers at once, which he accepted. Pilgrim also worked as a foreman in Sanford for Chase & Company for over 30 years. He married Lula in 1937 and they had several children together, including Vivian Louise Black (1940-), Lula Yvonne Black (1942-), Charles Samuel Black (1945-), Pilgrim Black, Jr. (ca.1947-), and Patricia. Patricia was born August 31, 1956, and grew up at the end of East Tenth Street in Sanford, Florida. She attended Hopper Elementary through sixth grade, Lakeview Middle School for seventh grade, Sanford Junior High School for eighth grade, Crooms High School for ninth grade, and Seminole High School through twelfth grade. She also attended school in the North Rose-Wolcott district each year while in New York. During fourth grade, integration began and parents were given the choice to have their children to attend other schools, but Patricia chose to continue attending an all-black school until she entered seventh grade in 1968 and began attending integrated schools. In June 1973, Patricia married her first husband, Clint Holt (1955- ); however, the couple quickly separated due to domestic violence and divorced around 1977. Patricia gave birth to her first child, Charmion Le'Antwinetta Holt in 1974. She also had three other children with William Bigham, Jr. (1952- ), who she was married to for 33 years: William Arthur Bigham III (1982- ), Brandon Oliver Black (1990- ), and Tempestt Teonte’ Black (1992- ). She lives in the family home built by her grandmother, Maggie Benjamin Black on East Tenth Street in Sanford. Patricia endured weekly molestation for 11n years from age six to age 17, and was raped at age seventeen while pregnant with Charmion. At age 29, Patricia became severely addicted to smoking cocaine. After seven years, Patricia was able to overcome her addiction and has maintained her sobriety for 21 years. Despite her traumatic experiences, Patricia has developed a devout relationship with God. While in recovery, Patricia refocused her attention on spreading her ministry of love by becoming a foster parent, serving as the Parent Representative of the Committee for Special Education (CSE), and serving on her local school board in the North Rose-Wolcott school district. Patricia also has owned her own business making incense and importing shea butter from Africa. She also became a licensed nail technician specializing in stress-relieving pedicures. As of 2009, Patricia is retired but still maintains some involvement in her business/ministry named GIFTED. Contributor Black, Patricia Ann Language eng Type Collection Coverage Madison, Florida Sanford, Florida Rochester, New York Wayne County, New York Wolcott, New York Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank">RICHES of Central Florida</a>. Source Repository Private Collection of Patricia Ann Black External Reference Coles, Robert. <a href="http://www.worldcat.org/oclc/67637" target="_blank">Uprooted Children; The Early Life of Migrant Farm Workers</a>. [Pittsburgh]: University of Pittsburgh Press, 1970. Piore, Michael J. <a href="http://www.worldcat.org/oclc/4497409" target="_blank">Birds of Passage: Migrant Labor and Industrial Societies</a> Cambridge: Cambridge University Press, 1979. Flewellyn, Valada S. <a href="http://www.worldcat.org/oclc/4497409" target="_blank">African Americans of Sanford</a>. Charleston, SC: Arcadia Pub, 2009. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 original color digital image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Patricia Ann Black with the Georgetown Pathways to History Project Heritage Marker #3 Alternative Title Georgetown Heritage Marker #3 Subject Sanford (Fla.) Georgetown (Sanford, Fla.) African Americans--Florida--Sanford Historical markers--Florida Description Patricia Ann Black next to the Heritage Marker #3 of the Georgetown Pathways to History Project, which was developed by the Georgetown Heritage Advisory Committee with assistance from the Sanford Museum and Sanford Historical Society. Georgetown was established by the city's founder, Henry Shelton Sanford, as a suburb for African-American residents in the 1870s. The neighborhood spans along Sanford Avenue, with its commercial district between First Street and Fifth Street and its historic district between Seventh Street and Tenth Street. Though originally much smaller, Georgetown spanned to its present boundaries from East Second Street to Celery Avenue and from Sanford Avenue to Mellonville Avenue. Georgetown thrived at its height from circa 1880 to 1940, particularly in agriculture and transportation. Black was the daughter of Pilgrim Black (1905-2002) and Lula Mae Haynes Black (1917-2007), who got married in 1937. Patricia was born August 31, 1956, and grew up at the end of East Tenth Street in Sanford, Florida. She attended Hopper Elementary through sixth grade, Lakeview Middle School for seventh grade, Sanford Junior High School for eighth grade, Crooms High School for ninth grade, and Seminole High School through twelfth grade. She also attended school in the North Rose-Wolcott district each year while in Upsstate New York. During fourth grade, integration began and parents were given the choice to have their children to attend other schools, but Patricia chose to continue attending an all-black school until she entered seventh grade in 1968 and began attending integrated schools. In June 1973, Patricia married her first husband, Clint Holt (1955-); however, the couple quickly separated due to domestic violence and divorced around 1977. Patricia gave birth to her first child, Charmion Le'Antwinetta Holt (1974- ). She also had three other children with William Bigham Jr. (1952- ), who she was married to for 33 years: William Arthur Bigham III (1982- ), Brandon Oliver Black (1990- ), and Tempestt Teonte' Black (1992- ). Patricia currently lives in the family home built by her grandmother, Maggie Benjamin Black (ca.1870-ca.1934) on East Tenth Street in Sanford. Patricia endured weekly molestation for 11 years from age six to age seventeen and was raped at age seventeen while pregnant with Charmion. At age 29, Patricia became severely addicted to smoking cocaine. After seven years, Patricia was able to overcome her addiction and has maintained her sobriety for 21 years. She has suffered severe mental and physical damage and is still recovering today. Despite her traumatic experiences and sibling rejections, Patricia has developed a devout relationship with God. While in recovery, Patricia refocused her attention on spreading her ministry of love by becoming a foster parent, serving as the Parent Representative of the Committee for Special Education (CSE), and serving on her local school board in the North Rose-Wolcott school district. Patricia also has owned her own <a href="http://204.8.125.98/" target="_blank">business</a> making incense and importing shea butter from Africa. She also became a licensed nail technician specializing in stress-relieving pedicures. As of 2009, Patricia is retired but still maintains some involvement in her business/ministry named GIFTED. Creator Holt, Charmion Le'Antwinetta Source Original color digital images by Charmion Le'Antwinetta Holt, November 20, 2014. Date Created 2014-11-20 Contributor Black, Patricia Ann Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/72" target="_blank">Patricia Black Collection</a>, RICHES of Central Florida. Format image/jpg Extent 1.09 MB 1.25 MB Medium 2 color digital images Language eng Type Still Image Coverage Georgetown, Sanford, Florida Accrual Policy Donation Mediator History Teacher Provenance Originally created by Charmion Le'Antwinetta Holt. Rights Holder Copyright to this resource is held by Charmion Le'Antwinetta Holt and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Patricia Ann Black External Reference "<a href="http://www.sanfordfl.gov/index.aspx?page=20&recordid=3760" target="_blank">Sanford Avenue Streetscape Completion and Unveiling of Heritage Markers</a>." Department of Recereation, City of Sanford Government. http://www.sanfordfl.gov/index.aspx?page=20&recordid=3760. Delinski, Rachel. "<a href="http://mysanfordherald.com/view/full_story/26115431/article-City-to-celebrate-completion-of-Sanford-Avenue?instance=home_news_bullets" target="_blank">City to celebrate completion of Sanford Avenue</a>." The Sanford Herald, November 17, 2014. http://mysanfordherald.com/view/full_story/26115431/article-City-to-celebrate-completion-of-Sanford-Avenue?instance=home_news_bullets. Carroquino, Carmen. "<a href="http://www.myfoxorlando.com/story/26308142/sanford-avenue-reopens-after-29-million-makeover" target="_blank">Sanford Avenue reopens after $2.9 million makeover</a>." MyFox.Orlando.com, August 18, 2014. http://www.myfoxorlando.com/story/26308142/sanford-avenue-reopens-after-29-million-makeover. Flewellyn, Valada S. <a href="http://www.worldcat.org/oclc/4497409" target="_blank">African Americans of Sanford</a>. Charleston, SC: Arcadia Pub, 2009. "<a href="http://www.sanfordfl.gov/index.aspx?page=483" target="_blank">Pathways to History - Historic Georgetown</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=483. 1st Street African Americans Charmion Le'Antwinetta Holt Georgetown Georgetown Pathways to History Project Historic Markers Historic Sanford Welcome Center Palmetto Avenue Patricia Ann Bigham Patricia Ann Black Paulucci Park Sanford Sanford Avenue Sanford Avenue Streetscape https://richesmi.cah.ucf.edu/omeka/files/original/a2a4f236eb164a56451127f626500c1b.jpg 53e280b37946323fc3dd97b53c98b8a8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Bob Seger System Ticket Stub Alternative Title Bob Seger Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Soul music--United States Description A ticket stub for a concert featuring the Bob Seger System at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. A member of the Rock and Roll Hall of Fame, Bob Seger is an American rock musician from Michigan who has been performing since the 1960s and is known for his gruff, powerful voice. Some of his hits include "Old Time Rock and Roll," "Night Moves," "Turn the Page," "Like a Rock," and "Against the Wind." The concert took place on Saturday, December 19, 1970, at 8 PM and cost $3. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Contributor Knickerbocker, Carl Date Created ca. 1970-12-19 Format image/jpg Extent 98.6 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Weschler, Tom, and Gary Graff. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">Travelin' Man On the Road and Behind the Scenes with Bob Seger</a>. Detroit, Mich: Wayne State University Press, 2009. Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. blue-eye soul Bob Seger Bob Seger System Carl Knickerbocker concerts Econ River Estates Econlockhatchee Trail Eddie Graham Sports Complex hard rock heartland rock indoor arenas music orlando Orlando Sports Stadium pop rock Robert Clark Seger rock music roots rock soul music sports stadiums https://richesmi.cah.ucf.edu/omeka/files/original/101531e3f47bca516b9b6ae6a1ed79c7.jpg 37422796275cc7c428e3584223034471 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Cactus, Bloodrock, Potliquor, Dr. John, and Heaven Ticket Stub Alternative Title Cactus, Bloodrock, Potliquor, Dr. John & Heaven Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Blues (Music)--United States Jazz--United States Funk (Music)--United States Description A ticket stub for a concert featuring Cactus, Bloodrock, Potliquor, Dr. John (b. 1940), and Heaven at the Tangerine Bowl, located at 1610 West Church Street in Downtown Orlando, Florida, on April 1, 1972. The ticket was $4 and the show began at 1 p.m. The Tangerine Bowl has been also known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. Cactus is an American hard rock and blues band formed in 1969 in New York. They were known as "the American Led Zeppelin." Bloodrock was an American hard rock and blues band from Fort Worth, Texas, that enjoyed considerable success from 1969 to 1975. Potliquor was a Southern Rock band from Baton Rouge, Louisiana, that formed in 1969 and disbanded in 1979. Dr. John, the stage name of Malcolm John "Mac" Rebennack, is an American multi-instrumentalist wh.ose music blended New Orleans blues, jazz, rock, and R&B Heaven was a British jazz-influenced rock band that formed in 1968 and disbanded shortly after the release of their 1971 album. Type Text Source Original ticket stub: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Tangerine Bowl, Orlando, Florida Contributor Knickerbocker, Carl Date Created ca. 1972-04-01 Format image/jpg Extent 133 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Aswell, Tom. <a href="http://www.worldcat.org/oclc/317927942" target="_blank">Louisiana Rocks!: The True Genesis of Rock & Roll</a>. Gretna, La: Pelican Pub. Co, 2010. John, and Jack Rummel. <a href="http://www.worldcat.org/oclc/29428815" target="_blank">Under a Hoodoo Moon: The Life of Dr. John the Night Tripper</a>. New York: St. Martin's Press, 1994. American Led Zeppelin blues blues rock boogie rock Cactus Capital One Bowl Carl Knickerbocker Carmen Appice Citrus Bowl concert concert tour concerts Downtown Orlando Dr. John Dr. John Creaux Dr. John the Night Tripper Florida Citrus Bowl funk hard rock Heaven heavy metal jazz Mac Rebennack Malcolm John Rebennack metal music New Orleans blues New Orleans R&B orlando Orlando Citrus Bowl Stadium Orlando Stadium Potliquor progressive rock psychedelic rock R&B Rebennack, Mac rhythm & blues rock rock & roll rock music sports stadium Tangerine Bowl Tim Bogert zydeco https://richesmi.cah.ucf.edu/omeka/files/original/b883ba6d0e6c490184a6264c2fdd591a.jpg 73538b831234cc6e8344d2c0063f7879 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jethro Tull Ticket Stub Alternative Title Jethro Tull Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Jethro Tull at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex in Orlando, Florida. Jethro Tull was a British progressive rock group that was active from 1967 to 2001 and led by flautist/vocalist/guitarist Ian Anderson (b. 1947). The concert took place on July 7, 1971, at 8 PM and cost $4. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket stub: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Publisher Globe Ticket Company Contributor Knickerbocker, Carl Date Created ca. 1971-07-07 Format image/jpg Extent 90.1 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. Nollen, Scott Allen. <a href="http://www.worldcat.org/oclc/48065335" target="_blank">Jethro Tull: A History of the Band, 1968-2001</a>. Jefferson, N.C.: McFarland, 2002. blues rock British music British rock Carl Knickerbocker concert tour concerts demolished building Econ River Estates Eddie Graham Sports Complex flautists folk rock Globe Ticket Company hard rock Ian Anderson Jethro Tull music orlando Orlando Sports Stadium progressive rock rock rock bands rock concert rock music sports arenas sports stadium https://richesmi.cah.ucf.edu/omeka/files/original/37c436d26add8bdfd0996d1d30cb7727.jpg 99b8dd389044e833be9d6a826ece1608 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Leo Kottke Ticket Stub Alternative Title Leo Kottke Ticket Subject Orlando (Fla.) Music--United States Folk music--United States Description A ticket stub for concert featuring Leo Kottke (b. 1945) at the Great Southern Music Hall, located at 46 North Orange Avenue in Downtown Orlando, Florida, on August 16, 1979. The ticket was $6.50 and the show began at 8 p.m. Leo Kottke is an innovative acoustic guitar virtuoso from Athens, Georgia, debuting his first album of folk music in 1969. An American folk artist, Kottke's music also blends elements of blues and jazz. The Great Southern Music Hall, which changed its name to the Beacham Theater after renovations in 1976, was a music venue located in Downtown Orlando, Florida. The theater originally opened in 1921 as a vaudeville and movie theater. Type Text Source Original ticket stub: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Great Southern Music Hall, Orlando, Florida Contributor Knickerbocker, Carl Date Created ca. 1979-08-16 Format image/jpg Extent 239 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Stropes, John, and Peter Lang. <a href="http://www.worldcat.org/oclc/9466082" target="_blank">20th Century Masters of Finger-Style Guitar</a>. Milwaukee, Wis: Stropes Editions, 1982. acoustic guitarists acoustic music American primitivism Beacham Theater Carl Knickerbocker concerts Downtown Orlando folk music Great Southern Music Hall Leo Kottke music musicians orlando The Beacham https://richesmi.cah.ucf.edu/omeka/files/original/97081d2dd256288de8d6628156292b15.jpg 135fe7e1e67b3a7cad1f4d66a8c4c4eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Edgar Winter Ticket Stub Alternative Title Edgar Winter Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Soul music--United States Pop music Description A ticket stub for a concert featuring Edgar Winter (b. 1946) at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. Edgar Winter is multi-instrumentalist American musician whose music encompasses many genres, including rock, blues, jazz, soul, and pop. The concert took place on Saturday, April 3, 1971, at 8:00 p.m. and cost $3.50. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket stub: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Publisher Quick Tick International Contributor Knickerbocker, Carl Date Created ca. 1971-04-03 Format image/jpg Extent 124 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Klosterman, Chuck. "<a href="http://grantland.com/features/frankenstein-monster/" target="_blank">Frankenstein'ss Monster: A second-by-second analysis of Edgar Winter's finest nine minutes</a>.” Grantland (blog). ESPN, August 8, 2011. http://grantland.com/features/frankenstein-monster/. Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. blue-eyed soul blues music blues rock boogie rock Carl Knickerbocker concerts Econ River Estates Eddie Graham Sports Complex Edgar Holland Winter indoor arenas jazz jazz fusion multi-instrumentalists music musicians orlando Orlando Sports Stadium pop music rock music soul music sports stadiums Tin House https://richesmi.cah.ucf.edu/omeka/files/original/c62e08fbeca322c6009edefc18224268.jpg fecc1e4b24780180f09a205baf02a8a8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Philip Glass Ensemble Ticket Stub Alternative Title Philip Glass Ensemble Ticket Subject Maitland (Fla.) Music--United States Description A ticket stub for a concert featuring The Philip Glass Ensemble at the Enzian Theater, located at 1300 South Orlando Avenue in Maitland, Florida, on April 10, 1985. Ticket prices were $15 in advance and $20 at the door. The Philip Glass Ensemble was founded by prolific experimental minimalist composer Philip Glass (b. 1937) in 1968. Aside from the Philip Glass Ensemble, Glass has written operas, symphonies, musical theatre, concertos, and Academy Award-nominated film scores. The concert took place at the Enzian Theater, a non-profit art house theater. Type Text Source Original ticket stub: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Enzian Theater, Maitland, Florida Contributor Knickerbocker, Carl Date Created ca. 1985-04-10 Format image/jpg Extent 178 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Fink, Robert Wallace. <a href="http://www.worldcat.org/oclc/61730530" target="_blank">Repeating Ourselves American Minimal Music As Cultural Practice</a>. Berkeley: University of California Press, 2005. amplified woodwinds arthouse movie theaters Carl Knickerbocker chamber music classical music composers concerts Enzian Theater experimental music keyboard synthesizers Maitland minimal art minimal music minimalism music opera PGE Philip Glass Ensemble Philip Morris Glass solo soprano solo sopranos ticket stub https://richesmi.cah.ucf.edu/omeka/files/original/2da820aaec4bd16d09ebb31f3000902c.jpg 1adbcabc3df43b4de771399cc8ba27e3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rolling Stones Ticket Stub Alternative Title Rolling Stones Ticket Subject Orlando (Fla.) Music--United States Blues (Music)--United States Rock music--United States Description A ticket stub for a concert featuring The Rolling Stones at the Tangerine Bowl, located at 1610 West Church Street in Downtown Orlando, Florida, on October 25, 1981. The ticket was $15.60, including tax, and the show began at noon, with the doors opening at 9 a.m. with Van Halen as the opening act. The concert was promoted by Cellar Door Productions and Beach Club Productions. The Tangerine Bowl has been also known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Rolling Stones is a British rock and blues band formed in 1962 that has become one of the most successful musical acts of all time. The band enjoyed the height of their commercial and critical success during the 1960s and 1970s. The Rolling Stones 1981 Tour was the first time a band had a corporate sponsorship, allowing Jōvan Musk to pay them "several million dollars" to sponsor the tour without the band having to officially endorse the company. The band explained that "selling out" to corporate sponsors would help keep ticket prices down. The average ticket price was $16 and the tour grossed $50 million in tickets sales, the highest of any tour in 1981. This would be the last time the band toured the United States until 1989. Type Text Source Original ticket stub: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Tangerine Bowl, Orlando, Florida Contributor Knickerbocker, Carl Date Created ca. 1981-10-25 Format image/jpg Extent 338 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Booth, Stanley. <a href="http://www.worldcat.org/oclc/586148170" target="_blank">The True Adventures of the Rolling Stones</a>. Chicago, IL: A Capella, 2000. Kozak, Roman. "<a href="https://books.google.com/books?id=GyQEAAAAMBAJ&lpg=PT16&ots=KARA7FrBII&dq=jovan%20presentation%20rolling%20stones&pg=PT16#v=onepage&q=jovan%20presentation%20rolling%20stones&f=false" target="_blank">Rockbill Ties Music Acts With Advertisers</a>." Billboard Newspaper (October 17, 1981): 6, 17. Loder, Kurt and Steven Pond. "<a href="http://www.rollingstone.com/music/news/stones-tour-pays-off-19820121" target="_blank">Stones Tour Pays Off</a>." Rolling Stone 361 (January 21, 1982). http://www.rollingstone.com/music/news/stones-tour-pays-off-19820121 (accessed February 17, 2015). Galbraith, Gary. "<a href="http://rocksoff.org/1981.htm" target="_blank">1981 American Tour 1981 (Still Life) Part 1: 14th September to 26th October</a>." The "Rocks Off" Rolling Stones Setlists Page. http://rocksoff.org/1981.htm (accessed February 17, 2015). Alex Van Halen Alexander Arthur Van Halen Beach Club Beach Club Productions Bill Grahamal Bill Wyman blues blues rock British rock Capital One Bowl Carl Knickerbocker Cellar Door Cellar Door Productions Charles Robert Wood Charlies Wood Citrus Bowl concerts David Lee Roth Downtown Orlando Eddie Van Halen Edward Lodewijk Van Halen Florida Citrus Bowl glam metal hard rock heavy metal Jovan Musk Jovan, Inc. Keith Richards metal Michael Anthony Sobolewski Michael Philip Jagger Mick Jagger music orlando Orlando Citrus Bowl Stadium Orlando Stadium R&B rhythm and blues rock & roll Rolling Stones Rolling Stones American Tour Ronald David Wood Ronnie Wood sports stadium stadium Tangerine Bowl The Rolling Stones The Stones Van Halen William George Perkas Wolfgang William Van Halen https://richesmi.cah.ucf.edu/omeka/files/original/bf6eca40e851447251121f2b743150a4.jpg 5d0894a7ced9c489cf1ba9fae88cc3bf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Steppenwolf Ticket Stub Alternative Title Steppenwolf Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Steppenwolf at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. Steppenwolf is a Canadian-American rock group that enjoyed worldwide success in the late 1960s and early 1970s, coining the term "heavy metal." Their Top 10 songs include "Born to Be Wild," "Magic Carpet Ride," and "Rock Me." The concert took place on November 14, 1970, at 8 p.m. and cost $4. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket stub: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Publisher Globe Ticket Company Contributor Knickerbocker, Carl Date Created ca. 1970-11-14 Format image/jpg Extent 42.2 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Kay, John, and John Einarson. <a href="http://www.worldcat.org/oclc/30975237" target="_blank">Magic Carpet Ride: The Autobiography of John Kay and Steppenwolf</a>. Kingston, Ont: Quarry Press, 1994. Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. Canadian rock Carl Knickerbocker concerts Econ River Estates Eddie Graham Sports Complex Gerald McCrohan Globe Ticket Company hard rock heavy metal indoor arenas Jerry Edmonton Joachim Fritz Krauledat John Kay metal music orlando Orlando Sports Stadium psychedelic rock rock rock music sports stadiums Steppenwolf The Sparrows https://richesmi.cah.ucf.edu/omeka/files/original/1dff01512ae3cd729183c289e821558c.jpg 8a11c5565c22ba74cefc31b112807dbe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title The Who Ticket Stub Alternative Title The Who Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring The Who at the Tangerine Bowl, located at 1610 West Church Street in Downtown Orlando, Florida, on November 27, 1982. The ticket was $15.75, including tax, and the show began at 3 p.m., with the gates opening at noon. The opening acts were Joan Jett (b. 1958) and the Black Hearts and the B-52's. The ticket warns concert goers, "DO NOT ARRIVE EARLY." The Tangerine Bowl has been also known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Who is an English rock band that are considered to be one of the greatest musical influences in rock music of the 20th century. Formed in 1964, they have gone on to sell over 100 million albums and continue to be one of the highest grossing touring bands of all time. Although The Who have since reunited several times, the band announced that this 1982 tour would be their final. The Orlando show was the first of the band's second North American leg, after a four week break. Type Text Source Original ticket stub for the Who at the Tangerine Bowl: Private Collection of Carl Knickerbocker. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub for the Who at the Tangerine Bowl. Coverage Tangerine Bowl, Orlando, Florida Contributor Knickerbocker, Carl Date Created ca. 1982-11-27 Format image/jpg Extent 199 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Carl Knickerbocker and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Carl Knickerbocker External Reference Marsh, Dave. <a href="http://www.worldcat.org/oclc/9555496" target="_blank">Before I Get Old: The Story of the Who</a>. New York: St. Martin's Press, 1983. Grantley, Steve, Alan G. Parker, and Sean Body. <a href="http://www.worldcat.org/oclc/660635450" target="_blank">The Who by Numbers: The Story of The Who Through Their Music</a>. London: Helter Skelter Pub, 2010. "<a href="http://www.thewholive.net/concert/index.php?id=493&GroupID=1" target="_blank">The Who Concert Guide</a>." The WhoLive.net. http://www.thewholive.net/concert/index.php?id=493& GroupID=1 (accessed February 17, 2015). alternative rock B-52's B-52s Beach Club Beach Club Productions British rock Capital One Bowl Carl Knickerbocker Citrus Bowl concert concerts corporate sponsorship Downtown Orlando Florida Citrus Bowl hard rock Joan Jett Joan Jett and the Black Hearts Joan Marie Larkin Kenneth Thomas Jones Kenney Jones music musicians new wave orlando Orlando Citrus Bowl Stadium Orlando Stadium Pete Townshend Peter Dennis Blanford Townshend pop music pop rock post-punk power pop punk rock rock music rockabilly Roger Daltrey Schlitz Schlitz malt liquor sports stadiums Tangerine Bowl https://richesmi.cah.ucf.edu/omeka/files/original/a00096a1c3cb0448505d20080843f988.jpg 94cb46f428a471260b9838feee95a268 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title The Eagles Ticket Stub Alternative Title The Eagles Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for Rock Super Bowl II, featuring the Eagles, Jimmy (b. 1946) & the Coral Reefer Band, Hall & Oates, and Andrew Gold (1951-2011), at the Tangerine Bowl in Orlando, Florida. The concert took place on July 3, 1977, and was presented by Beach Club Cellar Door. The ticket price was $10, including tax. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando, Florida. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1977-07-03 Date Issued ca. 1977-07-03 Format image/jpg Extent 139 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://rockshowvideos.com/rocksuperbowlshome.html" target="_blank">Rock Super Bowl II</a>." Orlando Rock Super Bowls. http://rockshowvideos.com/rocksuperbowlshome.html (accessed February 23, 2015). Andrew Gold Andrew Maurice Gold Beach Club Carl Knickerbocker Cellar Door Citrus Bowl concerts Daryl Franklin Hohl Daryl Hall Don Felder Don Henley Donald Hugh Henley Donald William Felder Florida Citrus Bowl Glenn Frey Glenn Lewis Frey Hall & Oates James William Buffett Jimmy Bufftt Joe Walsh John Oates John William Oates Joseph Fidler Walsh music festivals musicians orlando Orlando Citrus Bowl Stadium Orlando Stadium Randy Herman Meisner rock music Rock Super Bowl Rock Super Bowl II Tangerine Bowl The Coral Reefer Band The Eagles https://richesmi.cah.ucf.edu/omeka/files/original/4240f8046e2256f256491343b1e63dd9.jpg 9f8297a651b6c162a9aa9e86cb52ce55 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Bryan Adams Ticket Stub Alternative Title Bryan Adams Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Bryan Adams (b. 1959) at the Orange County Civic Center on May 25, 1985, at 8 p.m. The ticket price was $13.50, including tax. The concert was presented by Beaver Productions and the Beach Club. The Orange County Civic Center, also known as the Orange County Convention Center (OCCC) and the Orange County Convention and Civic Center (OCCCC) is located at 9800 International Drive in Orlando, Florida. Adams is a Grammy Award-winning Canadian singer-songwriter who has enjoyed over three decades of success. Selling over 100 million records, he is the best-selling Canadian rock artist of all time. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orange County Civic Center, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1985-05-25 Date Issued ca. 1985-05-25 Format image/jpg Extent 170 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Gregory, Hugh. <a href="http://www.worldcat.org/oclc/27975596" target="_blank">Bryan Adams: The Inside Story</a>. London: Boxtree, 1992. Adams, Bryan Guy Beach Club Beaver Productions Bryan Guy Adams Carl Knickerbocker concerts musicians OCCC OCCCC Orange County Convention and Civic Center Orange County Convention Center orlando rock music https://richesmi.cah.ucf.edu/omeka/files/original/56e317ba57220a1acdeafa741e80849c.jpg ee4c543046e49199ede472a85b4c2a0f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Kenny G Ticket Stub Alternative Title Kenny G Ticket Subject Orlando (Fla.) Jazz--United States Music--United States Description A ticket stub for a concert featuring Kenny G (b. 1956) at the Bob Carr Theater on November 23, 1987, at 8 p.m. The ticket price was $17.50, including tax, and the concert was presented by Fantasma and Villa Nova. The Bob Carr Theater has been a center for performing arts since 1926 and is located at 401 West Livingston Street in Orlando, Florida. Kenny G is an American soprano saxophonist who plays adult contemporary and smooth jazz music. He is the biggest-selling instrumental musician of the modern era, selling over 75 million records. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Bob Carr Theater, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1987-11-23 Date Issued ca. 1987-11-23 Format image/jpg Extent 147 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Yanow, Scott. "<a href="http://www.allmusic.com/artist/kenny-g-mn0000068934/biography" target="_blank">Kenny G Biography</a>." AllMusic.com. http://www.allmusic.com/artist/kenny-g-mn0000068934/biography (accessed February 23, 2015). adult contemporary music Bob Carr Theater Carl Knickerbocker concerts Fantasma jazz Kenneth Bruce Gorelick Kenny G Kenny Gorelick musicians orlando saxophonists smooth jazz soprano saxophones Villa Nova https://richesmi.cah.ucf.edu/omeka/files/original/05c6090914d28f0e15fb4bb003719cf7.jpg 68a6f12520c10fe566c45e753880c92d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jimmy Buffett and Steve Miller Ticket Stub Alternative Title Jimmy Buffett and Steve Miller Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Country music--United States Description A ticket stub for Rock Super Bowl V, featuring Jimmy Buffett (b. 1946) and The Coral Reefer Band, The Steve Miller Band, The Little River Band, Randy Meisner (b. 1946), and South Paw, at the Tangerine Bowl in Orlando, Florida. The concert took place on August 5, 1978, and was presented by the Beach Club. The ticket price was $10, including tax. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1978-08-05 Date Issued ca. 1978-08-05 Format image/jpg Extent 93.7 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Buffett, Jimmy. <a href="http://www.worldcat.org/oclc/38206991" target="_blank">A Pirate Looks at Fifty</a>. New York: Random House, 1998. "<a href="http://rockshowvideos.com/rocksuperbowlshome.html" target="_blank">Tangerine Bowl: Rock Superbowls, Orlando, Florida</a>." Orlando Rock Super Bowls. http://rockshowvideos.com/rocksuperbowlshome.html (accessed February 23, 2015). Vaughan, Andrew. <a href="http://www.worldcat.org/oclc/548555975" target="_blank">The Eagles: An American Band</a>. New York: Sterling, 2010. art rock Beach Club blues-rock Citrus Bowl concerts country music Florida Citrus Bowl Gulf and Western music James William Buffett Jimmy Buffett Little River Band LRB music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Randy Herman Meisner Rock Super Bowl Rock Super Bowl V soft rock South Paw Steve Miller Steven Haworth Miller surf music Tangerine Bowl The Coral Reefer Band The Steve Miller Band https://richesmi.cah.ucf.edu/omeka/files/original/63d1b57d756970633615f368e5a6dd37.jpg c71617ee00780a868d80fe22ad5ba496 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Bob Seger & The Silver Bullet Band Ticket Stub Alternative Title Bob Seger Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Soul music--United States Description A ticket stub for Rock Super Bowl V, featuring Jimmy Buffett (b. 1946) and The Coral Reefer Band, The Steve Miller Band, The Little River Band, Randy Meisner (b. 1946), and South Paw, at the Tangerine Bowl in Orlando, Florida. The concert took place on August 5, 1978, and was presented by the Beach Club. The ticket price was $10, including tax. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1977-07-02 Date Issued ca. 1977-07-02 Format image/jpg Extent 136 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Weschler, Tom, and Gary Graff. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">Travelin' Man On the Road and Behind the Scenes with Bob Seger</a>. Detroit, Mich: Wayne State University Press, 2009. "<a href="http://rockshowvideos.com/rocksuperbowlshome.html" target="_blank">Tangerine Bowl: Rock Superbowls, Orlando, Florida</a>." Orlando Rock Super Bowls. http://rockshowvideos.com/rocksuperbowlshome.html (accessed February 23, 2015). Gramm, Lou, and Scott Pitoniak. <a href="http://www.worldcat.org/oclc/815824935" target="_blank">Juke Box Hero: My Five Decades in Rock 'n' Roll</a>. Chicago, Ill.: Triumph Books LLC, 2013. arena rock Beach Club blue-eyed soul Bob Seger Bob Welch Citrus Bowl concerts country rock Florida Citrus Bowl Foreigner hard rock Head East heartland rock jazz music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Pablo Cruise pop music pop rock Robert Clark Seger Robert Lawrence Welch Rock Super Bowl Rock Super Bowl IV roots rock Seger, Robert "Bob" Clark soft rock soul music Tangerine Bowl The Silver Bullet Band Toby Beau https://richesmi.cah.ucf.edu/omeka/files/original/4e69c91e5091774a8bc345773e214099.jpg 6f7fe8de4f03caacdea0247ae6421998 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title The Outlaws Ticket Stub Alternative Title Outlaws Ticket Subject Orlando (Fla.) Music--Florida Rock music--United States Description A ticket stub for a concert featuring The Outlaws at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. The Outlaws is a rock and country band from Tampa, Florida, that had two hits in 1975 with their songs "Green Grass and High Tide" and "There Goes Another Love Song." This concert took place on December 29, 1977, at 8 p.m. The show was presented by the Beach Club. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1977-12-09 Date Issued ca. 1977-12-09 Format image/jpg Extent 159 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. Accessed February 16, 2015. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. Beach Club concerts country rock Econ River Estates Eddie Graham Sports Complex orlando Orlando Sports Stadium rock music Southern rock sports stadiums The Outlaws https://richesmi.cah.ucf.edu/omeka/files/original/4418c2a1e46ae209a48898bf1c24a080.jpg 5482634cddca25406edb5d99814f6d09 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Peter Frampton Ticket Stub Alternative Title Peter Frampton Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947), at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by the Beach Club. The ticket prices were between $8.50 and $12.50, including tax. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium and is currently known as Orlando Citrus Bowl Stadium. It opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1977-09-04 Date Issued ca. 1977-09-04 Format image/jpg Extent 57.8 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Clarke, Steve. <a href="http://www.worldcat.org/oclc/3522464" target="_blank">Peter Frampton: The Man Who Came Alive : a Fascinating Biography in Words, Interviews and Photographs</a>. H. Bunch Associates, 1977. "<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015). Muise, Dan. <a href="http://www.worldcat.org/oclc/49842572" target="_blank">Gallagher, Marriott, Derringer & Trower: Their Lives and Music</a>. Milwaukee, WI: Hal Leonard Corp, 2002. Beach Club blues blues rock Christian rock Citrus Bowl concerts Derringer, Rick Florida Citrus Bowl hard rock jazz fusion Kansas music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Peter Frampton Peter Kenneth Frampton pop music progressive rock Rick Derringer Ricky Dean Zehringer Rock Super Bowl Rock Super Bowl III soft rock Tangerine Bowl The J. Geils Band https://richesmi.cah.ucf.edu/omeka/files/original/94bae885629b37b305c6d512c8139b7b.jpg 4ca685e4d4dbf45764deec8849b2d538 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Nazareth Ticket Stub Alternative Title Nazareth Ticket Subject Music--United States Rock music--United States Description A ticket stub for a concert featuring Nazareth at Orlando Seminole Jai-Alai Fonton in Fern Park, Florida. The opening bands were Mahogany Rush and Sammy Hagar (b. 1947). The concert took place on February 24, 1978, and was presented by Albert Promotions and FM 107. The ticket price was $6.50. Orlando-Seminole Jai Alai Fronton was built in 1962 and hosted concerts, graduations, and events in addition to jai-alai matches, which remained popular through the mid-1980s, when its popularity began to decline. The building was re-branded Orlando Live Events (OLE) in 2014. It is located at 6405 South U.S. Route 17-92 in Fern Park. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Contributor Wahl, Julie Date Created ca. 1978-02-24 Date Issued ca. 1978-02-24 Format image/jpg Extent 58.4 Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Hagar, Sammy, and Joel Selvin. <a href="http://www.worldcat.org/oclc/641532203" target="_blank">Red: My Uncensored Life in Rock</a>. New York: !t Books, 2011. Erlewine, Stephen Thomas. "<a href="http://www.allmusic.com/artist/nazareth-mn0000377891/biography" target="_blank">Nazareth: Artist Biography</a>." AllMusic.com. http://www.allmusic.com/artist/nazareth-mn0000377891/biography (accessed February 24, 2015). Comas, Martin E. "<a href="http://articles.orlandosentinel.com/2013-10-20/news/os-orlando-jai-alai-fronton-events-20131020_1_orlando-jai-alai-francisco-elorriaga-national-jai-alai-association" target="_blank">As sport declines, Orlando Jai-Alai adds movies, other events</a>." The Orlando Sentinel. (October 20, 2013). Accessed February 24, 2015. http://articles.orlandosentinel.com/2013-10-20/news/os-orlando-jai-alai-fronton-events-20131020_1_orlando-jai-alai-francisco-elorriaga-national-jai-alai-association. Albert Promotions concerts Fern Park FM 107 funk rock hard rock heavy metal Mahogany Rush Nazareth orlando Orlando Jai-Alai Orlando Live Events Orlando-Seminole Jai Alai Fronton Orlando-Seminole Jai-Alai Fronton pop music pop rock psychedelic rock Sammy Hagar Samuel Roy Hagar https://richesmi.cah.ucf.edu/omeka/files/original/ce37612adebdc89f7fe355ba32534968.jpg 698ad155b5409869bd71abffe166564e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Steppenwolf Ticket Stub Alternative Title Steppenwolf Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Steppenwolf at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. The concert took place on New Year's Eve in 1977. The show was presented by TMT Productions and BJ Booking Agency. The opening bands were Somf City, Friends, and Cantamos Jazz Band, and the ticket price was $5. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1977-12-31 Date Issued ca. 1977-12-31 Format image/jpg Extent 71.5 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. Accessed February 16, 2015. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. BJ Booking Agency Canadian rock Cantamos Jazz Band concerts Econ River Estates Eddie Graham Sports Complex Friends hard rock heavy metal New Year's Eve orlando Orlando Sports Stadium psychedelic rock rock music Somf City Steppenwolf TMT Productions https://richesmi.cah.ucf.edu/omeka/files/original/f43523a5dd3f80fe303ff2141b03a1c9.jpg 40a709adb64456444db7c51dada91149 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Nazareth Tops Bill Alternative Title Nazareth Tops Bill Subject Music--United States Rock music--United States Description A newspaper clipping about a concert featuring Nazareth with Mahogany Rush and Sammy Hagar (b. 1947) at the Orlando-Seminole Jai Alai Fronton in Fern Park, Florida. The concert took place on February 24, 1978, and was presented by Albert Promotions and FM 107. The ticket price was $6.50. This clipping contains a photograph of the members of Nazareth, from left to right, bottom to top: Darrell Sweet (1947-1999), Manny Charlton (b. 1941), Dan McCafferty (b. 1946), and Pete Agnew (b. 1946). Orlando-Seminole Jai Alai Fronton was built in 1962 and hosted concerts, graduations and events in addition to jai-alai matches, which remained popular through the mid-1980s, when its popularity began to decline. The building was rebranded Orlando Live Events (OLE) in 2014. It is located at 6405 South U.S. Route 17-92 (U.S. 17-92) in Fern Park. Type Text Source Original newspaper article: "Nazareth tops bill." February 24, 1978: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original newspaper article: "Nazareth tops bill." February 24, 1978. Coverage Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Contributor Wahl, Julie Date Created ca. 1978-02-24 Date Issued ca. 1978-02-24 Format image/jpg Extent 113 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Comas, Martin E. "<a href="orlando-jai-alai-fronton-events-20131020_1_orlando-jai-alai-francisco-elorriaga-national-jai-alai-association" target="_blank">As sport declines, Orlando Jai-Alai adds movies, other events</a>." The Orlando Sentinel. (October 20, 2013). Accessed February 24, 2015. http://articles.orlandosentinel.com/2013-10-20/news/os-orlando-jai-alai-fronton-events-20131020_1_orlando-jai-alai-francisco-elorriaga-national-jai-alai-association. Agnew, Pete Albert Promotions Altamonte Mall Altamonte Springs concert concerts Dan Cafferty Darrell Anthony Sweet Darrell Sweet Fern Park FM 107 funk rock hard rock heavy metal Infinite Mushroom Mahogany Rush Manny Charlton Manual Charlton metal Nazareth OLE orlando Orlando Fashion Square Orlando Live Events Orlando-Seminole Jai-Alai Fronton Pete Agnew pop music pop rock psychedelic rock rock music Sammy Hagar Samuel Roy Hagar Southern Music Hall William Daniel McCafferty https://richesmi.cah.ucf.edu/omeka/files/original/d273dab13e1f7da21f885a8265c5b24d.jpg edb6450e66265152aacc45ea91275cb5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Frampton Alternative Title Frampton Subject Orlando (Fla.) Music--United States Rock music--United States Description A newspaper article about Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947) at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by the Beach Club. The ticket prices ranged between $8.50 and $12.50, including tax. This page is the continuation of an article on the front page. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. The stadium opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando. Type Text Source Original article: "Frampton - From 1-A." 1977: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original article: "Frampton - From 1-A." 1977. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created 1977 Date Issued 1977 Format image/jpg Extent 123 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015). Beach Club blues rock Citrus Bowl concerts Florida Citrus Bowl hard rock J. Geils Band Kansas music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Peter Frampton Peter Kenneth Frampton Plant City Rick Derringer rock music Rock Super Bowl Rock Super Bowl III soft rock T-bowl Tampa Tangerine Bowl https://richesmi.cah.ucf.edu/omeka/files/original/73e598a2908f9e7cd45ef5278ff492ba.jpg 351bc7626c0872d215793cc4fabef35f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Kansas to Play Sunday Alternative Title Kansas to Play Sunday Subject Orlando (Fla.) Music--United States Rock music--United States Description A newspaper article about Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947) at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by the Beach Club. The ticket prices ranged between $8.50 and $12.50, including tax. This clipping includes a photograph of the band members of Kansas: Steve Walsh (b. 1951), Phil Ehart (b. 1951), Rich Williams (b. 1950), Dave Hope (b. 1949), Kerry Livgren (b. 1949), Robby Steinhardt (b. 1950). From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. The stadium opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl is located at 1 Citrus Bowl Place in Orlando. Type Text Source Original article: "Kansas to play Sunday."1977: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original article: "Kansas to play Sunday." 1977. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created 1977 Date Issued 1977 Format image/jpg Extent 98.9 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015). Beach Club Carry On Wayward Son Citrus Bowl concert concerts Dave Hope Florida Citrus Bowl Infinite Mushroom J. Geils Band Kansas Kerry Allen Livgren Kerry Livgren Lakeland Lakeland Civic Center music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Peter Frampton Peter Kenneth Frampton Phil Ehart Philip W. Ehart progressive rock Rich Williams Richard Allen Williams Rick Derringer Robby Steinhardy Robert Eugene Steinhardt rock music Rock Super Bowl Rock Super Bowl III Steve Walsh Streep's Tangerine Bowl https://richesmi.cah.ucf.edu/omeka/files/original/d62117da05b0d23f614b22a815fcc9ca.jpg c6f0b9c4f0c1bb1755d29669ac83d746 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Next Sunday Alternative Title Next Sunday Subject Orlando (Fla.) Music--United States Rock music--United States Description A newspaper clipping about Rock Super Bowl III, featuring Peter Frampton (b. 1950), Kansas, The J. Geils Band, and Rick Derringer (b. 1947) at the Tangerine Bowl in Orlando, Florida. The concert took place on September 4, 1977, and was presented by Beach Club. The ticket prices ranged between $8.50 and $12.50, including tax. From 1977 to 1983 the Tangerine Bowl hosted a series of music festivals known as "Rock Super Bowls." The Tangerine Bowl has also been known as Orlando Stadium, the Citrus Bowl, Florida Citrus Bowl Stadium, and is currently known as Orlando Citrus Bowl Stadium. The stadium opened in 1936 and has been home to numerous sporting and entertainment events throughout its existence. The Tangerine Bowl was located at 1 Citrus Bowl Place in Orlando. Type Text Source Original article: "NEXT SUNDAY." 1977: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original article: "NEXT SUNDAY." 1977. Coverage Tangerine Bowl, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1977 Date Issued ca. 1977 Format image/jpg Extent 65.8 KB Medium 1 newspaper article Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.rockshowvideos.com/rocksuperbowl3.html" target="_blank">Rock Super Bowl III</a>." Orlando Rock Super Bowls. http://www.rockshowvideos.com/rocksuperbowl3.html (accessed February 23, 2015). Beach Club blues blues rock Christian rock Citrus Bowl concerts Florida Citrus Bowl hard rock Infinite Mushroom J. Geils Band jazz fusion Kansas Labor Day Lakeland Civic Center music festivals orlando Orlando Citrus Bowl Stadium Orlando Stadium Peter Frampton Peter Kenneth Frampton pop music progressive rock Rick Derringer Ricky Dean Zehringer rock band rock concert rock festival rock music Rock Super Bowl Rock Super Bowl III soft rock Streep's Tangerine Bowl https://richesmi.cah.ucf.edu/omeka/files/original/2b3c1433ed1a45afeea27419ff4420d5.jpg 2f4b9e414ea1dbe30592240ec26a11c8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Mahogany Rush Ticket Stub Alternative Title Mahogany Rush Ticket Subject Lakeland (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Mahogany Rush at the Lakeland Civic Center in Lakeland, Florida. The concert took place on April 20, 1980, at 7 p.m. and was presented by Cellar Door Concerts. The ticket price was $6.50, including tax. The Lakeland Civic Center is a multi-purpose arena that opened in 1974, and is located at 701 West Lime Street in Lakeland. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Lakeland Civic Center, Lakeland, Florida Contributor Wahl, Julie Date Created ca. 1980-04-20 Date Issued ca. 1980-04-20 Format image/jpg Extent 70.2 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Parsons, Willie. "<a href="http://www.mahoganyrush.com/history.htm" target="_blank">Band History</a>." Mahoganyrush.com. http://www.mahoganyrush.com/history.htm (accessed March 3, 2015). Canadian music Canadian-American music Cellar Door Concerts concerts funk rock hard rock heavy metal Lakeland Lakeland Civic Center Mahogany Rush psychedelic rock rock music https://richesmi.cah.ucf.edu/omeka/files/original/7937fafc57e90a3aa6c7ce2c0f88064c.jpg 72a893a4fca4f632b54059102c212fff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Head East Ticket Stub Alternative Title Head East Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Head East at the Great Southern Music Hall, located at 46 North Orange Avenue in Orlando, Florida. The concert took place on February 10, 1979, at midnight. The ticket price was $6.50 for general admission, including tax. The Great Southern Music Hall, which changed its name to the Beacham Theater after renovations in 1976, was a music venue located at 46 North Orange Avenue in Downtown Orlando. The theater opened on December 9, 1921, as a vaudeville and movie theater. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Great Southern Music Hall, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1979-02-10 Date Issued ca. 1979-02-10 Format image/jpg Extent 94.6 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference "<a href="http://www.head-east.com/bandhistory.html" target="_blank">Head East Band History</a>." Head-East.com. www.head-east.com/bandhistory.html (accessed March 4, 2015). Beacham Beacham Theater concerts Downtown Orlando Great Southern Music Hall hard rock Head East orlando rock music https://richesmi.cah.ucf.edu/omeka/files/original/65c38a8aa631116cbb5f4659861f8193.jpg 7656592a7477e5e4691628f4d664d9f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rick Derringer Ticket Stub Alternative Title Rick Derringer Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Blues (Music)--United States Pop music Description A ticket stub for a concert featuring Rick Derringer (b. 1947) at the Great Southern Music Hall, located at 46 North Orange Avenue in Orlando, Florida, on August 19, 1978. The show began at 11 p.m. The Great Southern Music Hall, which changed its name to the Beacham Theater after renovations in 1976, was a music venue located at 46 North Orange Avenue in Downtown Orlando. The theater opened on December 9, 1921, as a vaudeville and movie theater. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Great Southern Music Hall, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1978-08-19 Date Issued ca. 1978-08-19 Format image/jpg Extent 85.9 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Muise, Dan. <a href="http://www.worldcat.org/oclc/49842572" target="_blank">Gallagher, Marriott, Derringer & Trower: Their Lives and Music</a>. Milwaukee, WI: Hal Leonard Corp, 2002. Beacham Beacham Theater blues blues rock Christian rock concerts Great Southern Music Hall guitar players hard rock jazz fusion orlando Orlando concerts pop music Rick Derringer Ricky Dean Zehringer rock music https://richesmi.cah.ucf.edu/omeka/files/original/73c23eb44f4068857b6315d2328f13e3.jpg 642bdfaf16216b6b4f809636ddbcec27 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Rock Collection Alternative Title Rock Collection Subject Music--United States Rock music--United States Lakeland (Fla.) Maitland (Fla.) Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. 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. 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. 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. Contributor Knickerbocker, Carl Wahl, Julie Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Bob Carr Theater, Orlando, Florida Enzian Theater, Maitland, Florida Great Southern Music Hall, Orlando, Florida Lakeland Civic Center, Lakeland, Florida Orange County Civic Center, Orlando, Florida Orlando-Seminole Jai Alai Fronton, Fern Park, Florida Orlando Sports Stadium, Orlando, Florida Tangerine Bowl, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Altschuler, Glenn C. <a href="http://www.worldcat.org/oclc/51518334" target="_blank">All Shook Up: How Rock 'n' Roll Changed America</a>. Oxford: Oxford University Press, 2003. Fisher, Marc. <a href="http://www.worldcat.org/oclc/69594101" target="_blank">Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation</a>. New York: Random House, 2007. Studwell, William E., and D. F. Lonergan. <a href="http://www.worldcat.org/oclc/41090615" target="_blank">The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s</a>. New York: Haworth Press, 1999. Language eng Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Atlanta Rhythm Section Ticket Stub Alternative Title Atlanta Rhythm Section Ticket Subject Orlando (Fla.) Music--United States Rock music--United States Description A ticket stub for a concert featuring Atlanta Rhythm Section at the Orlando Sports Stadium, which was also known as the Eddie Graham Sports Complex. The concert took place on February 23, 1979. The show was presented by Zeta 7 and produced by Bishop Productions. The doors opened at 7 p.m. and the showtime was at 8 p.m. The ticket price was $5.00, including tax. Once host to some of the top names in sports and music, the Orlando Sports Complex was demolished by the Orange County Building Department in 1995 due to code violations. Type Text Source Original ticket stub: Private Collection of Julie Wahl. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank">Rock Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original ticket stub. Coverage Orlando Sports Stadium, Orlando, Florida Contributor Wahl, Julie Date Created ca. 1979-02-23 Date Issued ca. 1979-02-23 Format image/jpg Extent 81.4 KB Medium 1 ticket stub Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by Julie Wahl and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/">RICHES MI</a> Source Repository Private Collection of Julie Wahl External Reference Mixon, Bernie. "<a href="http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman" target="_blank">Sports Stadium Down For The Count</a>." The Orlando Sentinel, November 15, 1995. Accessed February 16, 2015. http://articles.orlandosentinel.com/1995-11-15/news/9511141684_1_sports-stadium-orlando-sports-hoffman. ARS Atlanta Rhythm Section Bishop Productions concerts Econ River Estates Eddie Graham Sports Complex folk rock orlando Orlando Sports Stadium rock music soft rock Southern rock Zeta 7 https://richesmi.cah.ucf.edu/omeka/files/original/122bd69c4f99aa8ced815097f468da93.pdf e73adb342c71e1c173c32c8b88afe3a3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Holcomb, Susan Interviewee Scott, David Location <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida Original Format 1 audio recording Duration 55 minutes and 53 seconds Bit Rate/Frequency 196kbps Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of David Scott Alternative Title Oral History, Scott Subject Sanford (Fla.) Nursing homes--Florida Description An oral history of David Scott, conducted by Susan Holcomb on April 9, 2010. Scott was the son of Grady Scott, who served as Superintendent of the Old Folks Home, formerly located at 300 Bush Boulevard in Sanford, Florida. The property has since been converted into the Museum of Seminole County History. In this interview, Scott discusses the layout and residents at the home, his responsibilities as an employee, growing up in Sanford, and how Sanford has changed over time. Table Of Contents 0:00:00 Introduction 0:00:20 Old Folks Home 0:02:38 Residents 0:05:10 Responsibilities as an employee 0:11:31 Dining room and kitchen 0:12:43 Willie and Lily 0:13:31 Stories about residents, father, and siblings 0:18:59 Livestock and agriculture 0:21:34 Stories about residents and pet dog named Pooch 0:24:04 Laundry room and furnace 0:25:43 Life as a teenager 0:26:52 How Sanford has changed over time 0:27:55 Siblings and education 0:30:15 Pasture, orange groves, and freezer locker 0:32:53 Agricultural Building 0:34:44 Cattle ranchers and the railroad 0:38:03 Father's employment history 0:39:50 Oak tree memorial 0:41:23 Disciplining children and residents with dementia 0:44:13 Living room 0:44:55 Gender and racial segregation 0:45:45 Layout 0:54:29 Closing remarks Abstract Oral history interview of David Scott. Interview conducted by Susan Holcomb at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Type Moving Image Source Scott, David. Interviewed by Susan Holcomb. April 9, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank"> Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank"> Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Coverage Old Folks Home, Sanford, Florida Museum of Seminole County History, Sanford, Florida Creator Holcomb, Susan Scott, David Date Created 2010-04-09 Date Modified 2014-10-02 Date Copyrighted 2010-04-09 Format audio/wav application/pdf Extent 564 KB 188 KB Medium 55-minute and 53-second audio recording 21-page typed transcript Language eng Mediator History Teacher Provenance Originally created by Susan Holcomb and David Scott. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference "<a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/about-the-museum-of-seminole-county-hi/" target="_blank">About the Museum of Seminole County History</a>." Department of Parks and Preservation, Seminole County Government. http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/about-the-museum-of-seminole-county-hi/. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Click to View (Movie, Podcast, or Website) <a href="http://youtu.be/7hueqmkChCQ" target="_blank">Oral History of David Scott</a> Transcript Holcomb Today is April 9th, 2010. My name is Susan Holcomb. I’m here interviewing David Scott about his time when his dad<a title="">[1]</a> was Superintendent here at the Old Folks Home. David, thank you again for your time today. Scott Okay. You’re welcome. Holcomb You were telling me about the office here. Scott Yes. This where I’m standing now in front of the fireplace. This was the superintendent’s living quarters. This is where we lived—my mom<a title="">[2]</a> and dad, and my sister, my brother, and myself. We lived here. This was the entrance—the main entrance—the office. That’s where we kept all the records. There was a driveway that came up in the front here and made kind of a turn and people would come up and stop in front of the office. And whatever their business was, we would take care of it here, because we lived right next to the office. So it was real convenient. But this was where we lived. We lived in here. It was good. This has been opened up. The partitions—this has all been opened up into the dining area. That was all closed when we lived here. It looks small now, but it was large then. But it was a lot of fun here. This was back in the late [19]50s-early ‘60s. But my sister and my brother stayed on this side—in the superintendent’s side—and I stayed over in the office where Kim [Nelson] is right now, that was my room. There was[sic] two rooms where the office is—two small rooms. They opened that up and now she’s in—where her office is that was my room where I stayed. Holcomb How about that. So there were two rooms there and you had one of them? Scott Right. Holcomb And how old were you again when you lived here? Scott I was around 15—15 years old. Holcomb And how many years were you here? Scott We were here approximately four years living here. But I got used to the elderly folks, and it was a good part of growing up. It was a lot of experience, a lot of knowledge, and things that I listened to back then—stories and all. They were fantastic. It was just like reading a book, when you talk to some of the people that were here. And it was great. Holcomb That’s interesting. About how many residents were here then? Do you know? Scott I would say probably 10-15 in this section. We had the infirmary in the back. Of course it’s not there now. Rachel Lee ran the infirmary with a nurse, and she had her patients, and sick people were there. And there was the colored section where they lived and there was probably eight people living in there. But there would be people coming and going, but most of the time we kept the same ones. They just lived here ‘til something happened to them. But it was good that this road came around from the front of the office. It came around the building and all the way around that building, and made a loop, and came out over there where you parked your car in the parking lot, and came back out to the road. And the ambulance—if they had to pick up someone from the infirmary or the doctor or whatever, they could make a loop and all the deliveries and everything. Now when you pull up—we’ll walk to the kitchen here. This was our entrance right here in the kitchen on the superintendent’s side. We parked our cars out there. There was an oak tree. This was all field out there. To your right, on the south side, there was a garage and a chicken coop. It was probably 50 by 50 and we probably had 150 chickens to 200 chickens. Behind that was the wash shed—the infirmary. And the coloreds stayed in their building. We would take—certain days we would go out and gather up the chickens and we would have to slaughter up the chickens. We had fresh chickens and put them in the freezer. We also had pigs and cows and stuff like that. We had plenty of meat, plenty of milk, and it worked out good for everyone here. Holcomb That[?] sounds like it. What were some of the responsibilities you had here, if any? Scott Oh, yeah. Yeah. Back in the day you did your part. I would get up in the mornings, and I’d get dressed and sometimes put on an old pair of pants. Not my school clothes, but I would come over and back up between the little trellises out here. This is the dining room and kitchen here, and I would back up there with the truck. We had a five-gallon pail with leftover milk, scraps. And we would get commodities like cornmeal with bugs in it or something once in a while and I would take all that, throw it in the five-gallon bucket with milk, put it in the back of the truck, drive down the road, and I’d slop the hogs every day. That was my morning chore. So the reason why I said about pants was that sometimes it would spill on ya, so you had to be real careful. But I had to do that and a bunch of little things in the morning. Make sure everything was in its rightful place, kinda do a little walk round—my dad did and I did. It was a family thing. Then we’d walk down to the road and catch the school bus, or drive to school, or someone would pick us up. Holcomb You said you went to Seminole High [School]? Scott I went to Seminole High on French Avenue on top of the hill back then in ’59. The road out here—the four lane—was just getting finished. It was two lane. They were just finishing it. That made it nice. But it was good. In the afternoons, I would come in after school and I’d kinda go through the same process of changing clothes and getting everything. We had a Snappin’ Turtle lawn mower—one of those old mowers with a turtle head on the front—and we would mow grass. That was part of it. We’d mow grass and Will—he was one of the black guys. He was on crutches. He would be at the barn at a certain time, and all the cows would come in, and he’d milk all the cows. I’d go through the orange grove—that was all orange grove on that side then—I’d go down through the orange grove to the barn, and I would bring the milk back, because he couldn’t do it. And I’d carry the milk, bring it back to the kitchen so they would have fresh milk. Usually we’d have two full buckets. That was part of my job in the afternoon. There was[sic] always things to do. Sometimes in the afternoons or on the weekends, I would even go to the infirmary or in the back where the blacks lived—the colored folks lived—and pick them up and take them across—here’s a lake in Lake Mary you could go through the woods and around, and the man that had the lakefront property would let them fish. So we would go fishin’. There’d be four or five that’d want to go over. Sometimes we’d leave ‘em for two-three hours with water and everything and then go back and get ‘em. They’d bring the fish back, clean them, and the kitchen people would cook ‘em. So that’s the way it went. Holcomb So every once in a while you had fresh fish too? Scott Oh, yeah. It was great really, really good. It was a good life living out here. I enjoyed it. Kept us all busy and you got to see a lot of people and that’s what it was all about really. Sometimes I’d be sitting in here—and another part of my duties were, someone pull up—there was a funeral home in Sanford and they’d bury folks in the [Seminole] County cemetery here by the college. They would pull up in the hearse, and I would go to the office, and give them a number, and they would have all the paperwork. Or they would give me a number. I forget how that went back then. I would go over to the cemetery with them and they would have a hole. They had someone—they would drop him off and dig the grave. Sometimes the graves weren’t real deep, because of the water table. But they had a pine box, and I would help them lower the remains—the body—down in to the gravesite and basically, you know, cover it up. And I’d bring back the number or whatever and it would go into the book. But that was just another thing that I did. But yeah. I helped bury a number of people over there. Sometimes the cows would get out of the fence and they’d trample through over there and you could see where they stepped in. it was just a common thing though. It was something to be expected when you had animals like that in a cemetery. We had a guy that was in the infirmary—Sam McFadden was his name. I was 15 years old and I told him—I said, “Sam, when I turn 18, I’ll take you back to Oviedo.” That’s where he was from. He was a black guy. Really a nice person. He had no legs at all. He was over there probably six-eight years. I forget how many years. So the week I turned 16, and got my regular license, I pulled around, got him down the ramp, picked him up, put him in the passenger seat, and we went to Oviedo. All day long. He hadn’t been over there in years. So I drove him all around Oviedo so he could see people he knew. He would show me where to go and tell me which way he wanted to turn. He had a wonderful day. People gave him money and everything. That probably made his day, you know. He remembered that the rest of his life. He was a real good person. I liked doing things like that. It was part of the experience I got from living over here. He was a great person. Just a little thing I could do to help out. Holcomb That’s fantastic. I bet he did enjoy that. Scott Oh, yeah. But he didn’t weigh much. I could pick him right up, with no legs. But, uh, this area—this area was the dining room and they would eat their breakfast, dinner, and supper in here. The kitchen was right through there and they would cook everything. Where the books and all are, that was the pantry. That’s where we kept all the food and stuff. And the little walkway out here— where the colored dining room was. They came up, they ate out here, and the other folks in here ate in here. Holcomb So they essentially put the kitchen in the middle. Scott The kitchen—right. It’s where it is now. I guess it’s still a kitchen in there. But that’s what that was. I don’t know if they’ve done anything with the little extension out here or not, I think it’s basically for storage now. Holcomb Yeah. Scott Yeah. Holcomb What was—what was that? The storage [inaudible]? Scott [inaudible]. Holcomb Oh, okay. Scott No. The dining room. Holcomb Got it, got it, got it. Scott Yeah. Holcomb Yeah. Scott Yeah. They would sit on the porch down there. And there was two—there was Willie and Lily. She was ‘bout as big around as she was tall—real short. But they would go down here on [U.S. Route] 17-92—there was big oak trees down there then. They would take their chairs—they had a couple chairs they left down there. I took them down for them, and they would sit there and watch the traffic and wave. People got used to seeing them every day just about. Some people would actually stop and give them money. They’re the same ones that we would take fishing. They loved to fish. It was really great. They enjoyed it. It was something for them to do. ‘Cause you know a place like this you get a certain age, it gets a little boring and a little excitement—you see new people, new cars. Holcomb And somebody stop to chat. Scott Oh, yeah. People would probably knew[sic] them—that knew they were here. You know, there’s a lot of sad things. People that you get acclimated to living in this area with older people. And you’re a teenager, and you hear all the stories, and you like these people. Then they get sick and pass away. It’s kinda hard on you. But it’s an experience that you never forget. It’s good really. It was really good for me. And I remember a lot of the stories. They were great. Like back years ago when Florida had dirt roads and people rode horses and things like that were some of the stories. Holcomb So you heard some of those? Scott Oh, yeah. Holcomb Well, that’s fascinating. Scott ‘Cause some of the people—back in 1960, they were 80 years old, so you know they didn’t have the cars. That’s the way it was. All the women stayed in one section and the men stayed in the other. Sometimes they would get to arguing—well, older people like that is—was—kinda comical. But they would. They would get serious and would start arguing. We had one out here named Beautiful Lee. That was his name. He had a business here in Sanford. We had another here, Mr. Barfield. And they didn’t get along too well. Sometimes you had to straighten them out. My dad—he had his hands full. When we first got here, the beds were really bad. The mattresses were old and soiled. The first thing he did was go to the [Seminole] County commissioners to get funding to where Echols Bedding Company years ago. Came out to haul the mattresses out and put all fresh mattresses in. And like—the people we buried out there. They were just buried—buried without any nice clothes. And dad got to where—they might’ve got them from Goodwill [Industries International, Inc.] or wherever back then—but they had suits when they were buried instead of being buried in a pine box. It was the little things that mattered. He was good about that. Holcomb So you’re saying your dad went in front of the commission to get the beds? Scott Oh, yeah. When he needed something. Homer Little was on the board of county commissioners back then, and he talked to him about a lot of things. He would go to the meetings and whatever he would bring it up—whatever he really needed. There wasn’t a lot of money, but still yet you know things needed to be done. Because, to be honest with you, it still happens every day. And I hate to see it, but people bring their parents out after they get sick and everything and they can’t help themselves. They bring them out here and sell their house. The kids get their house—get everything. And for the first week or two they’re out here continuously visiting. Then it starts dropping off. Then it’s two weeks. Well, then it’s six months. Then maybe it’s birthday or Christmas. And that’s the way it happens. It happens all the time. It’s sad, but it’s true. I would say 85 percent. Of course, it might be a little different now. I’m sure it is. But it was still sad back then. That’s just the way life is. But it was nice. We had one man back there next to me—next to my room. And back then, you could smoke. He had emphysema so bad. So they gave him cigarettes for his emphysema that he could smoke that, I guess, helped him or something. Those things smelled so bad. I remember his smoking at night or in the daytime, the whole hallway would smell of his cigarettes. I would have to go to my room and I didn’t like that. But, uh, it was nice. My brother and sister—they did a lot of work too. There was a little pool right out here in the front—a fishing pond—concrete fishing pond. It’s not there now. My sister, when she was in her teens, would walk up and down take pictures of her walking, because she thought she was something. She had her little small waist and all that then. That’s just the way it was. I had an old car. I put it in the garage back there that I worked on a little bit when I wasn’t real busy. It was good. The road department was real small down here, and if we needed something from the road department, we could get it and bring it back. It was pretty decent out here. Everyone seemed to work together. Scott There’s so many things I really can’t remember. I know with the hogs—we would take them and—Mr. Humphrey was his name—from Lake Mary. He was really big man. He would come over a certain time of the year when it was cool and we would butcher the hogs. They would get so big and so fat from the milk and everything. We would butcher the hogs and then we’d take the hogs up to the freezer and, as needed, we would go there—get the meat—bring it back, and they would cook it. So we always had fresh meat. It was really good. We had beef too. We raised a few bulls and stuff like that once in a while. It was always something. It never stopped. Holcomb Doesn’t sound like it. A very self-sufficient organization too, with as many chickens as were out there. Scott Right. Yeah. We had chickens. We had the pork. Beef. We had eggs. We didn’t buy any eggs. We had like the commodities the corn meal was brought in. The government had left over stuff. And someone hit a deer or something like that, or poached one, they had venison. That’s the way life was back then. We had plenty of vegetables. People would bring stuff like different vegetables out here, and oranges. There was an orange grove all around the place. There was oranges galore. Course, they’re all gone now. Anytime you wanted a real nice orange, just go out and get it. And they did. The people that were able. The rest of them that weren’t able. They looked out for them. We had a pickup truck that we used. I would use it to go get things when I got my license. I would drive it back and forth in the mornings to feed the hogs—slop the hogs—and stuff. We also had a station wagon that we used. My dad would take the people that live here to the doctor, or to take them to town or something instead of taking them over to the infirmary, if they needed x-rays or something. There was one black lady. She was really young. I say young—she was probably in her 20s. She was in an accident or got shot or something. I forget what it was, but she couldn’t walk. She was in the infirmary. She didn’t have any money. The county had to take care of her. They took her back and forth to the doctor, kept taking her, not giving up on her. And you know she got to where she could walk. She got out on her own. From what I understand she got married and had kids. But that’s another one of the stories. Holcomb That’s amazing. Scott Yeah. There’s a lot of stories. If I could remember a bunch of them… Holcomb Any time you remember one, give us a call. Scott Yeah, yeah. We did a lot of things out here. I don’t know. I get to thinking about—there’s a few movies that I have. They’re the old 8mm. if I could ever get them off and transferred them over onto something—one of these days, it shows cars parked out here and where we were living we’d be coming in and out of this door, and the garage, the chickens, the whole area. It’s just a small video, but maybe I could put it together. Holcomb Oh. That would be fantastic. Scott Yeah. We had out little dogs and stuff. A little dog out here. I had one. We had a wreck down here on the side of the road, and my uncle had worked for Ratliff’s Towing. So I was over there, and walked down to see the car that had been left down there on the side of the road that had been there a couple days. I heard a little noise and there was a puppy under the seat. But it was part Chihuahua. It was a little, small dog. So I brought it back and named it Pooch. That was my dog. And she had the run of the place. Everyone loved her around here. She had the run of the place. Everyone played with her. She was really smart. The newspaperman would come up and make the circle and throw the paper out and we had—there was no air conditioning in here—we had fans. There was the screen door. She could hit it and open it up and then she’d run out. When I saw him coming up, if she didn’t hear him I’d say, “Paper, Pooch,” and she’d run out and get the paper and bring it back in. She was a smart little dog [coughs]. Scott Yeah. It was basically self-sufficient. We took care of everything here. Laundry and the whole nine yards. Holcomb Where was the laundry? Scott The laundry was back here behind the garage. There was a building back there. That’s where the maids did the laundry. We had, I think, one or two maids that helped. My mom made out all the menus. She did the menus and helped with the cooking and the cleaning in here too. And the maids did the laundry and all in the back—back here. And my dad—if you go out the back and you go down, there was a boiler down there, and probably still is. That’s how the heat was in here. We had the big radiant things. They had a furnace down there. Actually, it was coal to start with. And we used to have to go down there at night and fill that thing up to keep it warm in here. Then they changed it over to diesel fuel or kerosene or something. Yeah. It had a coal chute. A truck would back up and dump it down in there. That was another job. There was[sic] always things to do. Always. But they’d get together—a lot of people would get together, like the folks in the back. They would get together sometimes on Sundays and sing and have a good time down there. We all did. Holcomb It sounds like it. Did they keep you cracking on your homework—your schoolwork? Scott Oh, yeah. Well, I kinda would go against the grain. You know how that goes. I still had to do it. Yeah. You gotta do that afterwards and everything. But on the weekends, being a teenager, you could go somewhere—to the drive-in or the skating rink that used to be up here on 17-92. Course, you didn’t need but a couple dollars. You could get a hamburger, hot dog or whatever, you know, for 25 or 30 cents. It wasn’t very expensive back then. Couple dollars’ worth of gas—you could go everywhere. We’d go—a couple of us would get together—two or three guys—ride around a little bit, go skating, or go to the movies, or hang out. The Movieland Drive-In was here then, years ago. Or the old Ritz [Theatre] downtown. There was a lot to do on the weekends. You could go to the beach. Scott There’s not a lot of traffic like there is now. On [Florida State Road] 415, you didn’t run but about 55-60 miles an hour. The old cars would run real fast, but you didn’t run real fast, because you didn’t want to burn it up. You had to save it. But yeah, a lot of things have changed since way back then. Some for the good, some the not so good. Back when I lived in here it’s not like today. Life was simple. It wasn’t expensive. Taxes were cheap, and everyone knew everyone. Now it’s not that way. A lot of people you can’t even speak to them, because you don’t know what language they’re speaking. It’s completely different than what it was back then. But it was really down-to-earth and basic, even though you know it was hard, but it was good. It was really good. Holcomb Sounds likes it. Um, you were talking about a brother and sister here at the time too. Were you the oldest or the youngest? Scott My older sister, Helen [Scott], her last name is Atkinson now. I was in the middle. My younger brother is Edward Scott. He’s younger than me. Our parents are gone, but we stay in touch. They did a lot of work out here too. We all pitched in. Holcomb And you said you moved to the area when you were six? Scott Yes. I started at Lake Monroe School in 1950, I think. It was just a small school out there. It’s still there. They sold it and a doctor lives in it now. They converted it into a house. Back then, you see guys in first grade that was probably 10 years old, because they were late starting school or they didn’t come to school very often. They progressed on up they were older in the sixth grade. But it was a good school. I had a lot of fun there. Then I went to Sanford Junior High School on Ninth [Street] and Sanford Avenue. And then from there to Seminole High, out on the hill out there. And then the new Seminole High was built and I started my sophomore year there. Freshman year on the hill and then the new high school. They built the one that’s out there now. And it was all just palmettos and pine trees when they were building that. You just had to go out through there. Yeah. I went to high school there. Back where the college is here—that was just a nothing. It was just a power line road that went through. It went over to Lake Mary. That’s what we would use to go to the lake the back way. And some of us—myself and my brother—we would take our old clunker car. We didn’t have a license, but we would drive the back road through the woods and everything. It was a lot of fun [coughs]. Holcomb The power line road was the one you were talking about taking people fishing? Scott Yeah. You would go down to the road department, and turn left. Then go down, and then you could make a right, and it would take you back out to the cemetery and to Lake Mary Boulevard. It wasn’t much of a boulevard then, because it would dead-end up there before they opened it up and did all that. Or you could go to the road department and make a left, then it would take you down and around. It was just a mud hole on each side. It was a road built up for the power line use and it was a shortcut to Lake Mary. We’d go over there and go swimming or whatever sometimes. But there was nothing back there then. There was a lot of orange trees all around. This out in the front was a pasture. The pasture actually went out and all the way around and ended up almost past the cemetery almost to Lake Mary Boulevard back where the houses are. Holcomb So the orange grove went that far? Or the pasture? Scott The pasture did. The orange grove started from the road department—the end of their little road and then all back around this whole place around here was orange grove. This whole place around here was orange grove. Even back on this side, there was an orange grove going back. So there was a lot of oranges. Holcomb Sounds like it. Scott I think we had five cows. I think Will milked about five cows. Plus, when they would have a calf, we would raise it up for beef or sell it or something or butcher it up. I’m not sure what happened to most of them. I know we always had plenty of meat in the freezer in town. I forget the name of the locker. It was there on Thirteenth Street where we kept everything. But they would cut it, dress it, pack it, freeze it, hang it or whatever we needed. Holcomb You said up on Thirteenth Street was the freezer locker? Scott That’s where it was. Back when Sheriff Poppy[sp] was the sheriff here years ago. I don’t know what else you need to know or if there’s anything you can think of. Holcomb Um, I had a question about what they call the “Agricultural Building” now. The building back behind that’s part of the museum. That wasn’t here though. Scott No. Back where the new building is now? Holcomb Yeah. Scott The loop went around the back of this building, because nothing was here. Made the loop and that was the infirmary. That’s where the infirmary was. Rachel Lee was the nurse there. Holcomb Okay. But that area is where the infirmary was, but it’s not the building that was the infirmary? Scott Right. The infirmary was when you walk out this one door here, you go straight across the driveway and that was the infirmary. And then on the other side was where the coloreds lived—in their section there, in the corner down there. And the loop went all the way around the place. Holcomb Okay. You were saying earlier about the big tree up front providing shade. Scott Oh, yeah. The camphor tree. I was telling you earlier that I would go out on the porch with all the old men here, and I would sit out on the porch in the afternoon. It was a real good shade, and we would sit out there with the breeze blowing. That’s where I heard most of my stories from all the old folks. The men—they would sit out there, and they would tell me about the history of when they moved to Florida—whenever they’d come. And they rode horses, and they drove Model Ts, and there was a dirt road going to Orlando and all kind of stuff .and I guess that’s where the Crackers come in were popping the whips and stuff. It was interesting. We would sit under that tree, and it was a big tree then, on the porch. Holcomb That’s interesting. Were they—did any of them work in cattle ranching? Any of the stories that you heard? Scott Oh, yeah. They would move cattle in Florida for miles, especially around the Kissimmee area way back then. It was mostly swamp—a lot of it was swamp. They would talk about some of the things that occurred moving one herd of cows to the next place or wherever. Some of them, like I said, even in 1960—they were up in their 80s, so they knew a lot about this before any of us was even thought of. They lived a good life, a lot of them. And this was their last place. The last stop was here. They didn’t have anything else to do and here I am—15 years old—and I’m sitting out there just listening, and they loved to tell me their stories. Sometimes I’d hear the same story over two or three times, but it was still interesting. Holcomb I bet so. Any railroaders? I was looking at some video when the railroad marker dedication was, but I didn’t know if anybody here when you were here who was involved in that. Scott No. Actually there weren’t. I can’t remember anyone that worked for the railroad that was here years ago, but I do remember a lot of the trains. Growing up, I remember the diesels—when they first started running the diesels and stuff like that. I’ve seen steam engines and stuff. Not a lot of railroad people that I remember lived out here. Basically railroad people—I think the reason for that was when they worked for the railroad, they got a retirement. And see, their retirement took care of them when they got sick and that was basically the reason why they didn’t put them in the Old Folks Home. People that were out here were—they worked all their life and didn’t have anything left—basically, no retirement or anything else so they qualified for the [Seminole] County to take care of them, and that’s where they ended up. Their folks put them in here. Holcomb So they were more the ones who worked for themselves in a way? Scott Right. Some of them had businesses they were really doing good[sic] through the years. But like I said earlier, when they get to a certain point in their life or they get sick and their family can’t take care of them or don’t want to take care of them, and so they basically take away everything so they ended up here. It’s a cruel way to look at it, but they were actually better off here. They got waited on, they had plenty to eat, they had a nice place to sleep, and whatever, you know. If they really wanted to go visit someplace, their family would come up once in a while and take them out and bring them back so it wasn’t bad. It made it easier on everyone probably. Holcomb Um, I had thought of another question. What type of work did your dad do before he got this job? Scott Uh, my dad [coughs]—he was a used car salesman actually. He was in the Military. He could do about anything, really. Carpenter work or whatever. Whatever it took growing up to make a living, that’s basically what he did. But he was a car salesman. He was in a dealership. Well, I think the guy that he worked for and him were the only two, but they had a real nice car lot and he was selling cars. Buying and selling cars [coughs]. Holcomb Interesting. Was it there in Sanford then? Scott Yes. It was in Sanford. Of course, there’s[sic] buildings there now. Where his car lot was—actually years ago, when he first started selling cars was there on Second [Street] and Sanford Avenue. If you know where the post office is downtown, but there’s a lot right there with a big oak tree on it where Larry’s [New & Used] Mart used to be. Well, it wasn’t years ago, but that was a car lot. The tree wasn’t so big back then. They had cars all around on that corner there. Then they moved up like on Ninth [Street] and Sanford Avenue and sold cars up there. But yeah it was interesting. I always loved cars, I still do. I’ve got old cars and trucks. It gets in your blood. But, yeah. That’s what he did. Holcomb Uh, you mentioned earlier too—one of the trees out back here on the property on the Old Folks Home was an oak tree? Scott Yeah. There was some oak trees. They were having a fundraiser—or I don’t know what it was—but they wanted to sell oak trees for $100, or whatever it was when they were doing it. And you could dedicate it or whatever to whomever you wanted to for the members that was here, and I got one in memory of my mom and dad, Grady and Flora Scott. But they didn’t put any markers or anything on it, so when you go out there, you think it’s just like another tree planted. I would like to see them one of these days go back in the records to find out who did that and put some little something in recognition of who it’s for. But they haven’t done that, and I’m sure it’s an oversight that never got taken care of. Holcomb I’m sure it is too. I would like to see—if you don’t mind, when we’re wrapping up, if you’d show me which ones they were out there we can get that documented. Anything else for your childhood that sticks out for you—growing up here or even before you got here—that makes you chuckle now? Scott Oh, there’s a lot of things [laughs]. I was a middle kid. I’ve got a younger brother and an older sister. I was the one that was in between. Growing up, if you got in trouble in school, you got tanned a little bit by the principal. Then you got home your mother did it. Then when your dad got home he took care of it. So it was one, two, three. And you didn’t do that anymore. I basically raised my kids the same way—in a way that I would set them down when they got in trouble and we would talk about it and we’d determine the punishment. It would be kinda up to them. They turned out really, really great. Hopefully my grandkids will be the same way. But it’s not like it was. It’s a little harder. There’s not a lot of “Yes, sir,” “No, sir” stuff anymore. Holcomb Not a whole lot. No. Scott My two boys still say, “Yes, sir” to me. They’re in their 40s. There’s a lot of things that I try to instill in people, especially the younger generation—my kids, my grandkids, or whatever. Because I’ve seen so many people that’s passed on—I’ve been with them when they’ve passed on. Even at a young age, like I was out here, and you miss them. But when you see a person that’s 80 years old or 60 years old or whatever, and they’re sick and you’ve been knowin’ this person for a long time—it doesn’t matter if you know them or not. But when you see them there and they don’t recognize you hardly but they try—don’t think of that person as what you see. Think of that person that you knew. That same person’s still inside there. Talk to them just as if they were 20 years old or 30 years old, or when you knew them and times were good. Talk to them the same way as when you knew them, because they’re still the same person. I don’t care if they weigh 60 pounds with cancer and they’re 80 years old and they’re dying. They’re still the same person as they were when they were 15 years old or 25, and out here dancing and having a good time. And that’s what I like to see people think of instead of, you know. I don’t want to be around them. That’s the wrong attitude to take. The person’s still in there. That’s the way I look at it. Holcomb That’s great advice. Scott It works for me. Holcomb There’s a lot true in that. Um, yeah. We could walk around there to the trees and then we’ll see what we can make note of here. Scott Sure. Holcomb Back out this way, right? Scott Yes. This was the living room. Holcomb This was the living room? Scott This was where they sat around and watched TV. Like I said, my room was down there on the end where Kim’s office is. And where your office is, that was two rooms too I think. Holcomb Yeah. It probably was. So the—and then, were the—you said the women and men were separated? Scott Yes. The women I believe lived in this area and the men lived in the other wing. Holcomb And then the colored section was out there? Scott Yes. Holcomb Okay.Thanks. I’m trying to orient. Scott I thought they had some pictures out here. I don’t see anything. Holcomb Well, they do change the pictures around. Scott Yeah. Holcomb Every now and then too. Sorry. Excuse us. That’s okay. I just don’t want to step on it. Thank you. Scott This right here was the colored dining area. Holcomb Right. We use that for storage now. Scott The driveway came here around the building. About where those gates are was a building—a big wood building—and that was where the colored folks lived. And that was orange grove. Straight on down—probably about where that stop sign is, where that car just went through—through the orange grove that was the barn. The cows would come across the road in the evening. They would walk right across, and Will would milk them, and I would go down and bring the milk back up to the kitchen here. This is the kitchen. Straight across here was the infirmary where the new building is. The driveway went around to the infirmary. To the left back in this area was a washhouse. Right here was a garage, and the other side of that was a big chicken coop. That’s where we had the chickens. On down in the front down here, across from the barn on the right, was the hog pen, and that’s where I had to take the hog slop. This was all orange grove, even all the way around in the back. Where that building is over there that was orange grove. This was a field out here all the way over to where the fire station is. We had to keep a lot of that mowed. Holcomb You said the pasture came up this way? Scott The pasture part actually started in front of the building right here to the left of the driveway. That was pasture all the way around. On the other side of the road, all the way around way back past the cemetery. There’s a lot of acreage back there. It was all pasture. I’m sure you know where the cemetery is. Holcomb I haven’t been, so I don’t have an idea. Scott It’s just on down past the tower. But that was basically the layout of the place here. We had deliveries. In between here you go down to the bottom. That’s where the boiler room… Holcomb So in between these two porches here? Scott Yeah. Let’s take a look. Holcomb Yeah. Scott You go through there and go down to the right. And you’ll see it looks like a cellar, but that’s the boiler room. They’ve changed it now. The oak trees have got to be this oak tree, that one. I think they’re planted all around. Holcomb Now were you here when any of them were planted? Scott No. It was probably four or five years ago. Now this was all driveway here. And by where we’re standing now is where the garage was. And the chicken coop was on up. There was some big oak trees planted there, that’s where we parked the cars on the superintendent’s side. Holcomb Because this was the front? Scott Right. This was our entrance. We used this entrance. The office is in the front right there. Deliveries would come around back up between the two buildings here and go into the kitchen. They’d back the trucks in there to drop things off and pick things up. Holcomb It makes sense, but it’s different to see it, because what is the front entrance now was the side. Scott Right. The office was the main thing back then. Back in the late ‘50s, this was a two-lane road. Then they started to changing[sic] it and made it into a four-lane. And they finally opened it up. There was some oak trees down there. I think they’re gone now—the big oak trees—but there’s where Lily and Willie used to sit and watch the traffic under the oak trees. Holcomb On the other side of this road here? Scott Oh, yeah. Right there on the edge of 17-92. That’s where they would sit and people would blow their horns at them. Holcomb You said it was two-lane then? Scott Well, actually it was four-lane, but the road wasn’t finished until about 1960. Then it was four-lane. There used to be a little tavern right there. I guess the building’s still there. They had some bad wrecks people pulling out after it was four-lane, because they weren’t used to it. Holcomb I bet. Scott I do have some movie clips of coming up here and parking cars and walking to the garage and stuff here. Some of my friends—when I was a teenager, we’d come back from the beach and walk up and down through here, play with the dog and stuff. If I could ever get them all together. But the oak trees, I guess, are these. I’m not sure. You can see them planted all around. I have no idea how many they ended up planting. Holcomb I don’t either. We’ll see what we can find out about that. Scott Well, it would be nice. Even if there was just one little sign that said, “Oak trees planted in memory of…” Or something like that. That’s a nice building. Holcomb Yes. It is. It’s a great space in there too, for displays and presentations. I’m sure you’ve seen it. Scott The infirmary was there and that’s when I pulled up there. There was a ramp to the infirmary. And when I was 16—I turned 16—I pulled the car around and I saw Sam McFadden, with no legs—black guy. I would visit him. He’d come out and get a little sun once in a while. I told him, “Sam, I’m going to take you to Oviedo when I get my license.” And he just couldn’t wait. When I pulled up there that day, and they wheeled him down in the chair to the car. I had the door open. I set him in that car. His face was all lit up. He’d been in there for so many years. He loved it. I think it did me more good than it did him. Holcomb Sure. Doing something like that for somebody else. Scott When they closed this place down, I tried to get in touch with him and the rest of them. They moved him to [inaudible] and whatever home. I don’t know what happened to him. I tried to do a follow up, but I never could. Holcomb Is that home in Sanford? Scott Yeah. It was on West Ninth Street I believe it was. Holcomb West Ninth? Scott They changed a few things around. Holcomb Yeah. Scott Like I said, I don’t know where the pictures are out here. They used to have I don’t know how many pictures. Holcomb I’m sure we still have them somewhere. Scott Yeah. Probably. Holcomb Thank you very much for your time, Dave. I appreciate it. Scott It’s not a problem. I enjoy doing it. I ramble on too much sometimes when I get to talking because most of the memories are really good. I try to delete all the bad stuff. Holcomb [laughs]Well, for our purposes the rambling is good [laughs]. Scott Yeah. There’s some bad stuff. Sam lived right here in this one room right here and he was an old man. A good friend of mine. He was real quiet. He loved it when I moved back here, because he had someone to talk to. Holcomb Was he the one with emphysema? Scott No. That was another man. They had moved him in there afterwards—after Sam passed away. Then I missed him. Then the other guy with emphysema cigarettes—oh, that about killed me. Then he passed away too. People—some of them stayed here a few years. They hung around. But a lot of them were really bad when they brought them in. Holcomb Yeah. I imagine so. Scott But that’s about it. Holcomb Okay. Thank you again. Scott If you can remember anything or want me for anything, just give me a call. Holcomb Yeah. Thank you. <div> <div> <a title="">[1]</a> Grady Scott. </div> <div> <a title="">[2]</a> Flora Scott. </div> </div> assisted living Barfield Beautiful Lee burials camphor trees cattle ranchers cattle ranching cemeteries cemetery chickens Chihuahua crackers David Scott dogs Downtown Sanford Echols Bedding Company Edward Scott elderly Flora Scott Grady Scott graves Helen Scott Helen Scott Atkinson Holcomb, Susan Homer Little Humphrey Kim Nelson Kissimmee Lake Mary Lake Monroe School Larry's New & Used Mart Movieland Drive-In Museum of Seminole County History nursing homes Old Folks Home orange groves oranges Oviedo pastures pigs Poppy race relations Rachel Lee Ratliff Towing retirement homes Ritz Theatre Sam McFradden Sanford Sanford Junior High School segregation Seminole High School Susan Holcomb https://richesmi.cah.ucf.edu/omeka/files/original/2c9347518117b73f1030eccdd6890a07.pdf cc5c38d36f8978c3c3bdcad7b29a94bd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Dombrowski, Diana Interviewee Stinecipher, Grace Marie Location <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida Original Format 1 audio recording Duration 53 minuts and 7 seconds Bit Rate/Frequency 1411kbps Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Click to View (Movie, Podcast, or Website) <a href="https://youtu.be/CRd0e77hW00" target="_blank">Oral History of Grace Marie Stinecipher</a> Title Oral History of Grace Marie Stinecipher Alternative Title Oral History, Stinecipher Subject Sanford (Fla.) Churches--Florida Teachers--Florida Education--Florida Winter Park (Fla.) Orlando (Fla.) Baptist Church--Florida Journalism--Florida New Smyrna Beach (Fla.) Beaches--Florida Description An oral history of Grace Marie Stinecipher (b. 1936), conducted by Diana Dombrowski on July 13, 2010. Stinecipher was born in Sanford, Florida on September 19, 1936. In this interview, she discusses her family history, growing up in Sanford, her career in education, living in Orlando and Winter Park, school integration, the effects of the Naval Air Station (NAS) Sanford and Walt Disney World Resort on Sanford, the First Baptist Church of Sanford, her role as a church historian, organizing new churches and missions, her career in journalism, and her childhood experiences at New Smyrna Beach. Abstract Oral history interview of Grace Marie Stinecipher. Interview conducted by Diana Dombrowski at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Table Of Contents 0:00:00 Introduction 0:01:21 Family history 0:04:28 Growing up in Sanford 0:07:15 Girl Scouts and college education 0:09:11 Career in education and life in the Orlando-Winter Park area 0:12:50 School integration 0:16:22 Naval Air Station (NAS) Sanford and Walt Disney World Resort 0:19:05 First Baptist Church of Sanford 0:26:46 Role as church historian 0:31:45 Organizing new churches and missions 0:35:31 Important figures in the church 0:38:21 Career in journalism 0:42:02 Polly Pigtails club 0:46:12 New Smyrna Beach 0:50:23 Parents 0:52:59 Closing remarks Creator Stinecipher, Grace Marie Dombrowski, Diana Source Stinecipher, Grace Marie. Interviewed by Diana Dombrowski. July 13, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Date Created 2010-07-13 Date Copyrighted 2010-07-13 Date Modified 2014-10-08 Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida.<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank"> </a> <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a><a href="https://get.adobe.com/reader/" target="_blank"> </a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Format audio/wav application/pdf Extent 536 MB 178 KB Medium 53-minute and 7-second audio recording 19-page typed transcript Language eng Type Sound Coverage First Baptist Church, Sanford, Florida Chance Education Building, Sanford, Florida; Orlando, Florida Winter Park, Florida Seminole High School, Sanford, Florida Naval Air Station Sanford, Sanford, Florida Central Baptist Church, Sanford, Florida Pinecrest Baptist Church, Sanford, Florida Westview Baptist Church, Sanford, Florida New Smyrna Beach, Florida Piedmont College, Demorest, Georgia Accrual Method Donation Mediator History Teacher Geography Teacher Provenance Originally created by Grace Marie Stinecipher and Diana Dombrowski. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Contributing Project <a href="http://web.archive.org/web/20090302051954/http://www.thehistorycenter.org/visit/?art=history" target="_blank">Historical Society of Central Florida</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference Stinecipher, Grace Marie. <a href="http://www.worldcat.org/oclc/10878290" target="_blank">A History of the First Baptist Church, Sanford, Florida, 1884-1984</a>. Baltimore: Gateway Press, 1984. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Transcript Dombrowski This is an interview with Gracie Marie Stinecipher, the historian of the First Baptist Church in Sanford. And, uh, this interview is being conducted on July 13th, 2010 at the Museum of Seminole County History. The interviewer is Diana Dombrowski, representing the museum for the Historical Society of Central Florida. I’d just like to start with a couple basic questions, like, where and when were you born? Stinecipher I was born in Sanford—Fernald-Laughton Memorial Hospital. Dombrowski Cool. When were you born, if you don’t mind? Stinecipher September 19th, 1936. Dombrowski Okay. So you grew up in Sanford? Stinecipher Yes. Dombrowski Where in Sanford did you live? Could you describe it? Stinecipher I lived at 2404 Park Avenue. And at the time, that was, Park Avenue was [U.S. Route] 17-92. It was the highway. Dombrowski Okay. Did you live close to the railroad station or anything? Stinecipher No. Dombrowski I’m sorry. My last interviewer[sic] —she lived off of Park Avenue, as well. And she mentioned her family arriving on the train. So I wasn’t sure how close it was. I’m sorry. Stinecipher No. That’s way downtown. Dombrowski Okay. ’m sorry. Um, how—when did your family come to Florida? Stinecipher My mother came here in 1913—I believe, as an eight-year-old—with her family. And my dad came in 1926. Dombrowski What did their families do here? Stinecipher My mother’s father was a butcher. He had a store down on First Street. Grocery store, butcher shop, whatever. My dad’s family—his dad was a farmer in Tennessee. He was born in Spring City, Tennessee. My mother was born in Butte, Montana. Dombrowski Wow. That’s a-ways. Stinecipher Oh, yes. There’s a story there. Dombrowski What brought them to Florida? Stinecipher I really don’t know. My mother—my grandmother and grandfather—my grandfather was from England. He came over, to the Gold Rush in Canada, Alaska. What was the word? Anyway, and they met in Montana. I have no idea why my grandmother was there. And they married in Montana. My mother was born there. My aunt, Gladys [Stemper], was born in Phoenix, Arizona. My uncle, Jack [Stemper], was born in Homeland, Georgia, and my uncle, Bill [Stemper], was born in Sanford. Dombrowski Wow. That’s a lot of traveling. Stinecipher Yes. Dombrowski Did you grow up around all these relatives? Stinecipher Not those, no. My grandfather Stemper—my grandmother was Marie Stemper—left the family. I think about 1925. And they didn’t find him until 1960—I believe it was—in Baton Rouge[, Louisiana]. Yeah. That was quite a thing. Dombrowski Growing up in Sanford, were you always a member of the [First] Baptist Church [of Sanford]? Stinecipher I was always attending. I joined the church in 1947. Dombrowski Okay. Alright. What did your parents do? You know, was your mother a homemaker? Stinecipher My mother was a schoolteacher. Dombrowski Okay. Where did she teach? Stinecipher She taught at Sanford Grammar [School], Sanford Junior High [School], and Seminole High School. Dombrowski Okay. Where did you go to school? Did you go to those as well? Stinecipher Yes. Also, Southside Primary [School]. Dombrowski I’d like to find out a little more about what it was like to grow up in Sanford. How was it different from then? What changes did you see and witness growing up? Do you have any favorite memories growing up in the town? Stinecipher It was a fairly small town back then. About 10-12-15,000. It was a fairly close-knit community. You knew almost everybody. Everybody you went to school with. Or at least, knew of them. Dombrowski Yeah. Stinecipher It was a time when most people attended church. I think it could be, because there wasn’t much else to do. But I think, I mean—you know, the downtown churches were very, very active. The youth groups were really overflowing. And it was really a great time to grow up. So, that—we—some of the memories I think some of us have are somebody always mentions the drugstores, you know. Preston’s Drugstore, where we congregated downtown. And Robert Anderson. And McColonel’s Drugstore was at Twenty-Fifth [Street] and Sanford Avenue, and he had curb service, delicious milkshakes. And a lot of the fellas worked at some of these drugstores. And there was the Pig ‘n Whistle. It had a big drive-in space there. It was at Twenty-Fifth and Park [Avenue]. And then Angel’s Eat Shack was a restaurant. It’s still there—the building—on 25—something—Sanford Avenue. I mean, the people of that era when I grew—there wasn’t much else. But we had a lot of good memories at all those places. And the zoo. Dombrowski Oh. Stinecipher Yes. The zoo downtown. Yeah. I was part of the Girl Scouts. We met down at the old depot. Down where—what’s the bank? SunTrust Bank is—right down in there. Every Friday afternoon, from the time I was 10 years old ‘til I graduated from high school. It was really, really good. We had a lot of good memories there. Dombrowski What did you do in the Girl Scouts? Stinecipher Well, of course, we went through the Girl Scout handbook, learning all the things for the badges and things. And we’d have slumber parties down there. And Miss Henton, who was our leader—I can remember her sitting up in the middle of the depot. This big depot, you know, keeping an eye on us throughout the night. We went camping. I still don’t know where it was that we camped. It was somewhere west of town by the lake, and it was just sort of—the kitchen was very primitive. And the long table, you know, where we ate, and the outhouse—we called “the Commishy.” Because some commissioner had had it built. That was the story. But that was fun. We pitched tents. We only were only there about three nights or something like that. Got to know a lot of the older girls, because they were our leaders, and then we became leaders. Dombrowski Were you a leader in the troupe? Stinecipher Well, we all were when we got into, you know—later on in high school. We led the little ones, the younger ones. Dombrowski That’s nice. Did you go to college? Stinecipher Yes. I went to Maryville College in Tennessee for two years, and then I transferred to Stetson [University], and I graduated in 1958. Dombrowski Did you graduate with plans to become a teacher? Stinecipher Yes. I majored in elementary education. Dombrowski Did you get married? Stinecipher No. Dombrowski Okay. Where did you begin teaching? Stinecipher I began teaching at Lake Silver Elementary in Orlando. And I had an apartment over there in Winter Park for three years. Dombrowski Winter Park is nice. What do you remember from living there? Stinecipher From living in Orlando? In Winter Park? Well, it was a much smaller place then. I was able to drive around, you know, and not get lost, or too much lost. I became a member of North Park Baptist Church and thoroughly enjoyed it. Made a lot of good friends, some that I’m still in contact with. Dr. Edgar Cooper was my pastor, and he later became editor of The Florida Baptist Witness, which is the state newspaper. I taught fifth grade. Dombrowski What was the education system like? What was it like to teach then as it is maybe compared to teaching later? Stinecipher The kids were much more well-behaved. Dombrowski Really? Stinecipher Yes. There was more parent participation. Yes. I only taught over there three years. And then I could not afford to continue. I was making $360 a month and not being paid in the summer. So I’d come home and borrow money from my dad to get through the summer, and then I’d get him paid back by Christmas. So, I figured that couldn’t last too long. So I moved back home to Sanford in ’61. Dombrowski Okay. Stinecipher I could not find a teaching job in elementary schools in the upper grades in Sanford, so I went down to the personnel director, Stuart Gadshaw, see if he could help me. And he had taught me math in high school. He said, “You’d make a good math teacher!” And he sent me up to Mr. [Andrew Joseph] Bracken, principal of Seminole High, and he hired me. So I had to go back to school and get certified in math. Dombrowski Did they pay your way through school? Stinecipher Oh, heavens no. Dombrowski Okay. How long—when did you begin teaching there? Stinecipher The fall of ’61. Dombrowski How long did you teach there? Stinecipher I officially retired in ’92. But I had been on medical leave for a few years before that. Dombrowski Wow. So, all that time at Seminole High School. You must have seen a lot of things. High school—wow. I’ve heard that’s a really hard time to teach. Stinecipher I think junior high’s the worst. Dombrowski Really? Stinecipher Yeah. I remember even when I was in junior high. No—I thoroughly enjoyed it. Especially the first, the ‘60s were really good. Dombrowski Yeah? Stinecipher Yes. I had really, really good students then, and I still keep in contact with a lot of them. Go to the reunions, and so on. Dombrowski That’s nice. Stinecipher You’ve probably heard the story about, you know, when integration came. Dombrowski I was going to ask. Yeah. Stinecipher Yeah. First, I think it was about 1967 or 1968, they had something called “Freedom of Choice.” I think that was what it was called. And the black students could attend the white schools. I think they had to apply or something. So we did have a few black students there in the late ‘60s. Then in 1970, they closed Crooms [High School]. And the Crooms students came over to Seminole High School. Seminole High did not want them. Crooms did not want to be there. Dombrowski Oh, yeah. That sounds tense. Stinecipher That year, 1970-71, was terrible. We were on double sessions. I was on the teaching in the afternoon session, and in the mornings they would have had fights and all kind of problems, and I’d get to school around 10 or 10:30, and they’d already had to close school several times. So that was a bad year. And the early ‘70s was still pretty hard. Dombrowski How were the students who elected to go to school received? Stinecipher You mean in the late ‘60s? They were received very well. They were the good students. In fact, one of the boys served as president of his senior class. Dombrowski Wow. That’s amazing. How long did it take for, uh, black students to be more accepted in the high school? Do you think they are now? Did they end up building another high school that served that neighborhood? Stinecipher Oh, no. No, no. They’re all at Seminole still. It’s the only high school in Sanford. Dombrowski Oh, okay. I didn’t know that. Stinecipher Well, they’ve done something to Crooms [Academy of Institute Technology]—I haven’t kept up. But it’s a school of technology or something like that. Yeah. But that’s just been in recent years. And then they later made the school into a ninth grade center. I guess, right after we merged. Somewhere in there. So the ninth graders went there until—a few years later, all the ninth graders came back to Seminole High. I can’t remember the years. Dombrowski How were the rest of the ‘70s like, in terms of tension at the school? Did it end up getting resolved somehow? Stinecipher Gradually. Gradually. It was hard. It really was. And then there was still one thing that always irked me was, the first couple years was okay. In the homecoming. They’d have a black queen and a white queen. Dombrowski Oh. Stinecipher And that just kept on for years. And I thought, can’t we get together? Dombrowski Wow. That’s like two separate worlds in one school. Stinecipher I know. I know. It was bad. And, well, I think there’s always going to be a little tension. But, uh, it gradually got better. Dombrowski Okay. How did things like Cape Canaveral affect—you know, the opening of the [John F. Kennedy] Space Center affect—did you see any effects from that in Sanford? Like people coming here for the space industry? Or did you teach anyone related to that? Stinecipher No. No. The Navy base was here. So I taught a lot of Navy students in the ‘60s. Of course, the Navy moved from here in ’68. But, yes. A lot of Navy kids. And the school, Seminole High, was right in the pattern of the jets. Because when they’d have their touch-and-go, you know, to practice landing on the carriers, it would come right over Seminole High. They would come, and then there’d be a lull, and you know, just keep on coming. And you’d just have to learn to teach in between the comings and goings. Dombrowski How did the town change after the base left, do you think? Did the population drop very dramatically? Stinecipher Oh, I can’t go in—probably a little bit. Something like that always affects things, but something else always comes along. But Sanford was a very good Navy town. The personnel always seemed to think Sanford was a good place to be and a lot of Navy people retired here. Dombrowski I have a couple more questions about general events like that, like the opening of [Walt] Disney [World Resort]? What do you remember from when Disney opened down here? Stinecipher Hm. Dombrowski Was it very significant at all? Stinecipher Well, I guess it was. It was exciting to go down there the first time or two. But, as you realize, gradually the impact has come up to Sanford, because of the growth. That’s what really brought the growth to Seminole County. Dombrowski Yeah. What do you think about that? Do you think that’s a positive thing? Stinecipher Oh, in some ways. But I’d rather it go back to, you know, the old days with the smaller population. Dombrowski Yeah. Yeah. Stinecipher But you can’t go back. Dombrowski Through this time, you know, that you were a member of the [First] Baptist Church [of Sanford], was the church very involved in community activities? Did they have local events, or did they throw parties in the town or something? How were they involved in the community? Stinecipher How were they involved in the community? Dombrowski Well, uh, you know, did they take measures to feed or serve the homeless or anything? Stinecipher We do now. We do now. Yes. We have a program on Sundays. I think about 1:30, they feed the homeless. I think about 40 or 50 that come. And they have a devotional and so on. I don’t know exactly what the program is, but yes. Dombrowski Uh, how has the church during your time as a member? Or as a historian? Has it changed at all? Stinecipher Yes. It’s changed. It used to be a very large church with a lot of young people. When I was growing up we had—probably my high school class—we had about half the class at First Baptist. Dombrowski Wow. Stinecipher Of course, we were just a little over a hundred in the class, but—maybe not quite that many. And the other churches too—they were very active and large Sunday schools had their training unions and MYAF and whatever. Most people went to church back then. Now—and then of course, we had the downtown churches. There were a few scattered out, but mainly the First Baptist, First Methodist [Church of Sanford], First Presbyterian [Church of Sanford], and the Catholics<a title="">[1]</a> were all right downtown and very, very active, all of them. Back up to the ‘60s or early ‘70s. Dombrowski Okay. Stinecipher But the downtown churches are all losing members. Of course, there are other churches too. But still, it’s sad. It really is. Dombrowski Why do you think that is? Stinecipher I don’t know. People seem to have more to do. And, I just—I don’t know. Not interested in church anymore. Dombrowski Okay. Where was the original church—the Baptist church? Stinecipher The original church is the same church—the same property. It was a wooden church. Are you familiar with the First Baptist Church downtown? Dombrowski No. Stinecipher No. Okay. It’s on—well our address is 519 Park, but the original church was a small wooden building. The church was organized in 1884, and the wooden building was finished, I think, by the end of that year. It was on the corner of Sixth [Street] and Park. And that’s where our brick church was built later. That wooden church was moved and the brick church was built there—built in two parts. The first section, which included a Sunday school, the front part, was built in 1914. And the second part, the auditorium part, was built in 1920. Then, in 1949-50, the education building next door was built. Let’s see. The new—well, the next educational building, which is now the Chance Education Building, which was named for our former pastor who died while he was a pastor in ’71. It was built in ’66. That’s on the corner of Fifth [Street] and Magnolia [Avenue]. And in all that process, we bought all that property on that block. House by house. And they all had to be moved to build that education building or demolish. Some were moved, some were demolished. And finally, in 1994, we broke ground during our 110th anniversary—broke ground for our new sanctuary, which we entered in August of 1995. We finally got it paid for a couple of years ago. Dombrowski The education building sounds enormous. Taking over the whole… Stinecipher Well, not the whole property. But we’ve got four buildings there on the block. And we also have a youth building, which is across the street on Magnolia. Dombrowski Okay. You talked about how active the church community was. Was the church community—yes? How was it active? What kind of events or activities did the church hold? You know, what was Sunday service like? I don’t know much about it. I don’t know much about the First Baptist Church. Stinecipher Oh, we had Sunday school. We still do, and worship service on Sunday mornings, and then at night had Baptist Training Union, BTU—Training Union, whatever—for the entire church, you know. We had different unions—learning. In Sunday school, you learn more from the Bible, you know, like that, but in Training Union it was more about other—I remember once, we had to learn about other different religions. We learned Baptist beliefs. Things like that. And the members took part were—were assigned parts. That was a good learning experience for people, especially young people, you know, getting up in front of people and doing. That was good. There was also a lot of socials. I remember having hayrides and things like that. Parties and stuff. You know, it was a good youth group. And the older people had their own things. Somewhere along the line, Training Union went out the window. I don’t understand. Things change. Dombrowski Oh. Stinecipher But we still have Sunday night church. Dombrowski Okay. Stinecipher And, uh, other things, you know. Dombrowski Okay. What is your role as church historian like? What do you do for the church? Stinecipher Well, in the 100th anniversary in 1984, we had a big celebration. I was not chairman of the committee. I was on it, but I volunteered to write a history of the church. We had this little bitty book. I said, “We have to get a little better than that.” I wasn’t expecting to do too much. Got in there and found all the records, ending up writing a book. I think about 270 pages. Dombrowski Wow. Stinecipher It was a wonderful experience, because we have a lot of documents, and minutes, and things of all church business meetings, and oh, just a slew of stuff. And church bulletins, you know, have information in them. So it was really interesting experience. Also, none of the memorabilia of the church had ever been collected. It was scattered all over the church and some people knew where things were, so I went scouring around trying to find all that, and I got all that collected, got a crew together to work on, to organizing it, and we had a huge display of all our memorabilia. I mean, there was a bunch of stuff, all in the fellowship hall for the 100th anniversary. And then I had the book published, you know. Since then, I’ve continued to collect things from different people. It’s amazing what things pop up still about the history. Collecting it—and have a special room in the memorial education building. That’s the first one that’s on Park Avenue, to collect all that stuff. Then when we built the new building in ’95. They put a special heritage room in there. It was supposed to be larger than what it is, but when the costs came in for building the church, things got squeezed. And that did too. But I have a room there, and cases around the room, which were given to us by one of the local jewelry stores who[sic] was moving or going out of business or something. So I’ve got that. So people can go in there and see the displays. It gets changed occasionally. And I have an excellent storage room. It didn’t get squeezed! It’s still there, so I’ve got a good storage room for all kind of stuff in there. So I continue to collect things, and I’ve chaired the anniversary committees every year since. Now, we had 125th [anniversary] a year ago, in February. I told them then, that was my last one. I’ll be almost 80 years old. I think it’s time for somebody else. But it’s been fun, I’ve thoroughly enjoyed it. Dombrowski What kinds of memorabilia? Stinecipher Oh, goodness. One thing we have—the old pulpit—the original pulpits from the first church, and a couple of chairs. They’ve gotten moved into my heritage storeroom there. But it’s okay, they’ll get room for them. We bring them out. Oh, all kind of paper things. And lots of and lots of pictures. I still take pictures of important events. And, oh, I can’t think of what all there is. We’ve got a lot of important documents, the incorporation papers. Goodness, I’m trying to think of what we do have. Just a lot of interesting things. We’re always finding new things. It’s good. Dombrowski It sounds like the Baptist church was the big church force in the community. Stinecipher It was the largest, yes. It was. Dombrowski Okay. Okay. Stinecipher But as I said, all the downtown churches were very active, just not as large. But there—oh, we sponsored five missions which are now churches. Dombrowski Wow. Stinecipher Yes. Central Baptist [Church], Pinecrest Baptist [Church], Westview [Baptist Church]—it’s changed its name two or three times. Lake Mary—it’s something else now. I don’t think it’s even a Baptist church. Well, that’s another story. Oh, and Victory Baptist [Church]. We formed it as Elder Springs Baptist [Church], but it later withdrew from the Southern Baptists and became independent. But we did organize it. There are three that are still Southern Baptist. Dombrowski How did you organize the missions and get these churches started? Stinecipher We’d have a commissions committee go into the neighborhoods and start Sunday schools and, you know—at night. I wasn’t, you know, involved in any of it. Gradually, as attendance grew, they’d want to become a church, and so we’d organize it. It took several years. Pinecrest didn’t take very long, because a whole Sunday school class of ours went out there and started it—a men’s class. So that didn’t take very long, just a few months. Bu the others, some of them took several years. Dombrowski Is there a story behind the Lake Mary? That sounded a little complicated. Stinecipher Well, we took them back as a mission. They had been a church and they wanted to go back into mission status. We had not started them originally, but they wanted to come back in mission status and asked us to be their sponsor. So several of our members went out there and helped them for several years, and then they became a church. I knew it was in ’83, because that was the last thing I put in my history book. They became a church. Elder Springs and Pinecrest were both organized in ’57. And Central Baptist, which was originally Southside Baptist [Church], was organized in 1938. And Westview [Baptist Church], I think, was somewhere about the early ‘60s. It was originally Oak Lawn [Baptist Church], because it started—I think the first meetings they had was in the funeral home out there, you know the one out there by Rinehart [Road]? Dombrowski Mmmhm. Yeah. Stinecipher Yeah. Because one of our church members was—that was his funeral home. Dombrowski Uh, it sounds from your book like you exhaustively researched everything. Stinecipher Yes. People keep asking, “Are you going to add to the book?” “No way.” It’s a lot of work. Dombrowski Yeah, I bet. Um, did you, uh, let’s see. Were there any big personalities in the church? Or people that you wrote about in your book? Stories that you could tell me about people or families in the church? Stinecipher We had a pastor there, Dr. Debbie[?] P. Brooks, who was there for 33 years. He was very influential. Wonderful person. He came, I think, in ’29 and retired in ’62. The—oh, Reverend [George] Hyman, of course. That was way before my time, but he’s the one that was pastor when they built the brick church. And from what I heard, he had a vision as to how it should be built. And the first—the front part was to be the Sunday school, and that was to be to educate the people, and so forth, and bring them close to God. Then that would lead them into the sanctuary, which was the second part. Something like that. And it was built. He was there for the first part, and then he had to go off to war—World War I—as a chaplain. He came back and they built the second part. And then he thought that the church would be more in the community with programs and so on for the community, and he called it the “Baptist Temple.” They didn’t ever change the name. Incorporation papers for the First Baptist Church, on the front of the church it says, ‘Old Baptist Temple,’ and some of our pictures have that on there. And he was having various speakers and things come in, in addition to the regular church. Soon as they left, they had a meeting, and everything came down. There was more to it than that, you can see it in the book, because it was mainly his deal. Dombrowski Okay. Yeah. Those were about all the general questions that I have. Is there anything that you’d like to talk about that we haven’t yet? Any, you know, special memories that you have that you’d like to share or keep in audio? Stinecipher I could tell you about a club we had. Dombrowski Okay. Cool. Stinecipher You know, I wrote for The Sanford Herald. Dombrowski Oh, I didn’t know that. Stinecipher Yes. Well, in high school I wrote The Celery Crate. That was our youth group, the teen group. We met second floor of old City Hall. We had pool tables, ping pong, all kind of board games, and card games, and things like that. The space had originally been an auditorium, so there was a stage up there. Occasionally, we’d have various programs. The Celery Crate committee would plan the parties. We’d have about three or four parties a year—square dances and things like that—but we were open every Saturday night during school, just to go up and have fun. The PTA [Parent-Teacher Association] sponsored it. My mother was one of the sponsors. My mother and dad were always chaperones. So that was a lot of fun. But then I wrote that column. That was a freebie. Then there was The Herald also had a Seminole High column. A student would write that. And so I said, “Well, since I’m writing this…” I applied for that, and did that for my senior year. Got paid ten cents an inch. When I was in college, for one year, I wrote—what was it called? Oh goodness, can’t believe what it was called right now. But anyway, I wrote it one year at Stetson about Seminole High students off at college. I talked to a lot of parents, because I came home quite a bit. In 1994, I started writing “The Way We Were” column. I wrote that until July of [20]07, when the owner of the paper fired me—fired my column. And also, he also took away the Sanford column—you know, social news. And then when we got the new publisher, and I was writing extra things, like the class reunions, high school class reunions, Historical Society [of Central Florida] news, anniversaries. I wrote a couple of weddings. But the new publisher said he’s not printing any of that and he didn’t need me anymore. And that was just about a year and a half ago. Let’s go back to the club. Dombrowski Okay. Stinecipher We were in fifth grade. And this girl, Joanie Saunders—moved here from I think Bradenton—and was in Miss McNab’s room where us girls were who had grown up in Sanford. There was a magazine at the time, called Polly Pigtails, and they encouraged people to form Polly Pigtail clubs. So Joanie came in, and I guess probably because she was new, and wanted new friends—I don’t know—she got us together and we formed a Polly Pigtail club. All the girls that were in there were in Ms. McNab’s room. All of us. Several of us had grown up together and been good friends. Then, through the years—sixth grade we added some people, went to junior high, we added some more, some people dropped out for various reasons, and we’d add some more. And we’d meet every other Tuesday afternoons at member’s homes. We had parties. We had dues of ten cents a week. We made candy sales. We’d make about eight or ten dollars at a time. When we got in the eighth grade, we decided we wanted to go to the beach for a week. So we had to have more candy sales! And we did. We started—we rented this house over in New Smyrna [Beach], Sandy Shack, and went over for a week in August. Our parents were chaperones. We went to the beach every summer for a week through our senior year. Our senior year, after we graduated, we went to Daytona [Beach] and had this house right smack dab on the beach. It had been a restaurant, and it had three bathrooms, which was great, because the other one only had one. And we’d had this all the way through school, ‘til we graduated high school. So we were all very close. We started out with friends that were friends anyway, and we added some of the others. Two of the girls got married, and of course, we couldn’t let them—our mothers wouldn’t let them stay in the club. So it was a lot of really, really, really good. A lot of us still keep in contact. We’ve lost a couple to deaths and most of us are still around. Still good friends. Dombrowski That’s wonderful. Stinecipher It really was. Dombrowski It sounds like the community was really close. Stinecipher I just wrote it again, or re-wrote it, for the Seminole High magazine that comes out every year. Well, they were having some articles in there about the beach, because New Smyrna—we always went to New Smyrna all the time, stayed over there on weekends and daytrips. A lot of people were writing memories about New Smyrna, about the beach, so I asked if I could write about our beach parties over there, so I did. Because we had some experiences. It was fun. Dombrowski Do you want to tell us what kind of experiences happened over there? What did you guys do? You went to the beach? Was there much around New Smyrna to go and do too? Stinecipher No. Just the beach. Well, the Sandy Shack was—oh, right in the—it was in the zone where the lifeguards weren’t. But our chaperones would make us go up further on the beach where we could go. Well, of course, we’d go camp right by the lifeguard tower. Think we were hot stuff. The first year we were there, we were just out of the eighth grade, we went to the lifeguard dance. Thirteen-fourteen-year-old girls sat over in a corner. And of course, the lifeguards were much older than we were. They were high school and college kids, mostly college, I think. And I remember sitting there—canasta was a big deal back then. I remember Tricia saying, “We should have brought our canasta cards.” Because everyone’s out there dancing, and here we were. Then the head of the lifeguards, Joe Canard, came up and asked Jeanette to dance. She didn’t know how to dance! She was out there doing the best she could, so she was our heroine of the night. We did have a couple of Sanford boys that were there that came and rescued us, and once we had, a couple years later we met some of the New Smyrna boys. They were more our age. And we had a bonfire on the beach with hotdogs—I guess, I don’t remember—and invited the boys that we knew. And some of the fellows that usually stayed at the beach with their families. They were over there. We asked them to come. There are all these people showed up at our bonfire. All these cars, all these people. Our chaperones got kind of upset. Finally, after a while, they came and shooed the others away, because we got a little scared too. Yeah. We met the local fellas from over there, and we dated some of them. When there were football games, or any kind of sport, we always played New Smyrna and whatever. So we’d always go to the games, and they’d come over, and we’d see the New Smyrna boys. That was a big deal. And so forth. That was fun. One time, a couple boys from Sanford came over, and said, “Let’s go to the drugstore.” And so the whole bunch of us—I think there were six or eight of us—the whole bunch of us jumped in the backseat and went down to the drugstore. And after that, one of the fellas said, “Where do you want to go?” “Let’s go to Daytona.” We took off to Daytona and went to the boardwalk. Of course, didn’t tell our chaperones, we just went. Didn’t get home until, oh, late. So they were furious. We had to wash the dishes, I think, for the rest of the week or something like that. Dombrowski But it was worth it? Stinecipher Oh, yeah. It was fun. We had fun. Dombrowski Well, those are all of my questions. Is there anything else you’d like to mention? Stinecipher Hm. Dombrowski You, Sanford history, teaching? Anything. Stinecipher I don’t know, but we could talk about my parents. Dombrowski Okay. Okay. Stinecipher They met at Piedmont College, in [Demorest,] Georgia. My mother went up—she was a Congregationalist, and that was a Congregational school. And my dad was from Tennessee and his sisters—one of his sisters was teaching there. He was the youngest—next-to-youngest—of a family of ten. So he and his brother decided to go down to Piedmont College. And they met there. And Mother just stayed for two years. You could teach after two years then. Then Dad graduated in [19]25. He sang in a quartet—a male quartet—that traveled with, uh, advertising the college all up into the eastern states. That was something for him—all of them—especially for my dad and his brother, because they had never been anywhere. I’ve got his diaries at home telling about their experiences, staying at home, staying in hotels, and YMCAs [Young Men’s Christian Association], and all this. And singing, mostly in churches. And all like that. And they traveled for one year after he graduated. He graduated ’25. They traveled for one year. And they had been traveling in the summers or before that. And so, in the fall of ’26, he came to Sanford and got a job at Chase & Company. Stayed there for 40 years, became head of the Building Material Department. And he and Mother got married on July 6, 1927. Dombrowski Did you have any brothers and sisters? Stinecipher No. I was an only child. They waited nine years before I was born. Dombrowski Oh, wow. Okay. Those are my questions. Thank you! Stinecipher Okay. Dombrowski Thank you for your time. Stinecipher Oh, you’re welcome. <div> <div> <a title="">[1]</a> All Souls Catholic Church. </div> </div> Andrew Joseph Bracken Angels' Eat Shack Baptist Church Baptist Training Union Baptists beach beaches Bill Stemper BTU Central Baptist Church Chance Chance Education Building church churches Crooms Academy of Information Technology Crooms High School Debbie P. Brooks Demorest, Georgia desegregation Diana Dombrowski Downton Sanford Edgar Cooper education educators Elder Springs Baptist Church Fernald-Laughton Memorial Hospital First Baptist Church of Sanford Freedom of Choice George Hyman Girl Scouts Gladys Stemper Grace Marie Stinecipher Henton historians Historical Society of Central Florida integration Jack Stemper Joe Canard journalists Lake Silver Elementary School Marie Stemper McColonel's Drugstore missions Museum of Seminole County History NAS Sanford Naval Air Station Sanford New Smyrna Beach North Park Baptist Church Oak Lawn Baptist Church Old Baptist Temple orlando Piedmont College Pig 'n Whistle Pinecrest Baptist Church Polly Pigtails Preston's Drugstore Robert Anderson Sandy Shack Sanford Seminole High School Southern Baptists Southside Baptist Church Stuart Gadshaw Sunday schools teachers The Celery Crate The Florida Baptist Witness The Sanford Herald The Way We Were U.S. Navy Victory Baptist Church Walt Disney World Resort Westview Baptist Church Winter Park https://richesmi.cah.ucf.edu/omeka/files/original/dac3e983596d523356a270dec6716ae8.pdf 6d5497eb7b17fb887d2f6c59eee9cd5c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Bette Skates, 2010 Alternative Title Oral History, Skates Subject Sanford (Fla.) Churches--Florida Description An oral history of Bette Skates, conducted by Austin Smith on July 14, 2010. As the historian of the Holy Cross Episcopal Church in Sanford, Florida, Skates discusses the history of the church and other churches in Sanford, missionaries at Mellonville and Camp Monroe, the founding of the City of Sanford by Henry Shelton Sanford (1823-1891), and how the church and the city has changed over time. The interview also includes commentary from Alicia Clarke, curator of the Sanford Museum, and Grace Marie Stinecipher (b. 1936), historian of the First Baptist Church of Sanford. Table Of Contents 0:00:00 Introduction 0:01:22 Fire and rebuilding the Holy Cross Episcopal Church 0:09:20 First United Methodist Church and the First Baptist Church 0:13:31 Missionaries at Mellonville and Camp Monroe 0:16:54 Henry Shelton Sanford and the founding of the City of Sanford 0:18:34 Other churches in Sanford 0:25:00 How the congregation and the community has changed over time 0:31:28 Interesting church figures 0:34:49 Skates' personal background 0:36:49 How Sanford has changed over time 0:41:51 Crime in Sanford 0:42:27 RECORDINGS CUTS OFF 0:42:28 Crime, migrant labor, and desegregation 0:48:24 Events in Sanford 0:50:07 Closing remarks Abstract Oral history interview of Bette Skates. Interview conducted by Austin Smith at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Type Sound Source Skates, Bette. Interviewed by Austin Smith. July 14, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Coverage Holy Cross Episcopal Church, Sanford, Florida First United Methodist Church, Sanford, Florida First Baptist Church, Sanford, Florida All Souls Catholic Church Historic Chapel, Sanford, Florida All Souls Catholic Church, Sanford, Florida's Belair Grove, Lake Mary, Florida St. Gertrude's Grove, Sanford Florida Creator Skates, Bette Smith, Austin Contributor Clarke, Alicia Stinecipher, Grace Marie Date Created 2010-07-14 Date Modified 2014-09-30 Date Copyrighted 2010-07-14 Format audio/wav application/pdf Extent 510 MB 180 KB Medium 50-minute and 33-second audio recording 22-page typed transcript Language eng Mediator History Teacher Economics Teacher Provenance Originally created by Bette Skates and Austin Smith. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference "<a href="http://www.sanfordholycrossepiscopal.com/about-us.html" target="_blank">Holy Cross Episcopal Church est. 1873</a>." Holy Cross Episcopal Church. http://www.sanfordholycrossepiscopal.com/about-us.html. Stinecipher, Grace Marie. <a href="http://www.worldcat.org/oclc/10878290" target="_blank">A History of the First Baptist Church, Sanford, Florida, 1884-1984</a>. Baltimore: Gateway Press, 1984. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Click to View (Movie, Podcast, or Website) <a href="http://youtu.be/76HKSRgbVcY" target="_blank">Oral History of Bette Skates</a> Transcript Skates I’ll tell you what, if you would like to do this—I just live up the street, we could go to my house. I’ve got my printer there. Do you want pictures? Smith Yeah. we can get those. That’s something that we don’t even have to get today, that’s something we can get whenever you’d like. Skates What I can do is I can copy pictures of the first and second [Holy Cross Episcopal] church and, of course, the picture of the now church for the now thing, which is interesting. The way those buildings evolved tells a lot about the financial business of Sanford too, because during the very lean years nothing was done. But each time the church was destroyed it was replaced within a couple of years. And when you consider that for 19—the first church was built in 1873, and it was destroyed in 1880 and rebuilt. I think 1882 it was consecrated again. So that would be just a couple of years. And there was no money, they couldn’t even afford to hire a priest. If I go too fast, stop me. Smith No. No problem. That’s the good thing about this. Skates So that was—I’m trying to think. So the rebuilt church from the storm, rebuilt in 1880, in 1923 it burned to the ground—everything that was in it. We saved a few—they saved a few things, and we have records of those things still now in the building. Smith Do they know what ‘Caused the fire? Skates The fact—they think it was started—I’m trying to be succinct here. In the 1920—late 1800s till the 1920s—they used those buildings for a community center for the whole city of Sanford, because it was the only institution that could do that. There was no YMCA [Young Men’s Christian Association] or that sort of thing. And it was for the young men of Sanford. They came there in those years—let’s see 1918—it would have been the 1900s to 1920. I didn’t say that right, but anyway—they had a—what did they call it? They had a moving picture machine, and they had a bowling alley. They had a library they were going to build on just before the fire. They were getting ready to build a basketball gym. I’m trying to use the words they used but I can’t remember them all, but that never happened. So when the churched burned in 1923, it was a disaster for the whole city because of the way everybody used that facility. They had a moving picture theater, but they also had a[sic] galas and theatrical plays and things like that. They must have been really a hubbub for the city it was neat. So where do I want to go from here? Smith Really just—at that time in 1923, that church that had burned down, that wasn’t located at the present location? Skates Uh huh. That’s the property that General [Henry Shelton] Sanford gave—probably that whole block—but then he donated the Methodist church property to them. That’s on that same block. And then there were several private homes there, but—what was I going to tell you—how the church burned. The church was facing Park Avenue like it is now. And right behind it—where our parish hall is now—was a rectory, a two-story building for the priest and his mother. And right behind that was a parish hall, and right beyond that, on Magnolia [Avenue], was a private home. So when the priest—and the description is in the newspaper—a great description. I have copies of that too if you really want to go into detail. The priest said he awoke in the morning and he saw a bright light, and he thought the sun was coming up. And when he looked again, he realized it wasn’t the sun. It was a fire. The church was on fire, or the outbuildings probably first. He got his mother out, tried to save some of his books, but he had a very extensive library in his home and lost most of it. He ran to the church and tried to save his vestments. I don’t know how successful he was at that. The fire department came, but when they put the hoses on the hydrant there was no water pressure. Smith Oh, wow. Skates So there was nothing they could do. All the buildings burned, including the house that was back there on Magnolia too. The man who lived in the house—Alicia [Clarke], I put your papers underneath—no. Alicia, underneath—right there. I tried to put them someplace where they wouldn’t… Clarke Thank you so much. [inaudible] Skates [laughs] Yeah. Sorry. Where was I? Oh, um. So when they, um, couldn’t get any—also the man that owned the house got his water hose out—his garden —and he tried to wet his hose down, he had no water pressure. So after the smoke cleared and all the finger pointing started, it was determined that it was the City [of Sanford]’s fault, because of the water pressure. The mayor of the city at that time was Forrest Lake, which you’ve heard that name before. After many meetings—and I guess different kinds of haggling with the insurance company and the City—they also had several attorneys in the congregation. That helps. But they had the insurance money, and I think they got something like $30,000 from the City to replace the building. So after all of that, by 1924, they had started work on the new building. And by 1925 they had—I don’t think it was consecrated, because I don’t think it was paid for. I’d have to look that up, but that’s the story of the fire. And of course, that just took out that whole Fourth Street side of Magnolia and Park Avenue—those blocks. Let’s see, what else… Smith And you said it got rebuilt in [19]24? Skates ‘24. I think actually it was in ‘24—‘25. Smith I think it’s raining. Skates Yeah. It’s going to rain. It’s one thing you can be sure of. Smith And then did the church take on all those old roles as a community center and all those things again? Skates No. They didn’t, because they didn’t have room at the time. They built the building that’s there now, but they lost all that community that they had with the young men. We didn’t have a parish house until 1926. What’s there now was built in 1926. Of course, it was a matter of money, and keeping a priest too. Because with no money, that was difficult. Those were boom times though back when we got into the later ‘20s, as I recall. So they could finally call a priest and have one that was there. I list—I have a Holy Cross folder and I have a Historical Society folder, so I don’t have that one with me. That was an interesting time, so what’s there now, that takes care of that hunk of Sanford. I mean if you’re going to do one hunk, there you go you’ve got that. Let me see, what else could we—where could we go with that? Smith When did the—there is Methodist church directly next door… Skates Next door to us. It’s First United Methodist Church [of Sanford]. Smith And when was that building built? Skates It was in the ‘20s. I don’t remember the year exactly. The First Baptist Church [of Sanford]—Grace Marie [Stinecipher] could tell you exactly when—when the brick building—that was another very old building, but not the—the brick building is the old church, Grace Marie? Stinecipher Yeah? Skates When was the Baptist—when was the brick building built? Stinecipher One time in 1914. The other time in 1920. Skates 1914? Stinecipher Yes. It was built in two parts. Skates Oh, it was. I didn’t know that. This is Grace Marie Stinecipher. She’s the historian at First Baptist—I was going to say Holy Baptist [laughs]. This is Austin [Smith]. She’s another former teacher. Go head tell him about the Baptists, because we’ve been talking about that block. Because that’s going to give him a block and he can deal with that whole block. Well, no. The two blocks. I’m sorry you’re not Methodist. You’re Baptist. We’ll have to find a Methodist. Stinecipher It was built under Reverend Harman who was here, and he went off—they built the front part, which was the Sunday school part. Skates Oh. Those two side parts? Stinecipher The front part of the building is a Sunday school and it has four Sunday school rooms in the back and it has three floors. Skates Oh. So that’s when the chapel—I mean the auditorium… Stinecipher And then in 1920 they added on the auditorium. He [Harman] went off to war—this is 1914. It may have been finished in ’15. We’re not really sure. And he went off to war as a chaplain, and then came back. And then they built the other part. Skates What did they do without a minister? Did they have somebody fill in? Stinecipher Yeah. Skates The next—was Reverend Brooks the next one that came? Stinecipher No. Skates He wasn’t for a while yet. Stinecipher He came in ‘29. Skates ‘Cause they had one minister there that was there for 50 years. Stinecipher No, no, no. 33. Skates Excuse me. You see, I better stick to what I know. [laughs] Didn’t he live in that house by me for 50 years? Stinecipher Yes—no. Skates 33? Stinecipher Yeah. I guess so. Skates I guess I’m giving out bum information. When was that house built? Do you know? Stinecipher It’s probably in my book, but Alicia can’t find it here. Skates Grace Marie wrote a book. A real book with covers on it. Stinecipher And I won’t do another one. They keep asking me. Skates Bring it up to date. That was—well, that house next door was built in 1923, because it was built a year before my house I think. Stinecipher The one—our building? Skates Your building. The rectory. Stinecipher I’m sure it’s in the book, but I can’t remember. Skates Well, I wish I’d bought that book before they got away from us. You know anybody we could borrow one from? Stinecipher I’ve got some at home, but it keeps looking like she lost this one here. Smith What’s the title of your book? Stinecipher [A] History of First Baptist Church, Sanford Florida, 1884-1984. Skates Well, so it was—but you didn’t have a building in [18]84? Stinecipher One was built by the end of the—I think, by at least early 1885. A wooden building. Skates Was it? ‘Cause if Holy Cross was built in [18]73, we’re only 10 years older than you. Stinecipher You were organized in 1890? Skates That first church was built in 1873. Actually, the missionaries down here on Mellonville Avenue when Mellonville was the city of Mellonville was here. That’s another area that might be interesting to you. Smith If you can talk about it that would be great. Skates I can’t talk about it. I don’t know enough about Mellonville. [laughs] It was just a strip of buildings where the fort was, what is now called Fort Melon, but in those days it was called… Stinecipher Monroe. Camp Monroe. Skates Monroe. There you go. It was Camp Monroe. And you have to say it that way too, you can’t say “Monroe,” you have to say “Monroe.” [laughs] But we could find information on it that won’t be so bad. Smith But Holy Cross was, in addition to being set up by [General] Sanford—also those missionaries from Mellonville that came over. Skates Yes. The first priest there’s name was Holeman, and he was the “missionary at large” is what they called him. And he also came and started the church along with General Sanford—Henry Sanford. There was another guy too. I can’t think of his name right now. I’ll have to look at my notes at home. I would say the city of Mellonville was probably only about two blocks long—and Alicia could probably tell you more about that than I can. Clarke Yeah. We have a file on Mellonville. We have a lot about it. That’s a little before Bette’s time though. [laughs] Skates Yeah. A little before my time. That was back when the Indians were still… Clarke [laughs] If someone’s asking you about Mellonville, it’s time you’d died. Skates [laughs] It’s time I put the cane away and dyed my hair, huh? Oh, dear. Um, so that was, um—but he was up and down. Those Episcopal—I’m sure the other church too, but I don’t know about those. But the missionaries were sent here from places like Connecticut and New York, and places like that. When they came here they didn’t know whether they were going to get shot by an Indian or eaten by an alligator, or killed by a mosquito bite, because it was a pretty wild place. I read some of the diocesan records of the Episcopal priests and how they tried to get their little boats across Halifax River with sails on them. Of course, you can’t sail very well on a river. And what they went through—the thunderstorms would come and they’d get down and pull the sail over their heads and sleep in the boat all night. Tales that you read and you think, And they stayed? Why didn’t they all just say “goodbye!” But I guess God was stronger than the weather. Skates Alright. Let’s see what else—where do we want to go here? I’m trying to think if there’s anything else. But I do think that Holy Cross, and because of Henry Sanford, was instrumental in building the beginnings for Sanford. Henry Sanford also had his orange groves, and that’s what helped the area become agricultural; because of his orange groves. His first orange grove was down on the lakefront over here. He called that Street Gertrude [Grove]. Clarke Once again, you’re getting off in territory where we can look that up. Skates Yeah. I’m getting out of my—when I get away from Holy Cross, I’m kind of lost. [laughs] But that was one of his first groves and then he had his big grove—and I guess the one that was really productive—was out at Belair [Grove], which was where Chase Groves [Condominium] housing development is now. That might be an interesting thing for you to—that’s not an old development, but the Chase family had finally died out and they sold all their property, or it’s in the process I guess of being sold. But where Henry Sanford actually put down his citrus grove—Henry Sanford didn’t spend a lot of time in Sanford. He spent a lot of time writing letters telling other people how to do things, but—what else? Clarke I’m just trying to figure out where Grace Marie’s book went. Skates Well, I wish you could find it, because I’d like it… Clarke I’d heard her mention it, and we can’t figure out where it went. Smith How would you say—the congregation, in those early days—what was the general make-up? Because obviously Sanford himself was Episcopal, but very early on you had a Catholic church in the area, and a Methodist Church in the area. Skates Yes. And Baptist. Smith It seems so soon off even in 18… Skates In the 1880s-90s. Smith There were already three or four churches in the area. Skates But remember, this is right after the Civil War. So a lot of these people that were coming south were looking to make their fortunes. And I hesitate to call them carpetbaggers, because that’s very unkind. But a lot of men—that’s when [Henry B.] Plant came. That’s when [Henry] Flagler came. So there were a lot of northerners coming down trying to make their fortune. Clarke May I ask a question? ‘Cause I know the early churches were in Fort Reed and Mellonville—so I know the congregation started there, but is Holy Cross the first Episcopal church? Skates The first Episcopal church. Clarke There wasn’t one in Fort Reed or Mellonville, was there? Skates No, but the missionaries were in Mellonville. Reverend Holeman and… Clarke So they just didn’t have a church. But before Henry Sanford arrived, there were people from the Episcopal church looking around? Skates Right. There were missionaries. Clarke And are any of those churches over around Enterprise or down Altamonte [Springs] earlier? Skates Near Enterprise—there’s an Episcopal church in Enterprise, and it’s an original. It would be worth the drive over there to see it. Clarke But were those earlier than over here, because I thought that this was the mother church. Skates You know, I don’t remember. It’s the mother church of Central Florida. Clarke But we don’t necessarily know if it’s the oldest Episcopal congregation. Skates Well, we don’t know. I don’t think there was one in Fort Reed. Clarke That’s why I was asking, because the Methodists and the Presbyterians were in Fort Reed. There’s older—there’s a much older—the congregations that are in the big churches on Park Avenue are older than Sanford. Because they started—like our Masonic Lodge started—in Mellonville, so it’s older than Sanford. But that’s why I’ve never thought to ask you. I’d never heard about Episcopalians meeting in a house or anything else anywhere. Skates I never heard that either, but they did meet in Mellonville. Clarke But as far as you know the Sanfords are the ones who started. But when you were looking through Lyman Phelps letters, was there already Episcopalians drifting around looking for a church before Mrs. [Gertrude Dupuy] Sanford started it? Or was she hoping people would become Episcopalians? Skates Yeah. Well, because so many of their friends from the North, and that’s where the money came from to build the church both times, Mrs. Sanford wrote to her friends in the North… Clarke I had never thought about that. When we were going through things—there would have already been some people that she met with and said, “Let’s build a church.” So we don’t know if there was a minister here, or a priest or—when did they come? Skates We know that Reverend Holeman was here… Clarke Did he come before the church? Skates Oh, yeah. Clarke I never thought to ask you that. Was there a congregation before there was a building? Skates But he was here, and so was the Bishop of Florida—made some trips with him. And I have some diocesan records of that, which I need to look this up, because I don’t know that. Clarke I just never thought about it that way. We know some of the congregations—the people—are older than the building we’re looking at, or the city. So depending on what you’re talking about Episcopalians. Skates Sanford never had anything to do with Holeman and the other guy—I can’t remember his name—coming here. I don’t think. Clarke I don’t know. That’s why I thought maybe you’d run across that in something. So you’ve never seen anything? Skates No. Clarke There was somebody in your congregation—somebody that was already here—and said to Mrs. Sanford, “We need a church.” Mrs. Sanford thought, We need a church. SkatesThe reason Lyman Phelps came, which was a little bit later than this, was because Sanford asked him to come from Connecticut, but he also—the man also was a botanist and he was an Episcopal priest. Clarke So there might still be a little mystery as to how exactly they got started with the Episcopal congregation. Skates Yeah. Well, now you give us something else to think about. Clarke I know the church, but I never thought about that. Skates I never either. Clarke We spent all this time worrying about church number one, two, and three, but not whether or not there were already some Episcopalians or a priest here who needed a church. I always assumed they didn’t have a church, they didn’t have a congregation. Skates They met in Mellonville. I do have—I have seen that line some place. But then why Sanford—I think the Sanfords wanted the—and you tell me if I’m wrong—Henry and his wife were very aristocratic. Clarke A social thing. Yeah. Skates I mean, they were really very important people. After being—what was he given? I want to say a legation, but he’s not a legation. He was a… Clarke A diplomat. Skates Well, I don’t see that word as often. Clarke He was a Minister Resident. Which most people go, “What?” Skates But he was in Belgium for many years. And when he married, he was in his 40s. So when they came here, they were used to living in luxury in this little castle-looking house. Clarke And for some reason the church is an important thing that was supposed to be here. Skates And that also elevated your prestige too. I’m making this up. Clarke That’s what I’ve assumed from what you’ve found is that this was more than just “Oh, we’re church people.” It’s a social station. “We have to found a church.” Skates Yeah. Clarke Because Episcopalians would have been the… Skates The upper crust. Right. So that’s what I think—I think that’s what he was aiming at. Thinking that this was a big time, but it was not [laughs]. I mean, when you get here and you see the hardships and the way the people lived, he lived very differently. And I’m sure Mrs. Sanford probably didn’t spend 15 minutes in Sanford if she could get a steamboat out. Do you have the Mellonville history there? Clarke I was just curious… Skates No. Alright. Okay. Well, I’m rambling. How are you ever going to tie this together? Smith No, no. Clarke If there’s anything that you all talk about if you just need the founding of a church or something, something comes up, just make a note of it and we can pull the files. Skates Alright, because I’ll research some of this church business if you want to go further than this. Smith Sure. How would you say that the congregation has changed over the years—or even that the community as a whole—has changed over the years. Skates Well, I think that what we have at Holy Cross today is a middle-aged, and I think this is true of most large churches today—city churches especially. Because you’re not going to have as many young people. Though we do have young people, as many as they probably do out at Street Luke’s Lutheran Church out there by I[nterstate Highway]-4, near Heathrow, or some of those other churches. But it’s a stable church. We’re stable. It’s a beautiful building if you—if aesthetics helps you worship, then it certainly is lovely and also the Episcopal service is very different from any other church in town. We have the Holy Eucharist every Sunday, a processional, and a beautiful choir and a fantastic organ. It’s very—people say, “Is it a high church?” No. It’s not. Not in Florida. It’s not a high church. It’s a very formal church, but comfortable. It’s—that’s just one person’s opinion. Smith How has—I guess the church itself changed over the years, or different things that it has had to go through over the years? Clarke You mean the building? Smith Whether the—well aside from having… Skates Fires and storms. Smith Endured fires and storms, just any particular stories about things within the church or—that would be interesting you think? Skates Well, right now, I’m working on a memorial for the soldiers from World War II. We have, we found a large plaque with parchment inside of it—it’s not a plaque. It’s a picture with a parchment inside. It’s beautifully illustrated. Where they got this I can’t imagine. Honoring—we had 70 members from Holy Cross that were in World War II. And we—by oral tradition, all the alter furniture that we have right now was donated as a memorial to the World War II veterans. But here’s the catch: we don’t have it in writing. We don’t know that. Nobody knows that for sure, and I’m working on that—running that one down. But I did have the plaque reframed and put acid-free paper in it and everything, so it will be better preserved, and so we’re going to hang that by the pulpit. But we have a lovely—our furniture is wooden. It’s really beautiful. it’s really beautiful furniture. During the wartime, everything in Sanford was booming. We had the Navy base [Naval Air Station (NAS) Sanford] out here. Did I tell you this before? I just told someone the other day. We had a—oh, I guess Dianna [Dombrowski]. There was a big boom and so we had a large congregation, a lot of the Navy families came to Holy Cross and brought their children. Then when the base closed at the end of World War II, then when [the] Korea[n War] started up, they reactivated the base and so that’s when we had another huge influx. I have pictures of our Sunday school children all lined up all the way down the sidewalk of the church—is how active everyone was. I guess in wartime people do go to church more maybe. I’m not sure [laughs]. So that was—so of course, we had a large congregation, then after Korea, and after they closed the base permanently. Then of course, the congregation fell off, and I think the City of Sanford went through some doldrums there for a while. The houses in the historic district, which is between First Street and Thirteenth Street from Sanford Avenue to French Avenue—is the historic district, where a lot of those houses were really run-down, but then we got another shot in the arm coming about in the ‘70s-‘80s, where[sic] people started—where[sic] people started buying those old houses and realizing the value in an old house, and it was—it became trendy to buy an old house and renovate it. People coming from Orlando—and they couldn’t afford Winter Park—and Downtown Orlando. They were coming to Sanford where they were much more reasonable. So we had a lot of that at that time. But Holy Cross has held its—I don’t know what our membership is. I really don’t. I don’t even think I can guess. We have a hundred—maybe a 150—on church each Sunday, but we have many more than that, I’m sure. That was an interesting period the ‘70s and the ‘80s. The people were coming and buying these old houses, and then we had the [Sanford] Historic Trust—now that’s another interesting group that might give you some insights. I don’t belong to the Trust, but they have a very active membership and they—I think they’ve done a lot toward getting people to repair their old homes, and of course, they set up a few little rules and regulations that nobody likes, but you know that’s the way it is with that sort of thing. Um, I don’t know. You’ll have to ask me a question. I’m kind of… Smith No problem. Are there any—would you say, big personalities, that you can think of, that have been connected with the church that maybe there are some interesting stories about? Skates Some interesting person from the church [laughs]. The only interesting person I think about in Bishop Whipple. [laughs] But he wasn’t from Florida. Clarke What about somebody from within your memory? Skates Well, I don’t know… Clarke You spend too much time before your memory. Skates I’m just lost in history. Clarke Yeah, but about things that you remember. Skates In my life—I’m trying to—we’ve had a lot of very interesting people… Clarke I guess the question was: who was[sic] the interesting people? Smith Just some interesting personalities. Clarke I—the church—I mean you’ve got the Chase family. Skates Well, the Chase family obviously. I guess we should. Clarke He doesn’t know that. Skates Well, he doesn’t know that [laughs]. The Chase family—actually Alicia’s the history… Clarke No. No, it’s—the thing is: from an outside observer—from when you’ve talked about in—I mean, it’s probably oversimplifying to say that they were sort of the aristocratic. But it does tend to be the Sanfords built the church, and then were they [the Chase family] —the major benefactors afterward? Skates Well, what happened over the years was… Clarke What was their role in the church in your lifetime? Who were the major benefactors? Or the major players in the church? Skates I think any time anything was needed for the church, they went to the Chase family. Clarke That’s something I always found interesting. Before your time it would have been the Sanfords, but… Skates See, when Henry Sanford died, his wife was trying to get some money to live on, because she didn’t have much, because he was pretty free with his money. But finally his son ended up selling Chase his—Henry Sanford’s—grove, Belair, to the Chase family for $5,000—500? Oh, that’s an interesting story. Clarke That’s another story. Skates The Chase brothers [Sydney Octavius Chase, Sr. and Joshua Coffin Chase] came from—where did they come from? Clarke That’s another story. Skates I’m back. I’m out of my element again. Clarke Well, what do you know about them? Skates The first group of Chases, then second group. I know the second group, because Julia Chase was the last one that died that was living out there at Belair. But she was just the Grand Dam. She was just lovely. Just one of those women that, when you look at her you, just know that she’s not just anybody. Clarke Mrs. Randall [Chase, Sr.]. Skates Yes. Mrs. Randall Chase, and she was a lovely lady, but—and her family—none of her children live here, so we don’t have a Chase in our church. But when Julia died a few years ago, she had her son who was a priest, he did the… Stinecipher Randall [Chase, Jr.]. Skates Randall. Yeah. See these people I’m not that familiar with them, because I haven’t—wasn’t there when they were there. Then she has a daughter who’s also involved in the Episcopal church up—someplace up north. Was it just the two children? Clarke No. There’s three. There’s Josh [Chase], Ran [Chase], and Laura [Chase]. You didn’t know any of them. Skates I didn’t know any of them, no. I’ve met the daughter several times when she’s been at church, but… Clarke Who were the leaders of the altar guild and things like? What groups were you in? I don’t mean to ask questions for Austin, but I think you’re thinking so much in your historian hat. You’re not thinking that you’ve been in the church… Skates 39 years. Well, since 1969. Whatever that is. Clarke So you didn’t grow up in that church. Skates But I didn’t grow up in that church. No. I’m not a cradle Episcopalian, and you know that is not a good thing. Clarke That is news to me. I did not know that. Skates No. I am not. Clarke What church did you defect from? Skates I grew up in a Lutheran church. Clarke Oh. Skates I was confirmed in a Lutheran church. Clarke Here? Skates No. In Philadelphia, before we moved to Florida. Clarke Oh, so that’s why you know… Skates Yeah. Clarke So you only know about the past 39 years. Skates Yeah. Yeah. So that’s what I can—that’s what I can tell you about. And the history… Clarke So you know about 120 years ago and 39 years ago, but nothing in between. Skates But the in-between—I’m sort of—well, actually, I was very busy I was trying to get my education and trying to raise four children, so those are lost years. Smith No. I understand that. Clarke But you’ve been living on Park Avenue… Skates I’ve lived in the same house for 53 years on Park Avenue. Clarke That’s part of what I thought was interesting about Bette. She’s been living downtown. You’re talking about how downtown’s changed. You live in basically walking distance from the church. Skates I always thought that I would walk to church. I never have. Clarke And you’ve lived down there as downtown went downhill, and came back up again. That’s why I was thinking—she’s lived in the same house all this time, right in the middle of downtown. You’re not in the historic district though, are you? Skates Yeah. Clarke You are? Skates It’s to 13th Street. Clarke So she’s been in the historic district before it was there. Skates And also Park Avenue used to be [U.S. Route] 17-92. I think I told you that before, and that was the main street of the town. I don’t know what year it was switched over to French Avenue. And then after French Avenue, they moved—well, 17-92 still is French Avenue, you still have to go around. I’m sorry I have these gaps. Smith No problem. In your time as someone just living in the—so close to downtown—so close to the church—I don’t know if you went into this a lot in the last interview, but how has the area around you, that you’ve seen, changed? Skates It has, because the houses, at least—if you drive up and down those streets of the historic district, basically every house has been occupied and renovated and sold, and occupied and renovated. I mean, there’s a lot of that that’s gone on. It’s interesting to—and I don’t do it on purpose, but sometimes I find myself over on Myrtle [Street] or Elm [Avenue], which are the streets between Park and French Avenue, and I’m always kind of amazed, I think, Oh my gosh! Somebody’s fixed that house up. They’ve done a lot of in filling in Sanford, which is interesting. Lots that were vacant—they built houses on those lots, and the houses look a lot like my house, or other, you know, houses that are already there. So they’ve done a good job. There’s only one house in that district that I could show you that is not of era of the [19]20s-‘30s, even ‘40s. It’s—somebody was doing something in the ‘60s that it’s just one of those real modernistic looking buildings. But—it’s changed, and Sanford probably right now is in a very good place I think, because they have so many of the younger crowd. I don’t really think—I don’t know this to be true—I don’t think we have a lot of churched people in this area. We have the old [All Souls] Catholic Church is right there on Ninth [Street] and Oak [Avenue], but the Catholic school is there. Now they moved the Catholic—they have services now on First Street. It’s the big church. You’ve probably seen out on First Street—a big Spanish church. But the old church there was built early on. Not as early as Holy Cross, but early. Actually, it’s a replacement too, because their first church burned. Because I know when our church burned, they gave us stuff, and when their church burned we gave them stuff, because we have some letters saying thank you for different things we gave them. But then they built the Catholic school over there, which has been a real boon to that church I think. It’s at capacity, I’m sure. It only goes to seventh or eighth grade, then they have to go to Bishop Moore [Catholic High School] in Orlando. But eventually, on their property on [Florida State Road] 46, they’re going to build a whole new church—I mean a whole new school and high school and everything. With the economy with the way it is, who knows when that will happen. We have a convenience store in my neighborhood and my friends—and they’re used to be two or three houses on that property—my friends will say to me, “Bette, how did you let that happen?” I’ll say, “Y’all, I was busy.” When you’re raising a family and doing all those things—I wasn’t out there standing with my picket sign saying, “Down with 7-Eleven.” It was a 7-Eleven. It’s not anymore. Now it’s something—I don’t know what. But, so now they’ve got two filling stations on the corner of Thirteenth Street, which used to be filling stations, and then the convenience store, which is across the street down one block from me, which is not desirable. But since I didn’t get out there and picket them, I don’t know what I can do now. But that’s a danger in a neighborhood of letting those types of buildings in, because that does ruin the family atmosphere of the area. Now, that’s not being snobbish, I’m not saying that, because, you know—it’s[sic] just doesn’t belong there. If that had been a little small grocery store or something maybe—maybe, I’m not even sure about that. But once you bring that element in, then you’ve got a lot of trash and things. But it’s not like that—I mean, it was like that at a time. Every morning, I used to go out and, on my way to school, I would go and pick up the cups, and the paper, and stuff out on my front yard, but I don’t have that anymore, because they seem to be—I don’t know why not, but it’s just not. But that’s not good for a neighborhood. Smith One thing that I’ve heard about Sanford—and some people say that it continues on even today—is that there is a high crime rate in the area, or at least in the past 5-10 years, there had been a much higher crime rate. And that’s the picture—at least certainly as someone that lives over in Orlando and only hears about Sanford—that’s the picture that’s painted. Skates Yeah. And that’s, you know—let me give you my theory on that. And now I have to go back a little bit. [phone rings] I have a new granddaughter and I have to answer my—excuse me. Smith No problem. I can put this on pause. The crime rate in the area and your theory on that. Skates Well, for one thing it annoys me that that’s Sanford’s reputation, because that’s not fair. Because Orlando has its areas that are just as bad. It just doesn’t seem to get as much publicity as Sanford does. Here’s my theory, Sanford—when Henry Sanford—I wonder what my doodles mean. I’ll stop it. When Henry Sanford came here, this was going to be the thriving metropolis—the “Gateway to South Florida. I’m sure he envisioned all kinds of buildings and everybody coming to these stores and buying things and then moving on down south, which for a while it was like that. Of course, a lot of this has to do with fluctuations in the country’s economics too. Seems like things, you know, are up or down—are up or down. The agriculture—citrus was great, but when the citrus was frozen out in 1895 and ‘96—the two back-to-back freezes—and just ruined the citrus crops. And when you’ve got those trees that will have to be taken out and replaced—that was after General Sanford’s time anyway. I think he died in ‘91. So there really wasn’t anything to do, so they started plowing up the fields and we have people in this organization [Sanford Historical Society] that are great on the celery. They started planting celery. Well, so when you get “dirt crops”—I’ll call them, ‘cause I don’t know what else you would call them—when you get crops like celery and cabbage, which is what they grew a lot of those type of crops, you have to have workers. Where do you get the workers? From someplace else, because they didn’t have—well of course, General Sanford had imported his Swedish people, but they weren’t going to do that type of work. So they got a lot of blacks coming down after the Civil War, they got people that would want to do that kind of work. When that happened, it became a migrant thing. The workers work in Sanford all through the harvest season. They would go to Upstate New York to Sodus and Syracuse, and they’d have their—well kind of like—you see the pictures of the people going west. Their cars loaded down and their children—going up north to work the fields up there. So when you have all those migrant workers, they’re not getting paid much of a wage. They don’t have a decent place to live. So areas grew up around Sanford that kind of—I mean the people were poverty-stricken. They—so when you think of poverty, you think of crime as going hand-in-hand. That’s my theory of the reason that we have that and of course, with integration—or I should say with desegregation—it takes time. You can’t say, “Okay. Fine. You can come to my school today and we’ll make you well.” It doesn’t happen that fast. I mean, they’ve got to work the same years that everybody else does. So I think a lot of that was—this is just my theory. I haven’t read this in a book. I feel bad about it, because you feel guilty, because the people who are so distressed. But then you also feel sad that the whole city is tainted with the brush of holding people down, and so they’re angry and so what are they going to do? It’s—I don’t know. Does that work [laughs]? I just—it’s a sad story actually, I think, and it makes me feel bad. And I think when the first child was integrated in the school where my children went to school—her father was a local dentist—a black dentist. Mother—lovely people. And this one little black girl in this whole school of white children—God bless her. She turned out to be a teacher, and she’s done very well for herself, and her mother and father were wonderful people. What she suffered, I don’t know. I’ve never talked to her, but it’d be interesting to know her story. I’d like to think that she didn’t suffer, but then—I don’t know. So I think that when you look at the part—and also when you take and you build like these developments, these housing projects—you’re lumping all these people that are unhappy together. And you’re supposed to be taking care of the houses. Well, sometimes the city, or whoever was in charge—like right now they’re having a big brouhaha about the upkeep of some of the project homes, so you can see what you—but Orlando has the same thing. I imagine every city has the same thing. Maybe Sanford is just more noticeable, because it’s a small town. We have a large population of blacks, but for the most part—at least the people I know—they’re educated. They’re trying to improve their families just like we are. So that’s kind of a sad tale, but that’s just what I think. I’m not sure what the question was [laughs]. Smith Well, I guess then are there any other types of events, either connected to the church or just things that you’ve—and they’ve probably asked you this as well in the last interview, but any types of events—whether connected to the church or not that you experienced—that you remember as big events that stood out in the community or even for yourself? Skates Sanford has a lovely Christmas tour of homes and Holy Cross has been on the tour many years. The people open their homes to the—this is, I think, the first week in December, which is interesting and it’s nice to go through those—the old homes, the renovated homes—but it’s usually Downtown Sanford in the historic district . So that’s always a big thing Sanford has every—well, one Thursday a month, they have Thursday Night Alive. I have only been to two of them, because I just can’t do the walking, but they have wonderful food and drinks and dancing and all kinds of things in the street downtown. It’s a very nice thing. It’d be a nice place to bring a date or something on—I think it’s the third Thursday. Every month they close off the streets, and I think you pay one fee—like five or seven dollars—and then you go around and taste everything. Smith Did they do that last week? Skates Yeah. They did that last week. Smith Because I was down here and they had some streets closed off and I was wondering what was going on. Skates Yeah. That’s what it is. Was that the third Thursday? Smith I don’t know. Skates I don’t know what day it is. But anyway, can you think of anything else, I can’t think of anything that’s too earthshaking. Nothing. We don’t have any Disney-type characters running around on the loose or anything. [laughs] Smith Alright. Skates It’s very nice. No—it’s something to come over and take a look at. A History of the First Baptist Church, Sanford, Florida, 1884-1984 agriculture Alicia Clarke Austin Smith Baptist Church Belair Grove Bette Skates Brooks Camp Monroe celery Chase and Company Chase Groves Condominium Christmas church churches citrus citrus groves City of Sanford congregations crime rates crimes desegregation Downtown Sanford enterprises Episcopal Church fires First Baptist Church First Baptist Church of Sanford First United Methodist Church First United Methodist Church of Sanford Florida State Road 46 Forrest Lake Fort Mellon Fort Reed Fourth Street French Avenue Gateway to South Florida Gertrude Dupuy Gertrude Dupuy Sanford Grace Marie Stinecipher Halifax River Harman Henry B. Plant Henry Bradley Plant Henry Flagler Henry Morrison Flagler Henry Shelton Sanford Holeman Holy Cross Episcopal Church hurricanes integration Josh Chase Joshua Coffin Chase Julia Chase Korean War Lake Mary Laura Chase Lyman Phelps Mellonville memorials Methodist church migrant labor migrant workers missionaries missionary Museum of Seminole County History NAS Sanford Naval Air Station Sanford orange groves race relations Ran Chase Randall Chase, Jr. Randall Chase, Sr. Sanford St. Gertrude Grove Sydney Octavius Chase, Sr. Thursday Night Alive veterans Whipple World War II WWII https://richesmi.cah.ucf.edu/omeka/files/original/41cdd26d528b13716bce4e196199673e.pdf ed9a10b71f3b016a2ce50866e72408fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Sanford Collection Description The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state. Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon. The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869. In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford (1832-1891) purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally. The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development. Alternative Title Sanford Collection Subject Sanford (Fla.) Contributor <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> <a href="http://sanfordhistory.tripod.com/" target="_blank">Sanford Historical Society, Inc.</a> <a href="http://www.sanfordfl.gov/index.aspx?page=108" target="_blank">Sanford Museum</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/44" target="_blank">Seminole County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Sanford, Florida Curator Marra, Katherine Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. "<a href="http://www.sanfordfl.gov/index.aspx?page=48" target="_blank">Sanford: A Brief History</a>." City of Sanford. http://www.sanfordfl.gov/index.aspx?page=48. The Seminole Herald. <a href="http://www.worldcat.org/oclc/52633016" target="_blank">Sanford: Our First 125 Years</a>. [Sanford, FL]: The Herald, 2002. Mills, Jerry W., and F. Blair Reeves. <a href="http://www.worldcat.org/oclc/11338196" target="_blank">A Chronology of the Development of the City of Sanford, Florida: With Major Emphasis on Early Growth</a>, 1975. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/82" target="_blank">Celery Soup: Florida’s Folk Life Play Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank">Churches of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/131" target="_blank">Creative Sanford, Inc. Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/41" target="_blank">Georgetown Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/78" target="_blank">Marie J. Francis Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/101" target="_blank">Sanford Avenue Collection</a>, Georgetown Collection, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/79" target="_blank">Goldsboro Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/116" target="_blank">Henry L. DeForest Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/12" target="_blank">Hotel Forrest Lake Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/14" target="_blank">Ice Houses of Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/42" target="_blank">Milane Theatre Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/13" target="_blank">Naval Air Station Sanford Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/15" target="_blank">Sanford Baseball Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/61" target="_blank">Sanford Cigar Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/10" target="_blank">Sanford Riverfront Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/11" target="_blank">Sanford State Farmers' Market Collection</a>, Sanford Collection, Seminole County Collection, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Bette Skates Alternative Title Oral History, Skates Subject Sanford (Fla.) Teachers--Florida Education--Florida Churches--Florida Description An oal history of Bette Skates, conducted by Diana Dombrowski on July 9, 2010. As the historian of the Holy Cross Episcopal Church in Sanford, Florida, Skates discusses growing up in Sanford, how Sanford has changed over time, her educational and family history, her career as a teacher, school integration, the history and activities of the Holy Cross Episcopal Church, her role as church historian, how education has changed over time, ad Florida's Comprehensive Assessment Test (FCAT). Table Of Contents 0:00:00 Introduction 0:00:47 Growing up in Sanford 0:07:13 How Sanford has changed over time 0:08:47 Mother's beauty shop 0:11:05 Going to college, getting married, and raising a family 0:13:43 Career in education and school integration 0:20:03 Home and family 0:23:07 Church life 0:24:45 History of General Henry Shelton Sanford and the Holy Cross Episcopal Church 0:36:08 Trends in congregational membership 0:37:59 Church involvement in the Sanford community 0:42:08 Church memorials and artifacts 0:49:33 Role as church historian 0:52:40 How education has changed over time 0:56:59 Florida's Comprehensive Assessment Test (FCAT) 1:01:21 Historical events 1:04:51 Children 1:05:47 Schools that Skates taught at 1:09:01 Closing remarks Abstract Oral history interview of Bette Skates. Interview conducted by Diana Dombrowski at the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Type Sound Source Skates, Bette. Interviewed by Diana Dombrowski. July 9, 2010. <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a>, Sanford, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/43" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Coverage St. Gertrude's Grove, Sanford Florida Montezuma Hotel, Sanford, Florida Stetson University, DeLand, Florida Geneva Elementary School, Geneva, Florida Holy Cross Episcopal Church, Sanford, Florida's. Gertrude's Grove, Sanford Florida Belair Grove, Lake Mary, Florida Creator Skates, Bette Dombrowski, Diana Date Created 2010-07-09 Date Modified 2014-10-01 Date Copyrighted 2010-07-09 Format audio/wav application/pdf Extent 702 MB 263 KB Medium 1-hour, 9-minute and 34-second audio recording 27-page typed transcript Language eng Mediator History Teacher Economics Teacher Provenance Originally created Bette Skates and Diana Dombrowski. Rights Holder Copyright to this resource is held by the <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.seminolecountyfl.gov/departments-services/leisure-services/parks-recreation/museum-of-seminole-county-history/" target="_blank">Museum of Seminole County History</a> External Reference "<a href="http://www.sanfordholycrossepiscopal.com/about-us.html" target="_blank">Holy Cross Episcopal Church est. 1873</a>." Holy Cross Episcopal Church. http://www.sanfordholycrossepiscopal.com/about-us.html. Stinecipher, Grace Marie. <a href="http://www.worldcat.org/oclc/10878290" target="_blank">A History of the First Baptist Church, Sanford, Florida, 1884-1984</a>. Baltimore: Gateway Press, 1984. Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Click to View (Movie, Podcast, or Website) <a href="http://youtu.be/CHLpeA7LzOk" target="_blank">Oral History of Bette Skates</a> Transcript Dombrowski This is an interview with Bette Skates, the church historian for Holy Cross Episcopal Church in Sanford. This interview is being conducted on July 8, 2010,<a title="">[1]</a> at the Museum of Seminole County History. Interviewer is Diana Dombrowski, representing the museum for the Historical Society of Central Florida. Skates Good. Dombrowski I just have some basic questions first. Your name is Bette Skates, but where and when were you born? Skates I was born in Philadelphia[, Pennsylvania] in 1933. Dombrowski Oh, wow. What brought your family to Florida? Skates My father’s ill health, which is what brings most people to Florida back in the day. Dombrowski Yeah. That’s true. When did you move here? Did you grow up in Central Florida? Skates I moved to Sanford in 1944. Dombrowski Oh, okay. What was it like? Could you describe it? Was it very big? Was it busy? Skates Sanford was a railroad town. And my father worked for the railroad—is the reason, besides the fact that his health was not good, and he needed to get out of the North. And he was a Georgia boy to begin with. So he wanted to come south. And so when he had this opportunity to work for the Atlantic Coast Line Railroad, at the freight station, he was very eager to accept the job. We came in on a train that they call the—well, there’s two of them. One was the Orange Blossom Special, and the other was the Champion. And this was the passenger train from the North—from Philadelphia and New York. All points north. When we came into the station, my mother had never—well, yes. Mother had been south before, but we hadn’t, as children—very young children. I was ten—nine or ten. And when we pulled into the station and got off the train, the humidity hit us like it was going to knock us out. And I said, “Oh. Let’s get back on the train.”[laughs]. Dombrowski [laughs]. Skates And that was before air—trains were air-conditioned too, but—but it was still cooler on the train. Dombrowski Wow. Skates So my dad said, you know, “This is nothing. This is fine. This feels wonderful. Get used to it.” Dombrowski [laughs]. Skates [laughs]And my mother—she’s just kind of being quiet and fanning herself. We had this—it—it was the old station that was on—on Ninth Street, and they’ve since torn it down. Dombrowski Oh. Skates On Ninth and, uh—well, it was just Ninth Street. I guess there was side street, but I don’t recall. right off of French Avenue. Because then the tracks still all—we still had tracks running all over downtown. Dombrowski Hmm. Skates They’re—they’re not there now, because back in the day, when trains first came in—all of the wharves and the produce—everything came in to downtown to the river. So, um, we had—let me get back to my story. So we got off the train and my sister and I—and she was a year younger than I am—and we both started—“Something smells funny. What is it?” My dad said, “Oh, that’s sulfur water! Oh, come over here, girls!” He says. “Come over here!” And here’s a water fountain, right up against the train station. I think it was a brick train station. Right there, it’s all green inside, where the water is coming out. And we’re looking at this saying, “Oh, this smells so bad!” You know. We’re holding our noses, and he’s getting very annoyed with us. “Take a taste of that water. That’s healthy water. That’s better than drinking that Schuylkill River water you’ve been drinking in Philadelphia.” Of course, my mother is being as she always is—long-suffering. And she said, “Well, they can taste it if they want to.” We tasted it and we almost gagged! Sulfur water—the first time you ever taste it, is horrible. You do get used to it. And you do realize that it is healthy. Dombrowski Okay. Skates But, it’s all the water fountains in the city. And there were water fountains in the parks, and there was one in front of the [First] Baptist Church [of Sanford], and different places. They were all over town. And they were all sulfur water. Dombrowski Wow. Skates So you did get used to it. Dombrowski Oh my goodness. So was the smell everywhere too? Skates Everywhere. Sulfur smells like rotten eggs. Dombrowski It does. Yeah. I remember we went to the [Ponce de Leon’s] Fountain of Youth [Archaeological Park] and they were giving it out, you know. Skate Yes, yes. But it’s supposed to be good for you. So, we got off the train there. And we—I think we took a cab, because we didn’t have a car at that time. And we went to an apartment my father had rented. And I guess I need to say this too, because these are the things that people that haven’t lived here don’t understand or can’t get used to. When we got to the apartment—we had an upstairs apartment. A lovely old two-story house in Sanford just two blocks from where I live now, by the way. And the whole upstairs—this was during the war—and every house in Sanford had been made into apartments and efficiencies, because the Navy base<a title="">[2]</a> was here, and housing was a premium. As we started to go up the stairs, and on the porch was a burlap sack that had something in it. My dad said to me, “Bette, grab that bag and bring it upstairs.” We had our suitcase and everything. I went to pick up the bag, and roaches came out of the bag. They were flying roaches and they were flying all over. I don’t know how many. It might have been two, but it seemed like a hundred. Of course, I dropped it and screamed and had a hissy fit, a good Southern expression. Someone had left a bag of oranges there for us. And, so roaches, of course—so that was my introduction to Sanford. The apartment was lovely and it was cool with oak trees. Of course, I found out that oak trees breed roaches too, so we had roaches flying in the windows and things like that. Yeah, like the water, and the humidity—you try to get used to it. I don’t think I ever got used to the roaches. But that was my introduction to Sanford. Dombrowski How long did you live in the apartment? Skates We lived there for four years, and then my mom bought a house. And my father was ill. I mean, he was very ill, and he knew he was dying. My mother opened a beauty shop downtown, just in 1956, because she knew that she was going to have to support the family. He died in ’56. So she had her beauty shop for 25-30 years in Downtown Sanford. Dombrowski That’s really nice. Skates She’s the one that could tell the stories [laughs]. Dombrowski Okay [laughs].How has Sanford changed when you were growing up there? It was a big railroad town, and your mother, it seems, was there for a very long time. Did you see it get busier? Or develop more? Skates Yes, development. The stores that I remember, as growing up, are—I was trying to think if there are any that are still downtown. But, coming from a big city, it was very nice that we could walk everywhere. Ride bicycles. We went to school at the grammar school and then at Seminole High School, which was just up not too far from my house. I mean, everything was convenient. It was very nice. It was a good, homey feeling, and everybody was friendly. It was a very nice place to grow up, I think. And the schools—my father did not think much of the schools, but then again, in the South, schools hadn’t really caught up by that time. It took quite a few years for them to catch up to what we had been used to. But it, you know, was a nice place to grow up. Very nice. Dombrowski That’s—that’s nice [laughs]. Skates [laughs] Yeah. Dombrowski What was it like for your mother to set up the beauty shop? Was it very difficult? Or… Skates It was very difficult. My grandparents—her mother and father—had lived in Philadelphia. And they had, um—they sold their property up there and came down, just after my dad died, to live with my mother. I know—to help her. We didn’t realize it, at the time, but, um—and they helped her with finances for the beauty shop Dombrowski Okay. Skates So that was—it was very nice. And they lived with us actually, until they both died. They lived with my mother. Um, So that was, um—that was the way she could do what she did. The beauty shop was, um—what—what she would charge for what—for the work she did—I wish I had a price list. But I remember one time, she said something about a dollar and quarter for a manicure. We all said, “Is that all?” She said, “If I had charged a dollar and a half, they wouldn’t come back.” Dombrowski Oh, wow. Skates So, I mean, the prices were—were—were really… Dombrowski Different. Skates Different. Dombrowski [laughs]. Skates [laughs] Yeah. Yeah. So yeah. But it was her—her hopes[?]—her beauty shop was in the Montezuma Hotel, which that building has burned down since… Dombrowski Oh. Skates Then. It was a big hotel that was built here in the 1880s. Dombrowski Hmm. Skates It was about four blocks from the river, and People would get off the steam ships and walk up the little hill and—to the hotel. It was called the “Bye Lo Hotel,” at the time—I mean, at that time. It was later changed to the Montezuma. But it was—when Mother had the beauty shop there, it was a little spooky Dombrowski Really? Skates It was old, you know? Dombrowski Yeah. Skates And—and there’s a lot of people who still lived there. But, uh, it burned down a few years ago. [inaudible]… Dombrowski Hmm. Skates About 12 years ago, I guess. So, uh, that was—that was a loss, but it was the first hotel in Sanford that had a swimming pool. Maybe the only… Dombrowski Oh, wow. Skates One. It was in the basement… Dombrowski Oh, okay. Skates Of the hotel. Dombrowski That would be cool. Skates Yeah. Dombrowski Yeah. Skates So that was neat. Later, they, uh, put a furnace in the swimming pool and didn’t use that anymore. I never saw the swimming pool with water in it. Dombrowski [laughs]. Skates I did see it with a furnace in it. Dombrowski Oh [laughs]. Skates But, uh, um… Dombrowski Um, Where did you go to school? Did you go to college? Skates Yes. Dombrowski Okay. Skates I did. I went to Stetson University, um… Dombrowski Oh. Skates I started at Stetson in 19well, let’s see. I was going to OJC—Orlando—it was Orlando Junior College. I went there for a while, and then I went to Stetson. It took me—I—I figured this out one time, but I don’t remember. Let’s see. 70—It took me about—I hate to say too much, because I—I—it took me a long time to graduate. I got married when I was 18. Dombrowski Oh. Skates I went to college, and I spent three months at Middle Georgia College, up in, uh, Cochran, Georgia. My cousins, uh—my dad’s sister wanted their daughter to go, and she wouldn’t go. She was homesick. And they said, “Well, if Bette would come and go with her, she would go.” So I went there, and I spent three months. Had a wonderful time. Made the Dean’s List. Was just doing fine, except I had a boyfriend, and I was in love Dombrowski Aww [laughs]. Skates [laughs]. And my moth—the woman’s—the—the—the boy’s mother kept saying, “Well, I was married when I was 18,” So I decided that it was good enough for her, it was good enough for me. So I married him. So… Dombrowski Oh. Skates I went to college in between having my children. Dombrowski Oh. Skates Every time I could get, uh—I could find some money, or get a loan, or—there—there were student loans—there were [Federal] Pell Grants we could get. They—Loans were much easier to get in those days, so I could get student loan. So I would go to school for a while and then I would get pregnant again. And then I’d… Dombrowski [laughs]. Skates Go to school for a while and then I would get pregnant again. Dombrowski [laughs]. Skates This went on until 1964—well, it—let’s see when. I don’t remember how many years. But I finally started teaching when I was—when it was, um—it was 1965, I think. Dombrowski Oh, okay. Skates So it took me a long time to get certified to teach, but I did. And then I taught for 30 years in Seminole County. Dombrowski Wow. Skates Yeah. Which has been exciting. Dombrowski How many children did you have? Skates I have four children. Dombrowski Oh, okay. Skates Yeah. So I was kind of spacing this. Finally—I might want to censor this—finally about 1968, my husband got tired of it. Anybody, I guess, could understand that. He said—he didn’t sign on for that. So that was alright. But we managed, very well, and thank goodness I had my education so I could support my family. So it was good. Dombrowski So you taught in the school system for 30 years. What was it like in the 60’s? What was integration like? Skates My first 10 years, I taught out in Geneva [Elementary School]. Dombrowski Oh, I like Geneva. Skates Oh, I love Geneva. I still hear from those kids. They’re great. Of course, they’re not kids. They’re grown. It was wonderful. It was probably the best teaching assignment you could have for a beginning teacher. Because by that time, I was 35 when I started teaching. I was trying to think of how to put this. The schools had not been integrated much at that time. I don’t remember the year that I had the first black student, but I had a sweet boy. Now I was teaching fifth grade. He had come up through the grades. There was only five grades—five classrooms—at Geneva. And the first year that I taught there, I taught in the auditorium, because there was no place. So what they did was take out the first couple rows of seats and let us set the classroom up right in front of the stage. Which was good until I got a couple of kids that were a little bit older than they should have been in fifth grade—a boy and a girl. And next thing I knew, they were behind the stage, and I had to go get them. They were good kids, and they really didn’t do anything bad, I don’t think. But I would have been in big trouble. But anyway, the first black child I had—I was going to say I’ll never forget his name, and I did. What a sweetheart he was [laughs]. Dombrowski [laughs]. Skates But he was just testing. He was testing us, going to see if the system was going to work. He was a nice kid. Good parents. If I called his parents before he left school, by the time he got off the bus at home, they were back at the school to see what he had done or hadn’t done. Because he didn’t like to do homework and he didn’t like to do class work. Guess he had just been allowed to get away with more than he should have. But he wasn’t used to me. Anyway, he was a nice kid. Yeah, it was interesting, and the children we had at Geneva—the black and the white children—were I think just the salt of the earth. I mean they were really good people. Parents were country folks, most of them at that time. Now, later on, when UCF [University of Central Florida] opened, we started getting a different group of children. Their parents were more educated. They were professors and people that worked at the college. And so by the time I left Geneva, it had changed a good bit. My two younger boys, I brought with me to Geneva, so I taught two of my own children in fifth grade. Which was—everybody says, “How is it working?” I said, “It works fine.” No problem. They were good kids to begin with. It worked out. It was fine. That was good too, because, that was, at the time, in Sanford. My two older children—there were a lot of problems at schools in Sanford, with the integration. They started busing—I don’t remember the year. When I was going to Geneva, my daughter was being bused to what used to be an all-black high school—Crooms High School—which they did just to integrate. And that was wrong. Because the kids—the black kids were not happy, the white kids were not happy. And the black teachers and the white teachers were all upset about it, but they were busing the kids across town. So I’m driving to Geneva ten miles away and my daughter is in a bus driving across the city, and I don’t know where she is and what’s happening. It was worrisome. But it all worked out. It just took time and a lot of patience on both sides. It should never have been separate to begin with, but we have to fix our mistakes. Dombrowski So tensions were high? Skates Very high. Dombrowski Was it ever violent? Skates Yeah. There was violence. A lot of it was threatened. You know, just like, if you go down this street, we’re going to throw rocks at the bus and things like that. That was very worrisome. And my oldest son, when he was in ninth—and well, high school. It was ninth grade at Crooms. But when he was in ninth grade and tenth grade—all through school, he was a big boy, and had red hair. And it was a novelty. He got a lot of—he did his best to stay out of trouble, but trouble came to him. And of course, he tells me now he got blamed for a lot of things he didn’t do, but I’m not going to go there. You know how kids are. Anyway, he hung in there. His high school experiences were very bad. Very bad. Yeah. It was real sad. But my daughter didn’t seem to have the problems. She was also redheaded, but she seemed to go with the flow easier. He was a target. You know, a big guy. But he’s not a fighter. He didn’t want to fight, but anyway. We got through it [laughs]. Dombrowski Good [laughs].Did you all live in Sanford at the time? Did you drive to Geneva and back? Skates I drove to Geneva. Yeah. I bought the house that I’m still living in, in 1958. Dombrowski Wow. Skates Yeah. So I raised my family there. And just last couple years ago, we celebrated our 50th—I said, I’ll never have a golden wedding anniversary—so we celebrated our golden anniversary living in the house. So the kids got together and each one did something. But anyway, they have a photograph of the house framed in a beautiful frame that my grandson found when he was working for the College Hunks Hauling Junk. He found a frame and on the bottom of it my daughter wrote in gold, “Thanks for the memories.” So it’s very nice. I have it hanging over the piano. It’s very nice. Dombrowski That’s wonderful. So it’s downtown? Skates Yes. It’s downtown. If you go—First Street is the street where all the commerce is, where the business is. I live between Eleventh [Street] and Twelfth [Street] on Park Avenue. And Park Avenue’s the main street that goes down to the lakefront, and used to be [U.S. Route] 17-92 back in the day. That is where traffic went through the town. It’s in the historic district. The house was built in 1924. It’s probably more than anybody wants to know, but it’s called a “Craftsman Airplane Bungalow.” Because the upstairs is one room, and a bathroom, and it has 12 windows all the way around. So it looks like you’re looking out airplane windows. You’re not. They’re regular windows, but anyway, that’s what it’s called. Dombrowski That sounds really cool. I love Craftsman style. Skates Yes. It’s really nice. I have pillars on that house that are real unique. They’re made out of coquina. Dombrowski Wow. Skates Yeah. My fireplace—the chimney is made out of coquina. And it’s much higher than the first floor. It goes up past the second floor, because the second floor is sitting kind of in the middle of the house. It’s really neat. You’ll have to come see me. Dombrowski This sounds like a real Florida house. Skates It is a real Florida house. Yeah. For a good many years we didn’t have air conditioning, so we had what they called an “attic fan” that’s up in the second floor attic. When you turn it on and you open a window in each room, one window—it sucks the cool night air in and keeps the house cool. Only it slams doors, you have to be real careful, because doors get sucked. You get slamming doors all day. But it was neat. I don’t remember being miserable. Dombrowski Well, good. Skates I don’t remember being exactly hot. So it must have worked. Dombrowski Were you a member of the church since you moved here? Skates No. We were Lutheran when we first moved here. My sister and I had both been confirmed in the Lutheran Church in Philadelphia. And so I convinced my husband that he should join the Lutheran church, and so we went as a family until he left. And well, the kids were teenagers, and you know how hard it is to get teenagers to go to church. So I just decided that I had always loved the [Holy Cross] Episcopal Church, and I loved the architecture, and the history, and Jesus. I’m sorry, Jesus. I get carried away. But so we—my daughter and I, and my youngest son—all joined the Episcopal church. My two older sons were not interested. But they were grown by that time, and I didn’t feel like I could force them to do that. They had to want to do that. And I’m still a member. But how I got the job as historian, I made the mistake of correcting someone. You know how when someone says, “Oh, it was 1873—2, or something?” I said, “No. it was ’73.” “We need a historian. You’re—you’re it. You’re going to do it.” [laughs]. Dombrowski [laughs]. Skates I said, Oh, my gosh. I should keep my mouth shut. [laughs]. Dombrowski [laughs]. Skates But I love it. I’ve been doing this since, um, [20]04. Dombrowski Wow. Okay. Skates Yeah. So the church, they said, had no written history. I’ve—I’ve found all kinds of stuff, so it’s—I’ve collected it. I’ve got it together. I write a news, uh, article each month for our church newsletter that goes out every month, telling, you know, whatever it is I found out recently about the church. And so it’s—it’s a good thing. I enjoy it. Dombrowski Could you speak a little about the church? When it was founded, you know? Skates Yes,. This was General [Henry Shelton] Sanford’s church. When General Sanford—Henry Sheldon Sanford—came to this area in 1870—probably 1870. It was after the Civil War, and he was trying, as a lot of—I don’t want to call them “carpetbaggers,” but some people do. A lot of people—wealthy northerners—came down and tried to make their fortune, or another fortune. He had been ambassador to Belgium. They called him a liaison. Liaison? That doesn’t sound right. Well, anyway, yeah. I guess he was. But he also was a spy for the Union Army during the war—the Civil War. Dombrowski Oh, my goodness. Skates And he was traveling around going to different foreign capitals, trying to get some of those countries to send ammunition and guns to the North. So there’s a whole big story that I haven’t even started on of his spying for the North. But when he finished up with that job—I guess he retired from that job, because he was probably in his 50s then, I think. He married a beautiful lady. She was living in Belgium, but she was from the United States. The Sanford Museum has a huge, gorgeous painting of the home they lived in, in Belgium. It looks like a small—like maybe the Queen might have had that summer home, or something. It was beautiful. We have friends in Sanford that have visited that area and that house, and they’re using that house as a retreat for nuns now. Anyway, General Henry Sanford—he became a general, because he gave some cannons to the state of Minnesota, because he wanted a title. So the Governor of Minnesota [Alexander Ramsey] made him a general. So, anyway, let’s see. Let me get back to the church. So he bought a lot of land down on the lakefront. He was right for his time, that Sanford—and of course it wasn’t called Sanford in those days) —that this area, Mellonville, was going to be the “Gateway to South Florida.” Because all supplies—food, you know, everything that people need to start up a homestead—they would have to buy in Sanford. So he had a lumber mill. Somebody else had a grocery store. I mean they had all things people, you know, the pioneers, would need. He bought orange trees from all over, and he planted orange trees. One of his groves—his first grove [St. Gertrude’s Grove] —was downtown right on the lakefront where there’s apartment buildings and city hall and things there now. Citrus didn’t do too well there. The soil apparently wasn’t good enough, and so they moved out to what he called Belair [Grove], and that’s out towards Lake Mary, around the lakes. So, his Belair Groves[sic] were very profitable. About 1873, he decided that there needed to be a church. He and his wife, Gertrude [Dupuy Sanford]—now, Gertrude didn’t come here much, because this was not her cup of tea. And when you see pictures of her as a young girl, she’s absolutely beautiful. Beautiful clothes, and very high class. And they had about five children and they were all born in Europe. She didn’t come here often. But he planted Belair in orange and lemon trees. He had a grove manager whose name was Reverend Lyman Phelps. General Sanford was from Connecticut. And he convinced this Episcopal priest to come down to start a church. Well, he did, but he also made Lyman Phelps his agent and his farm grove manager, because the man had a background in botany too. The man was very, uh,—he was very versatile. When, um—when General Sanford—I call him “General Sanford”. A lot of people say he—he doesn’t deserve that title, but it just comes easy to me, for some reason. It—it denotes a lot of the things that he did, other than just being Henry Sanford. Um, so they started to build this church, and Mrs. Sanford wrote to all of her wealthy friends, and in her letters, she said, “Please, um, help us build our dear little church.” And that was her—the way she called it—their “dear little church” in San—in—in this city. Someone, finally, along the line—a friend of his daughter—[inaudible] said—said, “Well, we should call this city ‘Sanford,’ after you, Mr. Sanford.” And Mr. Sanford said, “Ha. What a good idea.” Dombrowski [laughs]. Skates [laughs]. And I don’t remember the years that that was—that was started. But, so anyway, by 1873, they had completed the church. Lyman Phelps and Reverend Holeman—H-O-L-E-M-A-N—um, were priests there. And they had, um, services that—these priests—I—when I read their—in the diocesan records, there’s—they had to keep records of what trips they went on and where they went. They rode horses, walked—horse and buggy—through Florida sand, which anybody that walks through it knows that—there was[sic] highways. The only way you went were by animal, you know, roads, where animals, or maybe the Indians, had made them. Um, they went to, um—but they went all over Central Florida. They went to Eustis, to Longwood, to Orlando. They started the St. Luke’s Church in Orlando, which is now the Cathedral [Church of St. Luke]. They went all over Central Florida, uh, especially Lyman Phelps. Um, But he—they were, um—it just amazes me, when I read their exploits, and the alligators… Dombrowski [laughs]. Skates You know, the mosquitoes, the—oh, my soul. But, um, anyway, so that’s how the—the Episcopal church got its start. That church—that was built in 1873. 1880, along comes—and they called it a “tornado,” and I haven’t been able to say that it wasn’t, but I think it was more like a hurricane, and maybe a tornado—a tornado was [inaudible]. It blew down Mrs. Sanford’s dear little church. Dombrowski Oh. Skates And we have pictures of it. And the—the steeple is laying on the ground, and the church is still standing, but it’s—it’s—it’s damaged. So they got busy. Mrs. Sanford raised some more money, and by, um, 1880, they had built another—well, yeah. It was 1873. By 1880, the church blew down. By 1881, they had a new church built. That church survived until 1923, and it burned down. Dombrowski Oh. Skates So they—1924 and ’25, they rebuilt it. So the church standing on that property is still on the same property that Sanford gave us. That church now was built, uh, in 19—1924, it was completed. It’s, uh, what they call “Spanish Mediterranean” [Architecture]. It’s… Dombrowski Oh. Skates Very Spanish-looking. It’s a very pretty church. Dombrowski Where is it? Skates It’s on the corner of Fourth—Park Avenue and Fourth Street. Dombrowski Okay. Skates And the parish hall was built by 1926. So one of the things I always thought was interesting, when they first built—or probably the second church—in the side where they had some room, they put orange trees so that in case times were bad, they would have some money. They would have a way of getting money still. Dombrowski Aw. Skates That was kind of interesting. Dombrowski Um,I do have a question. I don’t know much about the church in Sanford. Is it the main church for the city? Are most of the people in Sanford Episcopalian? Skates No, no. They’re not. Probably back in the day, it was the only church, but then of course, the South is mostly Methodist and Baptist. And right now the street—Park Avenue should have been called “Church Street.” Because there’s the Episcopal—well, first, a block closer to the lake was the Congregational church. But since they’ve moved that—they tore it down and moved down Park Avenue. The next church was Holy Cross. Then, next door to us is the [First United] Methodist Church [of Sanford]. Right next door to that is the [First] Baptist Church [of Sanford]. So on Sunday mornings, we used to have a real traffic jam down there. Not so much anymore. No, Holy Cross—I think it’s like all the churches. They’re struggling. But we’re still here. We have two services, an 8 o’clock service and a 10 o’clock service. If we had everybody at 10 o’clock, we would have a good crowd. But when you separate it into two—the people who go at 8 o’clock won’t come at 10. The people who come at 10 o’clock won’t go at 8 o’clock. So our priest does two services. And yeah, it’s a busy little church. We have a fairly good-sized Sunday school, considering Sunday schools are hard for churches these days too. So, probably at one time it was the center of the area, church-wise, but not anymore. Dombrowski In your time as a historian there, have you—reading through the documents and that sort of thing, have you noticed any trends in how many members they had? Like when UCF came, did more people come to the church? Skates It was the biggest—the largest crowds that we have ever had was through the war years when we had a Navy base in Sanford. And that started up as a training base for carrier—for planes to land on carriers. I’m not as familiar with the history of the Navy base, but it closed at the end of World War II, and it was a big drop in the congregation. But then when [the] Korea[n War] came back, they started the base up again. And a lot of those people too have been Navy people—very sophisticated—have been all over the world. Lived in many different places. So those are the people we seem to pull in more than the people that grew up here. Most Southern people are Baptist. My dad’s family—they were all Baptist. But it’s different. Different churches suit different people. I mean, you want whatever it is that makes you feel the presence, or that you feel that you need, that’s where you should be. So I’m very ecumenical. I can, um, belong to any church you want to [laughs]. But Holy Cross is lovely. And the services are beautiful [laughs]. Dombrowski Uh, how involved has the church been in the community? Do they hold a lot of, have they held a lot of events? Skates Sanford—Holy Cross—was the “Guiding Light for Grace and Grits,” which is to feed the homeless. It’s a feeding program that we had at Holy Cross. And I can’t remember these years, it’s been going on for a long time. And we had it at Holy Cross. Every Wednesday night, Holy Cross would feed, oh, a hundred people. But it would depend on the season and what. Homeless people from all over. And not just men, but families. People would come to eat. A few years ago, we wanted to remodel the parish hall, which is where the kitchen is. And we opted to find another place to hold the Wednesday night feedings—dinners, I should say—and that was—that was hard, because the people at the church—and we have some people who are so dedicated to this—they finally found that the City [of Sanford] would let them use the [Sanford] Civic Center. It costs, I think, $200 a month or something like that. We have to pay the City for that. So now they’re feeding them down there. And also, during the transition when the parish hall was being refurbished, and the kitchen was—when we had a new priest—he really has done a lot. I mean, he has Wednesday night services, and so they had a meal there on Wednesday nights, and classes and everything. So that kind of made them want to keep the “Grace and Grits” out there. And Holy Cross wasn’t the only one that does this. I must explain this. Every church—not every church, but many churches in Sanford—there’s a Methodist church, St. Peter’s Episcopal Church in Lake Mary, the [All Souls] Catholic Church [of Sanford]. All of them. Dombrowski Just a minute here. Just to make sure. Skates All of them have people that come and help so we’re not doing it by ourselves. Did it run out of battery? Dombrowski No. It’s working. No. It’s working, I just wanted to make sure that the whole thing had recorded and everything. I’m sorry. Skates But anyway, it’s a whole city thing. There’s a whole lot of people involved in this. So, yeah. We do that. We also have our new priest—well at least not that new anymore. He’s been here 2 or 3 years, and he’s very much involved in helping the homeless. They call it “SACON[sp].” I couldn’t tell you what it stands for, but they go to different places in the neighborhoods and help homeless people get ID cards. Because if they don’t have an ID card, they can’t—well, there’s a lot of things they can’t do. They can’t even get shelter sometimes, if they’re going to shelters. So this has been a good thing. And helping—it’s helping the city to know what the population is of the homeless, and where they’re staying and what they’re doing. So that’s a good thing. He was just very much involved in that. We have some kind of a health thing one day a week at Holy Cross in the mornings, where people can come. I’m not really sure what, I guess I shouldn’t say anything about it, because I’m not sure what that is. I don’t what the group is that’s doing it. But yeah, Holy Cross is involved. Dombrowski Uh, is there anything about the church that you’d like to discuss that we haven’t covered? Skates We have a lot of memorials in Holy Cross that I’ve been trying to—and this is a hard job. We actually have two memorial books that from the beginning people have—the gifts of love that they’ve given in memory of someone that they lost. But when I go to the memorial books, there are items in there that we no longer have. We’ve had a couple of break-ins over the years, so they’ve lost some things, and then there’s items that we have that aren’t listed. So we’ve endeavored to work on this. I was trying to take pictures and it’s just one other job that I haven’t finished. It takes a lot of time to do that. And I really—I could get help—old-timers, because I’m not an old-timer there. They’ll say, “Oh no, I remember that was given in memory of so-and-so.” Right now, I’m working on—when the church was rebuilt in 1923-1924, the altar and the pulpit at the front was very plain. I can only tell from pictures, but unattractive. And in 1940, sometime, a member of the choir—and I’m still working on this. This is one of those strings you have to keep following and try to see if you can come to the end—was killed in an automobile accident. And he is—what’s the word? They have said that he had given in 1945 money to buy a new altar. A new altar, and reredos behind the altar, and an altar, and chairs. We have a lot of furniture, because it’s a very formal church. I don’t think you call it “High Episcopal.” I think some people might, but we have a good candelabra, good communion-ware. A lot of stuff. And anyway, this man—apparently there was a big brouhaha that the vestry wanted to put a new roof on the church, which is a tile roof—which always needs work—or to buy the altar furniture. And just recently I talked to a lady, who’s in a—a Heritage [at Lake Forest] nursing home out here, who was telling me about this. I didn’t know this story. And she said, “Oh, my goodness.” She said, “Everybody was fighting, and everybody was mad. They wanted the roof.” “No, no. We want the altar.” Well anyway, the altar people won out, because the priest wanted the altar… Dombrowski [laughs]. Skates Redone [laughs]. So, uh—so I’m still working on that. And, as, uh, oral tradition says, that that money was used for the new altar-ware—altar and furniture, I should say—um, by this man, who gave it, But, um—in honor—in [inaudible] —yeah. In of our members who fought in World War II. Dombrowski Okay. Skates So I asked one of our older members if he remembers that. He says, “Oh yeah, there’s a plaque up there in the front of the church someplace that tells all the members that died. I’m sure it says something about ‘in memory of’ that.” Well, the plaque wasn’t there, so several ladies started on a search of the rooms, and they found the plaque. Only, it wasn’t a plaque. It’s a big framed picture with 70 names beautifully written by someone on there, with little gold stars next to five men who were killed during the war. But I still don’t know if it’s a memorial to them for the furniture. So I’m working on that, because I have the big memorial plaque reframed and I guess we’ll rededicate it one of these days when we find out what’s the story on it. But there’s things like that that come up when someone will say, “Well, who gave that baptismal font? What was that all about?” Or, we have two things in the church—this is interesting—we have two things in the church that we know for certain were there in the first church. That General Sanford gave: a crucifixion picture that he had bought in Belgium and donated it to the church. That picture—and we were trying to get an idea of the value of it—and the man that we had restore it said, “It’s not worth a thing. All it’s worth is what it’s worth to the congregation. But as far as famous artist, no.” It’s the crucifixion. Even after it as restored, still doesn’t look very good. Because it went through the hurricane the first time. Through the fire the second time. Someone rescued it. So it has—the restorer said it has water damage. So that was something that we know General Sanford physically probably touched, and that it was there. The other thing is a small lectern, where they put the Bibles on, or the prayer book. And that’s in the chapel that was given by Reverend Lyman Phelps. We think he built it. He made it in memory of his wife. So that’s pretty interesting to have two things back a hundred and how many years—138 years or whatever it is. Dombrowski Oh. That’s very special. Skates Yeah. It is special. So it’s the history. I mean, I could go to any church. I love—just love churches. But I love the history of this church. It’s—and I’m sure that if I were in Philadelphia I’d go to Christ Church I went to Williamsburg [,Virginia]<a title="">[3]</a>—my mother and I—we went to the—oh, what was the name of that Episcopal church<a title="">[4]</a> there? It’s so beautiful in Williamsburg.<a title="">[5]</a> Where Patrick Henry gave his speech. Dombrowski In Virginia? Skates In Virginia. That was—so it’s the ambiance. It’s what you feel. It’s very interesting. And I do get excited about it [laughs]. Dombrowski I’m just going to check the battery one more time. Oh, it looks fine. Whoa. I didn’t notice the bars. They change as I talk and get closer. But the battery’s fine. Okay, great. So, uh, you’re a historian there. It sounds like you do a bunch of different things. Skates I’m kind of a detective. There’s not a day goes—well, a day—there probably is. But not a week goes by that someone says, “Bette”—well somebody asked me the other day, “Isn’t our,”—we have a huge bell on the bell tower—“Isn’t that bell called ‘Raphael?’” I said, “No, I don’t think—that’s not the name of the bell.” And he said, “Oh, I’m pretty sure it is.” Well, now I have to figure it out. Is it or isn’t it? Or, people will say, “Well, where did the bell come from?” Oh, and then we have this magnificent organ of Ferrante[sp] Brothers organ from—I can’t remember where it’s from. I want to say Canada, but I may be wrong. It was installed in 1947, and this is just a magnificent piece of furniture. Ferrante[sp] Brothers. I believe there’s another name that goes with that. I guess I can’t remember. But anyway, it doesn’t matter. This is not a test. That was put in in 1947, and I’ve forgotten how many pipes there are for it, but—oh, more than 100 pipes. There’s pipes and pipes. Pipes that you can see over the choir loft, but there’s also a whole closet full of pipes. Our organist—she knows how to play it. It’s just beautiful. So that was—I don’t know where the money for that came from. As far as that being a memorial, or something, I don’t know. I don’t think so. So many things are, but that’s not. But someone will say, “Well, what year was the organ installed?” Or, “Where did it come from?” So I—yeah. I do. I have to have a little notebook in my pocketbook and I keep writing it down and then I have to go back and research it. And I have a lot of friends too that have been long, long-time members there, so I usually go to them and say, “Do you know anything about this?” And some of them will say, “No, I don’t know.” Or, “We’ll look it up.” But we have—and I’m trying to get all the histories together and put them in one place so it’s pretty organized. It’s fairly organized, but not as much as I would like to have it done. But I’ve saved all the newsletters[sic] columns that I’ve written over the years. I have them each in a different notebook with acid-free paper so after I type them I print them off and put them in the folders and so I’ve got all that. So that’s a pretty good history right there. It’s good. Did I answer the question? [laughs]. Dombrowski Yeah. Oh yeah, yeah, yeah. Skates Also, I must give credit to Alicia Clarke at the Sanford Museum. We have much help from her. And then some! Sorry. Dombrowski [laughs] No. I don’t mind at all. I know we’ve been talking for a long time now, but if you wouldn’t mind, I’d like to find out more about what your time as an educator was like Seminole County. Skates Oh, I think I had the best 30 years that you could have had really, because it was—right now, I have friends, my neighbors. I have a lot of friends still teaching, and it’s very different now. It’s very different. We had—the wonderful thing we had that teachers today don’t have, and that’s freedom. You can’t say—if Johnny brings in a whole bag of shells that he had his mother just collected at the beach, we can’t dump those shells out and sit down and go through them and maybe catalog them or talk about them or what can we do with it. There’s no way of being spontaneous, because teachers today—if that child brought that in, I would have to say, “I’m sorry, you’re going to have to put that away. We don’t have time to look at that.” And that bothers me a lot. Because I really feel like the teachable moment is when the kid is interested. And if nobody is interested, then there’s no teachable moment. It’s—when I was teaching at Idyllwilde [Elementary School] one year, the kids found a dead rabbit on the playground. I have a friend who had just moved here from Chicago[, Illinois], and she was working with me at the time. She was getting ready to take over half of my class, because I had 45 kids in my class. And they had hired her to take part of my kids. But she tells me about this every time she thinks about it. She said, “So, the kids wanted to know what to do with the rabbit.” And I said, “Well, we’re going to have to bury it. Let’s bury it.” So we got a shovel from the janitor and the boys dug a hole right outside the classroom door. And buried the rabbit. Well, they got to talking about what was going to happen to the rabbit in the ground. Well, of course the kids—and these were fourth and fifth graders—they would say, “Well, the bugs and the worms are going to eat him,” and so forth. So, just before school was out, the boy that dug the hole said, “Ms. Skates, can we dig that rabbit up? See what’s left? See if we can find his bones?” And I said, “Well, that’s a good idea. Let’s do it.” So we did. We couldn’t find it! This kid dug up a whole are as big as this table. Couldn’t find a thing left of the rabbit. Dombrowski Oh, my goodness. Skates But that sounds—and it would probably almost be silly to some educator—but those are things that—what did they learn? Well, we could put a whole bunch of things on the board. We learned this. We learned, you know—what is this? So, or you know—well like the space shuttle. We had classes when the Space Shuttle [Challenger] blew up. We all went outside on the playground to watch the space shuttle go up. And this was—what was this? [19]89? Dombrowski Oh, I have it here. No, I don’t. Skates But anyway, we were all out on the playground, watching, and we saw it went up, and we saw all these stars and everything. The kids were all saying, “Look at that. They’re putting out stars,” all kinds of things that kids would think of. And my fellow teacher was standing next to me, she said, “I think we ought to take the kids in.” I said, “Okay.” So we take the kids in. Well, she happened to have a little TV set in her closet. And we brought that out to see what had happened. And we could do that. You couldn’t do that today. Dombrowski That’s true. Skates She brought it out and we set that out between our two classrooms. We watched it all day long. The kids—it was very sad. We all were grieving. So we grieved together. So, what is this? How did this happen? All we could do was speculate. We didn’t know. But what would you, you know, you… Well, first off, I think taking time outside would probably take time away from teaching about the FCAT [Florida’s Comprehensive Assessment Test]. Dombrowski I was going to ask how you think the FCAT has influenced—okay. Skates You know, every week, teachers, back in the day—and I retired in [19]97. Every teacher gave a test at the end of the week. You would take your math book and go through—and everything that I had taught in math that week—the test would be on Friday. Same thing with spelling tests—on Friday. Social studies on Friday. And we did teach social studies. We did teach the Constitution. We did teach early American history. We did teach that. I think that, in fifth grade, we stopped at the Civil War, but that’s all we had time for. So, you gave the test. At the end of the week, you knew what the child had done. By the time you correct those papers, you knew that Johnny and Mary and Susie were having trouble with multiplication. So next week, let’s zero in on those three and their multiplication tables. How hard is that? I mean, why do we have to do what they’re doing now? I don’t understand. Dombrowski I don’t want to interject my opinion too much, but my mother teaches middle school. And so I’ve heard a lot about FCAT, and a great deal about how it’s changed. She used to teach in New York and it’s very different. Skates Oh, yes. I think, even now—well, this friend of mine that came down—she wasn’t a friend at the time, but now she’s my best friend—from Chicago, you know. She’d said, “Oh, my gosh. These schools—they’re so far behind! In Chicago in fifth grade, we were doing this.” And you know, well, it takes a long time. I mean, you know, the [Great] Depression hit the South harder. The agricultural society makes a difference. Kids are not—they may be working in the fields some. I mean not so much in my time, but it was just different. And it takes a long, you know—I think this a lot about even the ship of state, it takes a long time to turn a ship around. And it takes a long time to turn the education system around. It’s like it’s the biggest boat you ever saw and you’re just trying to turn it around and make things better. I think we’ve come a long way, but I think there probably still is a way to go. But now we’ve got—it’s so muddled with this FCAT and this—pushing, pushing these kids. My grandson goes to a parochial school. Goes to St. Luke’s Lutheran Church School in Oviedo. He doesn’t have that stigma hanging over his head. He’s going in third grade. He loves school. He’s a good student. And he struggled to begin with. He had problems with his reading. But if he were in the public school, he would really be in trouble. First off, he’d be going into the third grade. You have to take the FCAT. If you don’t pass that, you have to repeat third grade. Well, his handwriting is very poor, what are you going to do about that? But the private school—they give them more time. They also give them more one-on-one situations. I don’t know. I’m just so that glad that his mother and father—my son and his wife—are so wise. And it’s a sacrifice. It’s a lot of money every month to keep him in private school. He’s their only child, which is a good thing. It’s tough. Your mother is right, and she’s right in the middle of that FCAT business in middle school. Dombrowski Uh, you mentioned the Challenger accident. Are there any other events that stick out in your mind, that you remember teaching or going through with your students? Skates What did we have? [John F.] Kennedy’s assassination didn’t affect me, but it did my children. They were in elementary school and Kennedy was assassinated—my two older ones. They were talking about this, not long ago, about the atomic bomb scare with the Cuban Missile Crisis. They were talking about the duck-and-cover. You know, an atomic bomb is blowing up over your state, and what do you tell the kids to do? You tell them to get under their desks and cover their head[sic]. That involved them. I wasn’t teaching in ’63. Let’s see, what else could there be? Thinking back to Kennedy, I can’t think of anything else. Dombrowski Okay. Did UCF opening or Cape Canaveral opening change… Skates It did. I think it changed. With the Cape, with Geneva—the school—when we started getting the influx of people moving to that area. The fathers were engineers and the moms worked, most of them, over there too. Those were great kids. I don’t know, maybe because the parents were involved in scientific things like the engineering and everything. Every couple years, it seems like they come up with something new. Your mother can relate to this too. They taught us what they call the “New Math.” And I’d only been teaching a couple years and we had this great, and I still have the book—a great big blue book about New Math. Well first off, we were supposed to be teaching the metric system, and that was because of the engineering thing, I think. But they had—I remember one of the fathers was an engineer and he came to school and I was struggling as much as the kids were. They gave us the course in the summer and we were supposed to start teaching it in the fall. So I really didn’t—nobody had a chance. The father came in, he said, “Do you have any idea what you’re doing?” Now, how do you talk to an engineer? And I was honest with him, “Well, yes. I do.” I said, “We had six weeks.” I think we had a course. And I said, “Not as much as I’ll know at the end of this year.” And he said, “Well, my son doesn’t know what the hell’s going on.” I said, “Well, I am really sorry.” But he was very nice about. But he really kind of put me on my toes. Which was a good thing. I’m glad he did. But by the end of the year, I even knew what prime numbers were [laughs]. Dombrowski [laughs]. Skates In fifth grade, you teach addition, subtraction, multiplication, and division. I figured the fact that I could multiply and divide fractions—I was pretty smart [laughs]. Dombrowski [laughs]. Skates Don’t go beyond that. Oh dear. Dombrowski I just have a couple specific questions left. If you wouldn’t mind, just because it’s a personal history about you, what were the names of your children—are the names of your children? Skates Phillip, Pamela—well, he’s Jimmy. And the youngest is Bill. They all have their given names, but that’s what we call them. They were—Phillip was born in [19]5—he was born ’54. I have a nice little rubric here. Pam was born in ’56. Jimmy was born in ’58. And Bill was born in ’63. I think I was busy going to school there or something. Dombrowski Uh, where—which schools did you teach at? You taught at Geneva. Skates I taught at Geneva. That was my first assignment. Well, I went to Southside, which is a school in Sanford right near my home—was where I did my internship, and that’s where my kids went to school. And that’s an old—that was—when I bought my house, that was the best school in Sanford. And that’s the reason I bought that house. It’s now been turned into—what did they call it? A nursing home. Golden Years nursing home. It’s a lovely school. It’s built in a square and in the center is an atrium. And all the classrooms are built around the atrium. And down in the basement is the lunchroom, and up a little flight of stairs in the auditorium. It was a very nice plan for a school, but it’s a nice plan for a nursing home, I guess. But they closed the school, because they built new schools and whatever. But my kids got to go through that, which I was glad for that. At least the two oldest ones did. And then the other two came with me to Geneva. What was the question? Dombrowski Oh. Which schools have you taught at? Skates Oh, and then I went, I was at Goldsboro [Elementary School. This was a good thing. When I left Geneva, and I had gotten my Master’s in Exceptional Education, and I wanted to teach learning disabled children. And the principal at Geneva, for his own reasons, said he wasn’t going to have a special ed[ucation] class. Well, it wasn’t true, but that’s what he told me. So I had this Pell Grant that I had used to get my Master’s, that if I taught at a [Elementary and Secondary Education Act of 1965] Title I school, which I don’t know if you know that means now, but it was a school that had more free lunches than any other school or something like that. So the principal at Goldsboro called me and he said, “If you come and teach the learning disabled children at Goldsboro,” he said, “I can sign off on your student loan.” So I spent two years there and signed off all that my Master’s cost me. I mean, I had not paid for—he would sign off the loans—the superintendent would sign it off… Dombrowski So they would pay for it. Skates So they paid for it. So that was very good. I don’t know if that’s what you call a Pell Grant. I’ve forgotten. But I taught there two years and then the principal from Idyllwilde called and said they had a new wing opening up. They call it the E Wing—Exceptional Ed. Wing. And would I come out and do their SLD [Specific Learning Disabilities] classes. I said, “Oh, yes.” So that’s where I was when I retired. Dombrowski Okay. Skates That was good. I—those were good years. They were all good years. Dombrowski Well, good.Those are all the questions and topics that I have. Is there anything else you’d like to speak to that we haven’t? Skates I don’t know. I think I’m probably boring you. Dombrowski [laughs] Well, no. This is a good time. Skates Now, how are they going to work this? Are they going to have a library? Dombrowski Yeah, I think I’ll just… Skates Right. <div> <div> <a title="">[1]</a> Correction: July 9, 2010 </div> <div> <a title="">[2]</a> Naval Air Station (NAS) Sanford. </div> <div> <a title="">[3]</a> Correction: Richmond, Virginia. </div> <div> <a title="">[4]</a> St. John’s Church. </div> <div> <a title="">[5]</a> Correction: Richmond, Virginia. </div> </div> ACL Alexander Ramsey Alicia Clarke altars ambassadors assassinations Atlantic Coast Line Railroad atomic bombs beauty shops Belair Grove Belgium bells Bette Skates Bye Lo Hotel Cape Canaveral carpetbaggers Cathedral Church of St. Luke charities charity church church bells churches citrus citrus groves Civil War Clarke, Alicia Cochran, Georgia cockroach cockroaches community service Craftsman Airplane Bungalow Crooms High School Cuban Missile Crisis desegregation Diana Dombrowski Downtown Sanford education educators elementary school Episcopal Church Episcopalianism Episcopalians exceptional education FCAT Ferrante Brothers fires Florida's Comprehensive Assessment Test Gateway to South Florida Geneva Geneva Elementary School Gertrude Dupuy Gertrude Dupuy Sanford Guiding Light for Grace and Grits Historical Society of Central Florida Holeman Holy Cross Episcopal Church homeless hurricanes Idyllwilde Idyllwilde Elementary School Jack Kennedy John F. Kennedy John Fitzgerald Kennedy Lake Mary lemons Lyman Phelps Mellonville memorials Middle Georgia College Montezuma Hotel Museum of Seminole County History NAS Sanford Naval Air Station Sanford New Math Ninth Street OJC Orange Blossom Special orange grove orange groves oranges organs Orlando Junior College Patrick Henry Philadelphia, Pennsylvania priests railroads roach roaches Sanford Sanford Museum school desegregation school integration schools Seminole County Space Shuttle Challenger Spanish Mediterranean Architecture special education St. Gertrude's Grove standardized testing Stetson University sulfur water teachers The Champion Title I school trains U.S. Navy Union World War II WWII https://richesmi.cah.ucf.edu/omeka/files/original/d20c9e1f3aa795067dc1be7b5b6a207e.mp3 00c60665816027538678ac8123f54f47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "One by One" by The Jazz Professors Alternative Title "One by One" by Jazz Professors Subject Orlando (Fla.) Music--Florida Jazz--United States Description An audio recording of "One by One," composed by Wayne Shorter (b. 1933) and performed by The Jazz Professors live on-air on WUCF-FM on December 10, 2007. The Jazz Professors is 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 medium swinger, "One by One," was composed by Shorter and first recorded by Art Blakey (1919-1990) and the Jazz Messengers, with whom Shorter played tenor saxophone and was musical director, for their 1963 album, Ugetsu: Art Blakey's Jazz Messengers at Birdland. Type Sound Source Original 4-minute and 9-second audio recording: Shoter, Wayne."One on One," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Shorter, Wayne Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 3.81 MB Medium 4-minute and 9-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Wayne Shorter, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Wayne Shorter and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/d20c9e1f3aa795067dc1be7b5b6a207e.mp3" target="_blank">"One by One" by The Jazz Professors</a> alto saxophones alto saxophonists Art Blakely Art Blakey's Jazz Messengers Arthur Blakely bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities college professors Drexler drummers drums educators Flying Horse Records guitar higher education jazz jazz ensembles jazz guitarists jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert Marty Morell Michael Wilkinson music musicians National Public Radio NPR One by One orlando PBS Per Danielsson Public Broadcasting Service radio stations radios saxophone saxophonist Shorter, Wayne teacher teachers tenor saxophone tenor saxophonist The Jazz Messengers The Jazz Professors UCF Ugetsu University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/47d3a7a847d7f67026cf4e424c212428.mp3 bd8a7ddaaf7a1b174e083f0e8d78fc7d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Grandfather's Waltz" by The Jazz Professors Alternative Title "Grandfather's Waltz" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Grandfather's Waltz," composed by Lasse Farnlof (1942-1994) and Gene Lees (1928-2010) 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. "Grandfather's Waltz" was first recorded by Stan Getz (1927-1991) and Bill Evans (1929-1980) in May 1964 and released on their self-titled album in 1973. Type Sound Source Original 5-minute and 1-second audio recording: Farnlof, Lasse and Gene Lees. "Grandfather's Waltz," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Farnlof, Lasse Lees, Gene Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.6 MB Medium 5-minute and 1-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Lasse Farnlof and Gene Lees, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Lasse Farnlof and Frederick "Gene" Eugene John Lees and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bill Evans Bobby Koelble CAH College of Arts and Humanities Drexler drummers drums educators Flying Horse Records Frederick Eugene John Lees Gene Lees Grandfather's Waltz higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert Lasse Farnlof Marty Morrell Michael Wilkinson musicians National Public Radio NPR orlando PBS Per Danielsson professors radio radio stations Richard Stan Getz Stan Getz & Bill Evans Stanley Getz teachers tenor saxophones tenor saxophonists The Jazz Professors UCF University of Central Florida William John Evans WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/19bc9750db9ccde841c8e9a295dcf2d4.mp3 889a944c88f419bb0851554ca98489b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Soul Eyes" by The Jazz Professors Alternative Title "Soul Eyes" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Soul Eyes," composed by Mal Waldron (1925-2002) 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 "Soul Eyes" is a jazz standard first recorded for the 1957 Prestige All Stars album, Interplay for 2 Trumpets and 2 Tenors. Composer Waldron, who was in the group, wrote the song with bandmate and tenor saxophonist, John Coltrane (1926-1967), in mind, who would make the song famous with his own recording in 1962. Type Sound Source Original 4-minute and 31-second audio recording: Waldron, Mal. "Soul Eyes," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Waldron, Mal Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.14 Medium 4-minute and 31-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Mal Waldron, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Mal Waldron and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities Drexler drummers drums educators Flying Horse Records higher education Interplay for 2 Trumpets and 2 Tenors jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz standards jazz trombones jazz trombonists Jeff Rupert John Coltrane John William Coltrane Mal Waldron Malcolm Earl Waldron Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson Prestige All Stars professors Public Broadcasting Service radio radio stations Richard Soul Eyes teachers tenor saxophones tenor saxophonists The Jazz Professors UCF University of Central Florida WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/6c0a2fd47ce358a787e9a657b5f91655.mp3 b8a08ba38be782beb67c2c4657480bb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "This is for Albert" by The Jazz Professors Alternative Title "This is for Albert" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "This is for Albert," composed by Wayne Shorter (b. 1933) 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. "This is for Albert" was composed by Shorter for the 1963 album, Caravan, by Art Blakey (1919-1990) and the Jazz Messengers, with whom Shorter played tenor saxophone and was musical director. Type Sound Source Original 4-minute and 46-second audio recording: Shorter, Wayne, "This is for Albert," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Shorter, Wayne Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.37 MB Medium 4-minute and 46-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Wayne Shorter, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Wayne Shorter and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). Abdullah Ibn Buhaina alto saxophones alto saxophonists Art Blakey Art Blakey and the Jazz Messengers Arthur Blakey bass guitarists bass guitars bebop Bobby Koelble CAH Caravan College of Arts and Humanities Drexler drummers drums educators Flying Horse Records higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Rupert, Jeff teachers tenor saxophones tenor saxophonists The Jazz Messengers The Jazz Professors This is for Albert UCF University of Central Florida Wayne Shorter WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/0f51cb0d448d6fc8967308c0849ca186.mp3 87a33179910829841c881a3e33b774e9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Lover Man" by The Jazz Professors Alternative Title "Lover Man" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description 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. Type Sound Source Original 4-minute and 35-second audio recording: Davis, Jimmy, Ram Ramirez, and James Sherman. "Lover Man," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Davis, Jimmy Ramirez, Ram Sherman, James Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.19 MB Medium 4-minute and 35-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Jimmy Davis, Ram Ramirez, and James Sherman, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jimmy Davis, Roger "Ram" J. Ramirez, and James Sherman, and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Billie Holiday Bobby Koelble CAH College of Arts and Humanities Drexler drummers drums educators Eleanora Fagan Flying Horse Records James Edward Davis James Sherman jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz standards jazz trombones jazz trombonists Jeff Rupert Jimmy Davis Lover Man Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Ram Ramirez Richard Roger J. Ramirez teachers tenor saxophones tenor saxophonists The Jazz Professors UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ffe9bbea8548a4967ceeea6bbf889fc1.mp3 8c5a48dcf3ed80e64b63e37e614279b1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Nardis" by The Jazz Professors Alternative Title "Nardis" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description 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. Type Sound Source Original 4-minute and 34-second audio recording: Davis, Miles. "Nardis," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Davis, Miles Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.19 MB Medium 4-minute and 34-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Miles Davis, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Miles Dewey Davis III and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). bebop Bill Evans Drexler Flying Horse Records higher education jazz Miles Davis Miles Dewey Davis III modal jazz music Nardis National Public Radio NPR orlando PBS Public Broadcasting Service Richard The Jazz Musicians UCF University of Central Florida William John Evans WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ef9455dc8072358bd9ca63c7c5d2af1b.mp3 e881dac85e146445183aeb0326563905 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Two Bats" by The Jazz Professors Alternative Title "Two Bats" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Two Bats," composed 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. "Two Bats" would be recorded on the band's second album, Do That Again, which was released in 2013 and reached Number 6 on the JazzWeek charts. Type Sound Source Original 7-minute and 10-second audio recording: Rupert, Jeff, Per Danielsson, Michael Wilkinson, Bobby Koelblle, Richard Drexler, and Marty Morell. "Two Bats," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor The Jazz Professors Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 6.56 MB Medium 7-minute and 10-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by The Jazz Professors and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by The Jazz Professors and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities drummers drums educators Flying Horse Records higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombone jazz trombones jazz trombonists Jeff Rupert Marty Morrell Michael Wilkinson musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Drexler teachers tenor saxophones tenor saxophonists The Jazz Professors Two Bats UCF University of Central Florida WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/51fafc22571d4246ea959cd31fce8e28.mp3 3b8cb35f8570d8d3fee913e20dff6f91 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "My Shining Hour" by The Jazz Professors Alternative Title "My Shining Hour" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "My Shining Hour," composed by Harold Arlen (1905-1986), with lyrics by Johnny Mercer (1909-1976), 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 "My Shining Hour" was written by Arlen and Mercer for the 1943 film, The Sky's the Limit, for which it was nominated for and Academy Award for Best Song. Type Sound Source Original 4-minute and 55-second audio recording: Arlen, Harold. "My Shining Hour," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Arlen, Harold Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.5 MB Medium 4-minute and 55-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Harold Arlen, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Harold Arlen and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). Academy Awards alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities drummers drums educators Flying Horse Records Harold Arlen higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert John Herndon Mercer Johnny Mercer Marty Morrell Michael Wilkinson music musicians My Shining Hour National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Drexler teachers tenor saxophones tenor saxophonists The Jazz Professors The Sky's Limit UCF University of Central Florida WUCF WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ed1c6aedbd6f5f10454867a62a027c0e.mp3 9b7c2b7040386b9bfb49efeb65c47713 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Yes or No" by The Jazz Professors Alternative Title "Yes or No" by Jazz Professors Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Yes or No," composed by Wayne Shorter (b. 1933) 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 "Yes or No" was written and recorded by Shorter for his 1964 album, JuJu. The album demonstrates the influence of John Coltrane (1926-1967), who Shorter studied under. Type Sound Source Original 4-minute and 29-second audio recording: Shorter, Wayne. "Yes or No," by the Jazz Professors: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 10, 2007. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Shorter, Wayne Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor The Jazz Professors Rupert, Jeff Danielsson, Per Wilkinson, Michael Koelble, Bobby Drexler, Richard Morell, Marty Date Created 2007-12-10 Date Issued 2007-12-10 Date Copyrighted 2007-12-10 Format audio/mp3 Extent 4.12 MB Medium 4-minute and 29-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Wayne Shorter, performed by The Jazz Professors, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Wayne Shorter and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw" target="_blank">The Jazz Professors</a>." Allaboutjazz.com. http://musicians.allaboutjazz.com/thejazzprofessors#.UZEjASucVPw (accessed March 9, 2015). alto saxophones alto saxophonists bass guitarists bass guitars bebop Bobby Koelble CAH College of Arts and Humanities drummers drums educators Flying Horse Records higher education jazz jazz ensembles jazz guitars jazz pianists jazz pianos jazz trombones jazz trombonists Jeff Rupert JuJu Marty Morrell Michael Wilkinson music musicians National Public Radio NPR orlando PBS Per Danielsson professors Public Broadcasting Service radio radio stations Richard Drexler teachers tenor saxophones tenor saxophonists The Jazz Musicians UCF University of Central Florida Wayne Shorter WUCF-FM Yes or No https://richesmi.cah.ucf.edu/omeka/files/original/5aee10848080824c892b973fde31650f.mp3 391c3ca39117ee2fd2e40942c72e5b56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "I Thought About You" by Terry Myers Alternative Title "I Thought About You" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "I Thought About You," composed by Jimmy Van Heusen (1913-1990) with lyrics by Johnny Mercer (1909-1976), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. The jazz standard, "I Thought About You," was written by Van Heusen and Mercer in 1939 and has been performed and recorded by numerous jazz artists, including Miles Davis (1926-1991), Ella Fitzgerald (1917-1996), Billie Holiday (1915-1959), Frank Sinatra (1915-1998), Mal Waldron (1925-2002), and Dinah Washington (1924-1963). Type Sound Source Original 7-minute and 31-second audio recording: Van Heusen, Jimmy and Johnny Mercer. "I Thought About You," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Van Heusen, Jimmy Mercer, Johnny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 6.89 MB Medium 7-minute and 31-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jimmy Van Heusen and Johnny Herndon Mercer, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jimmy Van Heusen and John "Johnny" Herndon Mercer and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Billie Holiday CAH Church Street Station College of Arts and Humanities Dinah Washington Edward Chester Babcock Eleanora Fagan Ella Fitzgerald Ella Jane Fitzgerald Epcot Fagan, Eleanora Fitzgerald, Ella Jane Francis Albert Sinatra Frank Sinatra Holiday, Billie I Thought About You jazz jazz ensembles jazz saxophones jazz saxophonists Jimmy Van Heusen John Herndon Mercer Johnny Mercer Mal Waldron Malcolm Earl Waldron Miles Davis Miles Dewey Davis III musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Reed reed players Rosie O'Grady's Good Time Jazz Emporium Ruth Lee Jones soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/153f1936f31ed3518f50e03f8552c2eb.mp3 1086aa5382e5073065e479126ed05187 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Don't Worry 'Bout Me" by Terry Myers Alternative Title "Don't Worry 'Bout Me" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Don't Worry 'Bout Me," composed by Rube Bloom (1902-1976) with lyrics by Ted Koehler (1894-1983), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Don't Worry 'Bout Me" was composed by Bloom and Koehler in 1938 and has been recorded by numerous artists, including Ella Fitzgerald (1917-1996), Billie Holiday (1915-1959), and Frank Sinatra (1915-1998). Type Sound Source Original 5-minute and 40-second audio recording: Bloom, Rube abd Ted Koehler. "Don't Worry 'Bout Me," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Bloom, Rube Koehler, Ted Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.2 MB Medium 5-minute and 40-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Rube Bloom and Ted Koehler, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Reuben "Rube" Bloom and Ted L. Koehler and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Billie Holiday CAH Church Street Station College of Arts and Humanities Don't Worry 'Bout Me Eleanora Fagan Ella Fitzgerald Ella Jane Fitzgerald Epcot Francis Albert Sinatra Frank Sinatra jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists Ted Koehler Ted L. Koehler tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ff2c257bf19b64a1f84e3100b5e68733.mp3 b36e7fc0a7de96ba4a7ef81b49453cc5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Gone With the Wind" by Terry Myers Alternative Title "Gone With the Wind" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Pop music Description An audio recording of "Gone with the Wind," composed by Allie Wrubel (1905-1973) with lyrics by Herb Magidson (1906-1986), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Gone with the Wind" is a pop standard written by Wrubel and Magidson in 1937. It was a number one song for Horace Heidt (1901-1986) that same year, and recorded by numerous artists over the next several decades. Type Sound Source Original 5-minute and 26-second audio recording: Wrubel, Allie and Herb Magidson. "Gone With the Wind," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Wrubel, Allie Magidson, Herb Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 4.98 MB Medium 5-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Allie Wrubel and Herb Magidson, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Allie Wrubel and Herb Magidson and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Allie Wrubel CAH Church Street Station College of Arts and Humanities Elias Paul Wrubel Epcot Francis Albert Sinatra Frank Sinatra Gone With the Wind Herb Magidson Herbert A. Magidson Horace Heidt jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS pop pop music pop standard Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/c50e2ea092f19ce47ee01e86a745117f.mp3 c3f8dbdf59d96ba1b58133305e221e38 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Recado Bossa Nova" by Terry Myers Alternative Title "Recado Bossa Nova" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Recado Bossa Nova," composed by Luiz Antonio and Djalma Ferreira, and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Recado Bossa Nova" was written by Brazilian composers/musicians Antonio and Ferreira and first recorded by Hank Mobley (1930-1986) on his 1965 album, Dippin'. Type Sound Source Original 6-minute and 13-second audio recording: Antonio, Luiz and Djalma Ferreira. "Recado Bossa Nova," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Rio de Janeiro, Greater Rio de Janeiro, Brazil Creator Antonio, Luiz Ferreira, Djalma Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.7 MB Medium 6-minute and 13-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Antonio and Djalma Ferreira, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Antonio and Djalma Ferreira and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). bossa nova Brazilian jazz Brazilians CAH Church Street Station College of Arts and Humanities composers Djalma Ferreira Epcot Francis Albert Sinatra Frank Sinatra Hank Mobley Henry Mobley jazz jazz ensembles jazz saxophones jazz saxophonists Luiz Antonio musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Recado Bossa Nova Reed reed player reed players Reuben Bloom Rio de Janeiro, Brazil Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonist tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/52a1d60538b3174fdc0e56c8af9e73b4.mp3 f49986224ee0bb82986c5dcac394beb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "It's a Wonderful World" by Terry Myers Alternative Title "It's a Wonderful World" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "It's a Wonderful World," composed by Jan Savitt (1907-1948), Harold Adamson (1906-1980), and "Johnny Guitar" Watson (1935-1996), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. Although most songwriters were under contract to publishers during the big band era, in rare cases, a bandleader would write his/her own song. Savitt, along with Adamson and Watson, composed "It's a Wonderful World," and recorded it on Savitt's 1938-1941 recording collection, It's Time to Jump and Shout. Type Sound Source Original 4-minute and 21-second audio recording: Savitt, Jan, Harold Adamson, and Johnny Watson. "It's a Wonderful World," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Savitt, Jan Adamson, Harold Watson, Johnny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 3.99 MB Medium 4-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jan Savitt, Harold Adamson and Johnny Watson, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jan Savitt, Harold Adamson and John "Johnny Guitar" Watson, Jr. and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). CAH Church Street Station College of Arts and Humanities Epcot Francis Albert Sinatra Frank Sinatra Harold Adamson It's a Wonderful World It's Time to Jump and Shout Jacob Savetnick Jan Savitt jazz jazz ensembles jazz saxophones jazz saxophonists John Watson, Jr. Johnny Guitar Watson musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/15787dfd68243bc27ed8df5c5359f9ef.mp3 53d55d09c661bc1032338dd0f7d3400f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Strike Up the Band" by Terry Myers Alternative Title "Strike Up the Band" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Pop music Description An audio recording of "Strike Up the Band," composed by George Gershwin (1898-1937) and Ira Gershwin (1896-1983), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. Brothers George and Ira Gershwin composed "Strike Up the Band" in 1927 for a musical of the same name. Although the musical was unsuccessful, the song became popular. Type Sound Source Original 5-minute and 44-second audio recording: Gershwin, George and Ira Gershwin. "Strike Up the Band," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Gershwin, George Gershwin, Ira Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.25 MB Medium 5-minute and 44-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by George Gershwin and Ira Gershwin, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by George Gershwin and Ira Gershwin and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). CAH Church Street Station College of Arts and Humanities Epcot Francis Albert Sinatra Frank Sinatra George Gershwin Ira Gershwin jazz jazz ensembles jazz saxophones jazz saxophonists musicals musicians National Public Radio NPR orlando PBS pop music pop standard Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists Strike Up the Band tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/fff8a7b681743b6c27e74b48fe485a68.mp3 c69d8cd269ef99518d9ae1338c9ce9e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "My One and Only Love" by Terry Myers Alternative Title "My One and Only Love" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States Pop music Description An audio recording of "My One and Only Love," composed by Guy Wood (1911-2001) with lyrics by Robert Mellin (1902-1994), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "My One and Only Love" is a pop standard composed and published by Wood and Mellin in 1952 and recorded by Frank Sinatra (1915-1998) in 1953. It has since been recorded by numerous artists. Type Sound Source Original 5-minute and 58-second audio recording: Wood, Guy and Robert Mellin. "My One and Only Love," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Wood, Guy Mellin, Robert Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.47 MB Medium 5-minute and 58-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Guy Wood and Robert Mellin, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Guy Wood and Robert Mellin and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). CAH Church Street Station College of Arts and Humanities Epcot Francis Albert Sinatra Frank Sinatra Guy B. Wood Guy Wood jazz jazz ensembles jazz saxophones jazz saxophonists musicians My One and Only Love National Public Radio NPR orlando PBS pop music pop standard Public Broadcasting Service radio stations radios Reed reed players Reuben Bloom Robert Mellin Rosie O'Grady's Good Time Jazz Emporium Rube Bloom soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/363d02de7cb206c705f066f5539cb10b.mp3 fc292b63460ba50b9b542f7c83779b97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Do Nothin' Till You Hear From Me" by Terry Myers Alternative Title "Do Nothing Til You Hear From Me" by Myers Subject Orlando (Fla.) Music--United States Jazz--United States R&B (Music) Description An audio recording of "Do Nothing till You Hear from Me," composed by Duke Ellington (1899-1974), and performed by Terry Myers live on-air on WUCF-FM on August 14, 2006. Myers is a reed player from Iowa who developed a successful career in Nashville, Tennessee, and New York before moving to Central Florida, where he became a band leader at Walt Disney World's Epcot theme park and the band leader at Rosie O'Grady's Good Time Jazz Emporium at Church Street Station in Orlando. Myers has played at jazz festivals across the United States, Europe, and Asia, and is currently the director of the Tommy Dorsey Orchestra. "Do Nothin' Till You Hear From Me" was composed by Ellington in 1940 and lyrics were later added by Bob Russell (1914-1970). It was recorded by Ellington in 1944, reaching number one in the rhythm and blues charts. Type Sound Source Original 6-minute and 15-second audio recording: Ellington, Duke and Bob Russell. "Do Nothing Til You Hear From Me," by Terry Myers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Ellington, Duke Russell, Bob Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Myers, Terry Date Created 2006-08-14 Date Issued 2006-08-14 Date Copyrighted 2006-08-14 Format audio/mp3 Extent 5.72 Medium 6-minute and 15-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Duke Ellington and Bob Russell, performed by Terry Myers, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Duke Ellington and Bob Russell and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://www.buddymorrowproductions.com/terry-meyers.html" target="_blank">Meet Terry Myers</a>." BuddyMorrowProductions.com. http://www.buddymorrowproductions.com/terry-meyers.html (accessed March 10, 2015). Bob Russell CAH Church Street Station College of Arts and Humanities Do Nothin' Till You Hear From Me Duke Ellington Edward Kennedy Ellington Ellington, Duke Ellington, Edward "Duke" Kennedy Epcot Francis Albert Sinatra Frank Sinatra jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service R&B radio stations radios Reed reed players Reuben Bloom rhythm and blues Rosie O'Grady's Good Time Jazz Emporium Rube Bloom Sidney Keith Russell soprano saxophones soprano saxophonists tenor saxophones tenor saxophonists Terry Myers Tommy Dorsey Orchestra UCF University of Central Florida Walt Disney World woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/feecd261d2ee499e16ba006220859b72.mp3 2b5bd74b5fb4cffd1d446a2df427f150 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Torch" by the Sam Rivers Trio Alternative Title "Torch" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Torch," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Torch" was recorded and released on the 1978 Sam Rivers album, Waves. Type Sound Source Original 3-minute and 42-second audio recording: Rivers, Sam. "Torch," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 3.39 MB Medium 3-minute and 42-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists Torch UCF University of Central Florida WAVES woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/ad285e5aa755668ff3e757ad7714c954.mp3 a4964e796c61b72635abb3f70ccb1415 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Twilight" by the Sam Rivers Trio Alternative Title "Twilight" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Twilight," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound Source Original 3-minute and 29-second audio recording: Rivers, Sam. "Twilight," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 3.19 MB Medium 3-minute and 29-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz jazz ensembles jazz saxophone jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists Twilight UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/75e5270e88333ddfe2418bc24bf77285.mp3 53c021e5015c9e04a97973ee880af420 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Bouquet" by the Sam Rivers Trio Alternative Title "Bouquet" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bouquet," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound Source Original 5-minute and 37-second audio recording: Rivers, Sam. "Bouquet," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 5.14 MB Medium 5-minute and 37-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets Bouquet CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/8f08914cbd82ff2dbe6c7de6fd05815d.mp3 0f872aeeb2729228d3ee16edcbce756b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Beatrice" by the Sam Rivers Trio Alternative Title "Beatrice" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Beatrice," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Beatrice" was recorded and released on the 1964 Sam Rivers album, Fuschia Swing Song. Type Sound Source Original 3-minute and 44-second audio recording: Rivers, Sam. "Beatrice," by the Sam Rivers Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 11, 2001. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 3.43 MB Medium 3-minute and 44-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed by the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. "<a href="http://www.worldcat.org/oclc/755624978" target="_blank">Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>." The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets Beatrice CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz Fuschia Swing Song jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/faf673794d810b28b9804eb9224595d0.mp3 1db9655cb35f887ef476e12eacd3629f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Rapture" by the Sam Rivers Trio Alternative Title "Rapture" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Rapture," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Rapture" was recorded and released on the 1999 Sam Rivers album, Winter Garden. Type Sound Source Original 4-minute and 43-second audio recording: Rivers, Sam. "Rapture," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 4.33 MB Medium 4-minute and 43-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Rapture Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida Winter Garden woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/655878c64c211acee93af867c8c888a8.mp3 ac62695870e8c5bb4467353b35bf3a12 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Ever After" by the Sam Rivers Trio Alternative Title "Ever After" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Ever After," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Ever After" was recorded and released on the 1999 Sam Rivers album, Winter Garden. Type Sound Source Original 4-minute and 58-second audio recording: Rivers, Sam. "Ever After," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 4.55 MB Medium 4-minute and 58-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews Ever After flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida Winter Garden woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/4f672be2f99d763903592412a11dd31a.mp3 9dede9c7ae30872ab66beaace55ad5ee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Firestorm" by the Sam Rivers Trio Alternative Title "Firestorm" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Firestorm," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. "Firestorm" would be recorded and released on the 2007 Sam Rivers album of the same name. Type Sound Source Original 4-minute and 40-second audio recording: Rivers, Sam. "Firestorm," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 4.27 MB Medium 4-minute and 40-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews Firestorm flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers saxophonist soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/236d20a9af719b72227029b01b272f90.mp3 9afcb38a19375b98c5fbf57f239ea7c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Xtemporanious" by the Sam Rivers Trio Alternative Title "Xtemporanious" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Xtemporanious," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound/Podcast Source Original 2-minute and 51-second audio recording: Rivers, Sam. "Xtemporanious," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 2.62 MB Medium 2-minute and 51-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM Xtemporanious https://richesmi.cah.ucf.edu/omeka/files/original/0b6fa091cb6163d78f2b8ec5736b64f4.mp3 f922b5352315b145cb6520881dd0500c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Out" by the Sam Rivers Trio Alternative Title "Out" by Sam Rivers Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Out," composed by Sam Rivers (1923-2011) and performed by the Sam Rivers Trio live on-air on WUCF-FM on December 11, 2001. Rivers was a jazz multi-instrumentalist and composer from Oklahoma, who helped popularize free jazz and avant-garde jazz. Rivers was briefly a member of the Miles Davis Quintet before going on to lead his own groups and perform as a sideman with a number of artists. Rivers and his wife, Bea Rivers, opened a public jazz loft known as Studio Rivbea in the 1970s in Lower Manhattan in New York City, New York. The couple moved to Orlando, Florida, in the early 1990s, where Rivers continued to perform with his Orchestra and Trio. This incarnation of the Sam Rivers Trio included the rhythm section from his Rivbea All-Star Orchestra: bassist Doug Mathews and drummer Anthony Cole. Type Sound Source Original 8-minute and 30-second audio recording: Rivers, Sam. "Out," by the Sam Rivers: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, August 14, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Studio Rivbea, Lower/Downtown Manhattan, New York City, New York Creator Rivers, Sam Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Rivers, Sam Mathews, Doug Cole, Anthony Date Created 2001-12-11 Date Issued 2001-12-11 Date Copyrighted 2001-12-11 Format audio/mp3 Extent 7.79 MB Medium 8-minute and 30-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sam Rivers, performed the Sam Rivers Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sam Rivers and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Chinen, Nate. <a href="http://www.worldcat.org/oclc/755624978" target="_blank">”Sam Rivers, Jazz Artist of Loft Scene, Dies at 88</a>.” The New York Times, December 27, 2011. http://www.nytimes.com/2011/12/28/arts/music/sam-rivers-jazz-musician-dies-at-88.html?_r=0 (Accessed March 10, 2015). Anthony Cole avant-garde jazz bass clarinetists bass clarinets CAH College of Arts and Humanities Doug Mathews flautists flutes free jazz jazz ensembles jazz saxophones jazz saxophonists musicians National Public Radio NPR orlando Out PBS Public Broadcasting Service radio stations radios Sam Rivers Sam Rivers Trio Samuel Carthorne Rivers soprano saxophones soprano saxophonists Studio Rivbea tenor saxophones tenor saxophonists UCF University of Central Florida woodwind players woodwinds WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/eb1cfbbaf18bc6b773bcffdd7b795782.mp3 50c3078e43b907cbeadfab4a6cc66792 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Stepping" by Nathen Page Alternative Title "Stepping" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Stepping," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 8-minute and 12-second audio recording: Page, Nathen. "Stepping," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 8-minute and 12-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando Page, Nathen PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/2234eb20147120d2b9d33a8605f2d372.mp3 8e679381085915d1aa89c60e537cc94c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues in the Key of Page" by Nathen Page Alternative Title "Blues in the Key of Page" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues in the Key of Page," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 7-minute and 3-second audio recording: Page, Nathen. "Blues in the Key of Page," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 7-minute and 3-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Blues in the Key of Page CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/7e8208ba115758a73cea7b92def254ee.mp3 63c5e0e8deb3554c073dec1e0f583c16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Carrie" by Nathen Page Alternative Title "Carrie" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Carrie," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 5-minute and 50-second audio recording: Page, Nathen. "Carrie," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 5-minute and 50-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH Carrie College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/feaa1ccd05231006ef843a7724daa7a3.mp3 6849e15178f5ec486cf509f957af9634 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Bistro Stomp" by Nathen Page Alternative Title "Bistro Stomp" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bistro Stomp," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 5-minute and 23-second audio recording: Page, Nathen. "Bistro Stomp," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 5-minute and 23-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Bistro Stomp CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/551d470f2b43af80c42a85a28225f7e4.mp3 feae5213725efa2e24ffb128320f586e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues for Alvin" by Nathen Page Alternative Title "Blues for Alvin" by Nathen Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues for Alvin," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 9-minute and 21-second audio recording: Page, Nathen. "Blues for Alvin," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 9-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Blues for Alvin CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/cde5ace2577b6e34864567cb73375225.mp3 573d30ba12388016a158abc0bed5dc47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Thinking of You" by Nathen Page Alternative Title "Thinking of You" by Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Thinking of You," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 4-minute and 57-second audio recording: Page, Nathen. "Thinking of You," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 4-minute and 57-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. "<a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">Nathen Page, Jazz Maverick</a>." The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH College of Arts and Humanities guitar hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars jazz music Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/0e6d1bd8d3b63f1f7e9dc6fcae5818d3.mp3 0d7bf0d7c2577cd1ba39a87a27bb2aeb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues for Brad" by Nathen Page Alternative Title "Blues for Brad" by Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues for Brad," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 6-minute and 38-second audio recording: Page, Nathen. "Blues for Brad," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 6-minute and 38-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. <a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">”Nathen Page, Jazz Maverick</a>.” The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/4911fd773c7b253c5891b1649691b736.mp3 6f2f597c81e09a14c55ec4e71caa1494 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues in the Key of Page" by Nathen Page Alternative Title "Blues in the Key of Page" by Page Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues in the Key of Page," composed and performed by Nathen Page (1937-2003) live on-air on WUCF-FM on June 23, 2000. Page was an American guitarist from West Virginia who moved to Central Florida in 1979, where he remained active until his death in 2003. Page was known for his unorthodox way of playing, including using a thumb pick on his forefinger. He performed with numerous jazz musicians, including Sonny Rollins (b. 1930), Roberta Flack (b. 1937), Sam Rivers (1923-2011), Herbie Mann (1930-2003), and Jackie McLean (1931-2006). Page released this on-air recording as a 2000 album, entitled Thinking of You. The performance included his regular quartet, with Kevin Bales on piano, Leon Anderson on drums, and Jeff Handley on bass. Type Sound Source Original 7-minute and 51-second audio recording: Page, Nathen. "Blues in the Key of Page," by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 23, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Page, Nathen Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Page, Nathen Bales, Kevin Anderson, Leon Handley, Jeff Date Created 2000-06-23 Date Issued 2000-06-23 Date Copyrighted 2000-06-23 Format audio/mp3 Medium 7-minute and 51-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally composed by Nathen Page, performed by Nathen Page, Kevin Bales, Leon Anderson, and Jeff Handley, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Nathen Page and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Gettelman, Parry. <a href="http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano" target="_blank">”Nathen Page, Jazz Maverick</a>.” The Orlando Sentinel, January 19, 1992. http://articles.orlandosentinel.com/1992-01-19/entertainment/9201170610_1_nathen-page-jazz-left-the-piano (Accessed March 16, 2015). Blues in the Key of Page CAH College of Arts and Humanities hard bop Jackie McLean jazz jazz ensembles jazz guitarists jazz guitars Jeff Handley Kevin Bales Leon Anderson musicians Nathen Page National Public Radio NPR orlando PBS Public Broadcasting Service radio stations radios soul jazz soul music Thinking of You UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/cac4f33d754341766925e4847db6ed60.mp3 6a1ec358c222c13a6bee944b3e21e81b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Bags' Groove" by Larry Coryell Alternative Title "Bags' Groove" by Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bags' Groove," composed by Milt "Bags" Jackson (1923-1999) and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Bags' Groove" is a jazz standard first recorded by Davis' quintet in 1954. Type Sound Source Original 8-minute and 49-second audio recording: Jackson, Milt. "Bags' Groove," by the Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Jackson, Milt Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 8-minute and 49-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Milt Jackson, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Milt Jackson and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Bags Jackson Bags' Groove free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Larry Coryell Milt Jackson Milton Jackson musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/038e0483b1294b95ff81c5b2af2fb05f.mp3 59935b4443e8f4b9c3ba2d7a9d1e2c48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Autumn Leaves" by Larry Coryell Alternative Title "Autumn Leaves" by Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Autumn Leaves," composed by Joseph Kosma (1905-1969) with lyrics by Jacques Prévert (1900-1977, and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Autumn Leaves" is a jazz and pop standard composed by Kosma in 1945. American songwriter Johnny Mercer (1909-1976) wrote English lyrics in 1947. Type Sound Source Original 7-minute and 34-second audio recording: Kosma, Joseph and Jacques Prévert. "Autumn Leaves," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Kosma, Joseph Prévert, Jacques Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 7-minute and 34-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Joseph Kosma and Jacques Prévert, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Joseph Kosma and Jacques Prévert and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Autumn Leaves free jazz Jacques Prévert jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Larry Coryell musicians National Public Radio NPR orlando PBS pop standard post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/7480563401a3f01f67a5e36de82f81e8.mp3 b09dc96b3f3085af669d771f4fcc011c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Round About Midnight" by Larry Coryell Alternative Title "Round About Midnight" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "'Round About Midnight," composed by Thelonious Monk (1917-1982), Bernie Hanighen (1908-1976), and Cootie Williams (1911-1985), and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "'Round About Midnight" was first recorded by Miles Davis in 1955 and released on his album of the same name in 1957. It is the most recorded jazz standard composed by a jazz musician. Type Sound Source Original 8-minute and 42-second audio recording: Monk, Thelonious, Bernie Hanighen, and Cootie Williams. "'Round About Midnight," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Monk, Thelonious Hanighen, Bernie Williams, Cootie Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 8-minute and 42-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Thelonious Monk, Bernie Hanighen, and Cootie Williams, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Thelonious Monk, Bernie Hanighen, and Cootie Williams and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. 'Round About Midnight 'Round Midnight Bernard D. Hanighen Bernie Hanighen CAH Charles Melvin Williams College of Arts and Humanities Cootie Williams free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz-rock Larry Coryell Monk, Thelonious Sphere musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service Thelonious Monk Thelonious Sphere Monk UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/b6b60b8bb94d9e8f0f882a0e006c3d43.mp3 b38bd7fc966178df4979528321eb9476 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Something" by Larry Coryell Alternative Title "Something" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Something," composed by George Harrison (1943-2001) and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Something" was written by Harrison and released on the Beatles' 1969 album, Abbey Road. It is the second-most covered Beatles song after "Yesterday." Type Sound Source Original 4-minute and 21-second audio recording: Harrison, George. "Something," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Harrison, George Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 4-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by George Harrison, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by George Harrison and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Beatles, the CAH College of Arts and Humanities free jazz George Harrison Harrison, George jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz-rock Larry Coryell musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service The Beatles UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/c854e91cd963e277416da0a930145002.mp3 1122b5da6afa1aace63e6a69f5fb4582 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Manhã de Carnaval" by Larry Coryell Alternative Title "Manhã de Carnaval" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Manhã de Carnaval" ("Morning of the Carnival"), composed by Luiz Bonfá (1922-12001) and lyricist Antônio Maria (1921-1964), and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums.One of the first bossa nova compositions to gain popularity outside Brazil, "Manhã de Carnaval" has become a jazz standard. The song appeared as the theme to the 1958 film, Orfeu Negro (Black Orpheus). Type Sound Source Original 4-minute and 26-second audio recording: Bonfá, Luiz, and Antônio Maria. "Manhã de Carnaval," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Bonfá, Luiz Maria, Antônio Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 4-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Floriano Bonfá and Antônio Maria, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Floriano Bonfá and Antônio Maria and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Antônio Maria Antônio Maria de Araújo Morais Black Orpheus bossa nova Brazilian jazz CAH College of Arts and Humanities free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Larry Coryell Luis Bonfá Luiz Bonfá Luiz Floriano Bonfá Manhã de Carnaval Morning of the Carnival musicians National Public Radio NPR Orfeu Negro orlando PBS post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/de41c8383c5ed2a9940b166cc0155824.mp3 b9828f02c8646cf5fd27ae9c883ef1be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blue Bossa" by Larry Coryell Alternative Title "Blue Bossa" by Larry Coryell Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blue Bossa," composed by Kenny Dorham (1924-1972) and performed by Larry Coryell (b. 1943) live on-air on WUCF-FM on June 8, 1999. Coryell is an American jazz fusion guitarist, composer, and one of the pioneers of jazz-rock, a fusion genre that combines elements of blues, rock, country, and bop. Considered by many to be one of the greatest guitarists of all time, Coryell has shared the stage with Miles Davis (1926-1991) and Jimi Hendrix (1942-1970). He has remained active since the 1960s, recording over 100 albums. "Blue Bossa" is a jazz standard that first appeared on the 1963 Joe Henderson album, Page One. Type Sound Source Original 9-minute and 48-second audio recording: Dorham, Kenny. "Blue Bossa," by Larry Coryell: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, June 8, 1999. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Creator Dorham, Kenny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Coryell, Larry Date Created 1999-06-08 Date Issued 1999-06-08 Date Copyrighted 1999-06-08 Format audio/mp3 Medium 9-minute and 48-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Kenny Dorham, performed by Larry Coryell, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Kenny Dorham and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Coryell, Larry. <a href="http://www.worldcat.org/oclc/72150176" target="_blank">Improvising: My Life in Music</a>. New York: Backbeat, 2007. Blue Bossa bossa nova CAH College of Arts and Humanities free jazz jazz jazz ensembles jazz fusion jazz guitarists jazz guitars jazz standard jazz-rock Kenny Dorham Larry Coryell McKinley Howard Dorham musicians National Public Radio NPR orlando PBS post-bop Public Broadcasting Service UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/a3670e799cdeda4bdda7312b3f278521.mp3 672aa43ce8a6c55b90a0fe7a3c880fb5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "I Should Care" by the John Whitney Trio Alternative Title "I Should Care" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "I Should Care," composed by Axel Stordahl (1913-1963), Paul Weston (1912-1996), and Sammy Cahn (1913-1993), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "I Should Care" is a popular standard that was published in 1944 and first appeared in the 1945 film, Thrill of a Romance. It has been recorded by numerous artists, including Bing Crosby (1903-1977), Thelonious Monk (1917-1982), Nat King Cole (1919-1965), Dizzy Gillespie (1917-1993), Frank Sinatra (1915-1998), and Sammy Davis, Jr. (1925)-1990). Type Sound Source Original 4-minute and 39-second audio recording: Stordahl, Axel, Paul Weston, and Sammy Cahn. "I Should Care," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Stordahl, Axel Weston, Paul Cahn, Sammy Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 4.26 MB Medium 4-minute and 39-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Axel Stordahl, Paul Weston, and Sammy Cahn, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Axel Stordahl, Paul Weston, and Sammy Cahn, and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl CAH College of Arts and Humanities conducting conductors I Should Care jazz jazz ensembles Jazz Lab John Whitney John Whitney Trio musicians National Public Radio NPR orlando Paul Weston popular standard Public Broadcasting Service Sammy Cahn Thrill of a Romance UCF UCF College of Arts and Humanities University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/f9c784e7294e86445eb7fa3939637ca6.mp3 27e7b8c0ef31285c2b5df98a13a7fef6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "The Gentle Rain" by the John Whitney Trio Alternative Title "Gentle Rain" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "The Gentle Rain," composed by Luiz Bonfá (1922-2001) and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. Type Sound Source Original 6-minute and 27-second audio recording: Bonfá, Luiz. "The Gentle Rain," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Bonfá, Luiz Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.91 MB Medium 6-minute and 27-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Bonfá performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Bonfá and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl bossa nova Brazilian jazz CAH Chuva Delicada College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab John Whitney John Whitney Trio Luis Bonfá Luiz Bonfá Luiz Floriano Bonfá musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn The Gentle Rain UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/af834c0872bec100fb269703c5fbc7ea.mp3 95a5e82f82f90599569890937dded054 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Stella by Starlight" by the John Whitney Trio Alternative Title "Stella by Starlight" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Stella by Starlight," composed by Victor Young (1900-1956) and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "Stella by Starlight" is a popular jazz standard first featured in the 1944 film, The Uninvited. It has since been recorded by numerous artists, including Frank Sinatra (1915-1998), Charlie Parker (1920-1955), Nat King Cole (1919-1965), Miles Davis (1926-1991), Larry Coryell (b. 1943), Ella Fitzgerald (1917-1996), and Ray Charles (1930-2004). Type Sound Source Original 5-minute and 50-second audio recording: Young, Victor. "Stella by Starlight," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Young, Victor Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.34 MB Medium 5-minute and 50-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Victor Young, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Victor Young and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl CAH College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab John Whitney John Whitney Trio musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn The Uninvited UCF UCF Jazz Lab band University of Central Florida Victor Young WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/6c94372240a44e20464101545a37fe77.mp3 a6762f6bbdfcefd326c2acda6bbf17cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "The Second Time Around" by the John Whitney Trio Alternative Title "Second Time Around" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "The Second Time Around," composed by Jimmy Van Heusen (1913-1990) and Sammy Cahn (1913-1993), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "The Second Time Around" was first recorded by Bing Crosby (1903-1977) and Henry Mancini (1924-1994), and featured in the 1960 film, High Time, where it was nominated for the Academy Award for Best Original Song. The song is associated with Frank Sinatra (1915-1998), who recorded several versions. Type Sound Source Original 4-minute and 38-second audio recording: Van Heusen, Jimmy, and Sammy Cahn. "The Second Time Around," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Van Heusen, Jimmy Cahn, Sammy Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 4.24 MB Medium 4-minute and 38-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sammy Cahn and Jimmy Van Heusen, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl band leader CAH College of Arts and Humanities conducting conductors Edward Chester Babcock High Time jazz jazz ensembles Jazz Lab Jimmy Van Heusen John Whitney John Whitney Trio musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn The Second Time Around UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/43ca42d5899312cdf06c3853aee0ef60.mp3 cb3f7e35f5de20a08da04105d107022b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Li'l Darlin'" by the John Whitney Trio Alternative Title "Li'l Darlin'" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Li'l Darlin'," composed by Neal Hefti (1922-2008) with lyrics by Jon Hendricks (b. 1921), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "Li'l Darlin'" is a jazz standard composed in 1957 for the Count Basie Orchestra. Type Sound Source Original 5-minute and 56-second audio recording: Hefti, Neal and Jon Hendricks. "Li'l Darlin'," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Hefti, Neal Hendricks, Jon Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.43 MB Medium 5-minute and 56-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Neal Hefti and Jon Hendricks, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Neal Hefti and Jon Hendricks, and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Axel Stordahl CAH College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab jazz standard John Whitney John Whitney Trio Jon Hendricks Li'l Darlin' musicians National Public Radio Neal Hefti Neal Paul Hefti NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn swing music UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/9a7111f2ac83a86f2412b2559779f87a.mp3 340ac851720e91dc1ed484e4cf44b3c7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "One Note Samba" by the John Whitney Trio Alternative Title "Samba de Uma Nota Só" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "One Note Samba," composed by Antônio Carlos Jobim (1927-1994) with Portuguese lyrics by Newton Mendon, and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "One Note Samba" is a jazz standard in a bossa nova rhythm, which was made popular on the 1963 Grammy-winning, number one album, Jazz Samba. It has been recorded by numerous artists, including Quincy Jones (b. 1933), Frank Sinatra (1915-1998), Barbra Streisand (b. 1942), and Ella Fitzgerald (1917-1996). Type Sound Source Original 5-minute and 35-second audio recording: Antônio Carlos Jobim and Newton Mendon. "One Note Samba," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Jobim, Antônio Carlos Mendon, Newton Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.12 MB Medium 5-minute and 35-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Antônio Carlos Jobim and Newton Ferreira de Mendon, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Antônio Carlos Jobim and Newton Ferreira de Mendon and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Antônio Carlos Brasileiro de Almeida Jobim Antônio Carlos Jobim Axel Stordahl bossa nova Brazilian music CAH College of Arts and Humanities conducting conductors jazz jazz ensembles Jazz Lab Jazz Samba jazz standard John Whitney John Whitney Trio musicians National Public Radio Newton Mendon NPR One Note Samba orlando Paul Weston Public Broadcasting Service Samba de Uma Nota Só Sammy Cahn Tom Jobim UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/d2e3991118079b9dd8a39beca3636958.mp3 36343a4e993607ec2b4c222f80f0da81 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Shiny Stockings" by the John Whitney Trio Alternative Title "Shiny Stockings" by John Whitney Trio Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Shiny Stockings," composed by Frank Foster with lyrics by Ella Fitzgerald (1917-1996), and performed by the John Whitney Trio live on-air on WUCF-FM on January 4, 2000. John Whitney served as director of both orchestral studies and the University of Central Florida Jazz Lab band during his 20 years with the university. Whitney also led the UCF Jazz Lab band in invited performances at Montreux Jazz Festival in Switzerland and North Sea Jazz Festival in Holland. He established himself as a conductor, performer, composer, arranger, and teacher in both classical and jazz arenas, founding and directing the Southern Tier Symphony in Allegany, New York, in 2003, until his death in 2014. "Shiny Stockings" is a 1955 jazz standard written by Foster and Fitzgerald for the Count Basie Orchestra. Type Sound Source Original 5-minute and 45-second audio recording: Foster, Frank, and Ella Fitzgerald. "Shiny Stockings," by the John Whitney Trio: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, January 4, 2000. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Southern Tier Symphony, Allegany, New York Creator Foster, Frank Fitzgerald, Ella Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor John Whitney Trio Date Created 2000-01-04 Date Issued 2000-01-04 Date Copyrighted 2000-01-04 Format audio/mp3 Extent 5.27 MB Medium 5-minute and 45-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Frank Foster and Ella Fitzgerald, performed by the John Whitney Trio, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by FFrank Foster and Ella Fitzgerald and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference "<a href="http://wucf.ucf.edu/about.php" target="_blank">John Whitney - Music Director</a>." Southern Tier Symphony. http://www.southerntiersymphony.org/John_Whitney_Biography.htm (accessed March 17, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/d2e3991118079b9dd8a39beca3636958.mp3" target="_blank">"Shiny Stockings" by the John Whitney Trio</a> Axel Stordahl CAH College of Arts and Humanities conducting conductors Ella Fitzgerald Ella Jane Fitzgerald Frank Benjamin Foster III Frank Foster jazz jazz ensembles Jazz Lab jazz standard John Whitney John Whitney Trio music musicians National Public Radio NPR orlando Paul Weston Public Broadcasting Service Sammy Cahn Shiny Stockings UCF UCF Jazz Lab band University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/875a98f98e15f470cbcd606ebcd9a2c3.mp3 bafced2003b095a3048472021c440b02 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Softly, As in a Morning Sunrise" by Ira Sullivan Alternative Title "Softly, As in a Morning Sunrise" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Softly, As in a Morning Sunrise," composed by Sigmund Romberg (1887-1951), with lyrics by Oscar Hammerstein II (1895-1960), and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Softly, As in a Morning Sunrise" is a jazz standard written by Romberg and Hammerstein for the 1928 operetta, The New Moon. Originally composed as a tango, the first noteworthy jazz version is the 1938 recording by Artie Shaw (1910-2004). Type Sound Source Original 8-minute and 1-second audio recording: Romberg, Sigmund, and Oscar Hammerstein II. "Softly, As in a Morning Sunrise," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Romberg, Sigmund Hammerstein, Oscar Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 7.35 MB Medium 8-minute and 1-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sigmund Romberg and Oscar Hammerstein II, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sigmund Romberg and Oscar Hammerstein II and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH Chicago, Illinois College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensembles jazz standard music musicians National Public Radio NPR orlando Oscar Greeley Clendenning Hammerstein II Oscar Hammerstein PBS peck horns Public Broadcasting Service Sigmund A. Romberg Sigmund Romberg Softly, As in a Morning Sunrise soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists The New Moon UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/895a409de8de511b530c30e4a997dd1a.mp3 811ef076017fa56db2288a558577f43a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Imagination" by Ira Sullivan Alternative Title "Imagination" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Imagination," composed by Jimmy Van Heusen (1913-1990), with lyrics by Johnny Burke (1908-1964), and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Imagination" is a 1940 jazz standard that has been recorded by numerous artists. The best-selling recordings were by Glenn Miller (1904-1944) and Tommy Dorsey (1905-1956) in 1940, but Ella Fitzgerald (1917-1996) is considered by many to be the definitive jazz interpreter of the song. Type Sound Source Original 7-minute and 1-second audio recording: Van Heusen, Jimmy, and Johnny Burke. "Imagination," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Van Heusen, Jimmy Burke, Johnny Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 6.42 MB Medium 7-minute and 1-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jimmy Van Heusen and Johnny Burke, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jimmy Van Heusen and Johnny Burke and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/895a409de8de511b530c30e4a997dd1a.mp3" target="_blank">"Imagination" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH Chicago, Illinois College of Arts and Humanities Edward Chester Babcock flautists flugelhornists flugelhorns flutes Imagination Ira Sullivan jazz jazz ensembles jazz standard Jimmy Van Heusen John Francis Burke Johnny Burke music musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/de4d6f53611f7ae73ee1bed3e85b74f5.mp3 339900e337f32b87b9c883245f5ebab9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Blues-ette" by Ira Sullivan Alternative Title "Blues-ette" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues-ette," composed by Curtis Fuller (b. 1934) and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Blues-ette" was written and recorded by Fuller for his 1959 album of the same name. Type Sound Source Original 5-minute and 4-second audio recording: Fuller, Curtis. "Blues-ette," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Fuller, Curtis Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 4.64 MB Medium 5-minute and 4-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Curtis Fuller, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Curtis Fuller and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/de4d6f53611f7ae73ee1bed3e85b74f5.mp3" target="_blank">"Blues-ette" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns band leader bebop Blues-ette bop CAH Chicago, Illinois College of Arts and Humanities Curtis DuBois Fuller Curtis Fuller flautists flugelhornists flugelhorns flutes hard bop Ira Sullivan jazz jazz ensembles musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/36478f45be3a7b8c35bbec95005c163c.mp3 ca4d34f28f024d80b6abdeb8dee522eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Christmas Time is Here" by Ira Sullivan Alternative Title "Christmas Time is Here" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Christmas Time is Here," composed by Lee Mendelson (b. 1933) and Vince Guaraldi (1928-1976), and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. "Christmas Time is Here" is a jazz standard written for the 1965 network television special, A Charlie Brown Christmas. Type Sound Source Original 7-minute and 8-second audio recording: Mendelson, Lee, and Vince Guaraldi. "Christmas Time is Here," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Mendelson, Lee Guaraldi, Vince Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 6.53 MB Medium 7-minute and 8-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Lee Mendelson and Vince Guaraldi, performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Lee Mendelson and Vince Guaraldi and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/36478f45be3a7b8c35bbec95005c163c.mp3" target="_blank">"Christmas Time is Here" by Ira Sullivan</a> A Charlie Brown Christmas alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH Charlie Brown Chicago, Illinois Christmas Time is Here College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensembles jazz standard Lee Mendelson music musicians National Public Radio NPR orlando PBS peanuts peck horns Public Broadcasting Service soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami Vince Guaraldi Vincent Anthony Dellaglio Vincent Anthony Guaraldi WUCF-FM Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/2d3709ae914276fe30970dcccbb3b504.mp3 fb5fac5babfe1286125176315963929b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Jazz Collection Alternative Title Jazz Collection Subject Music--United States Jazz--United States Orlando (Fla.) Description Collection of digital images, documents, and other records depicting the history of jazz in Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.” By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s. The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance. Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors. Contributor <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Type Collection Coverage Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida DeLand, Florida Young Musicians Camp, University of Miami, Miami, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Alkyer, Frank. <a href="http://www.worldcat.org/oclc/319491298" target="_blank"> DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology</a>. New York: Hal Leonard, 2009. Gioia, Ted. <a href="http://www.worldcat.org/oclc/36245922" target="_blank">The History of Jazz</a>. New York: Oxford University Press, 1997. Ward, Geoffrey C., and Ken Burns. <a href="http://www.worldcat.org/oclc/42404676" target="_blank">Jazz: A History of America's Music</a>. New York: Alfred A. Knopf, 2000. Sound/Podcast A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Samba de Orpheus" by Ira Sullivan Alternative Title "Samba de Orpheus" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Samba de Orpheus," composed by Luiz Bonfá (1922-2001) and performed by Ira Sullivan (b. 1931) live on-air on WUCF-FM on December 8, 2006. A multi-instrumentalist, Sullivan was a crucial part of the Chicago jazz scene of the 1950s, performing with numerous artists, including a stint with Art Blakey (1919-1990) and the Jazz Messengers in 1956. He left the spotlight and moved to Florida to raise his family in the early 1960s, eventually starting a quintet with Red Rodney (1927-1994). Sullivan taught summers at the University of Miami's Young Musician's Camp, in which professional musicians and faculty from the UM School of Music instructed students between 7 and 18 years old in classical music, jazz, rock, songwriting, composition, and musical theater. One of the first bossa nova compositions to gain popularity outside Brazil, "Samba de Orpheus" has become a jazz standard. The song originally appeared in the 1959 film, Orfeu Negro ("Black Orpheus"). Type Sound Source Original 6-minute and 24-second audio recording: Bonfá, Luiz. "Samba de Orpheus," by Ira Sullivan: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, December 8, 2006. Requires Multimedia software, such as <a href="http://www.apple.com/quicktime/download/" target="_blank"> QuickTime</a>. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank">Jazz Collection</a>, Central Florida Music History Collection, RICHES of Central Florida Coverage WUCF-FM, University of Central Florida, Orlando, Florida Young Musicians Camp, University of Miami, Miami, Florida Chicago, Illinois Creator Bonfá, Luiz Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sullivan, Ira Date Created 2006-12-08 Date Issued 2006-12-08 Date Copyrighted 2006-12-08 Format audio/mp3 Extent 5.86 MB Medium 6-minute and 24-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Luiz Bonfá performed by Ira Sullivan, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Luiz Bonfá and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> External Reference Meredith, Bill. "<a href="http://jazztimes.com/articles/19200-ira-sullivan-family-first" target="_blank">Ira Sullivan: Family First</a>." Jazz Times, December 2007. http://jazztimes.com/articles/19200-ira-sullivan-family-first (Accessed March 23, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/2d3709ae914276fe30970dcccbb3b504.mp3" target="_blank">"Samba de Orpheus" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns bebop bop bossa nova Brazilian jazz Brazilian music CAH College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensemble jazz ensembles Luiz Bonfá Luiz Floriano Bonfá music musicians National Public Radio NPR orlando PBS peck horns Public Broadcasting Service samba Samba de Orpheus Samba of Orpheus soprano saxophones soprano saxophonists tenor horns tenor saxophones tenor saxophonists UCF UM University of Central Florida University of Miami WUCF-FM Young Musicians Camp