20 100 4936 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 https://richesmi.cah.ucf.edu/omeka/files/original/0bdc571c78ac5a030d9922f0a4106e5b.mp3 f61c1760efb8641537b26ba26e6efa84 Dublin Core The Dublin Core 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 "You Must Believe in Spring" by Ira Sullivan Alternative Title "You Must Believe in Spring" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "You Must Believe in Spring," composed by Michel Legrand (b. 1932), with lyrics by Alan Bergman (b. 1925), Marilyn Bergman (b. 1929), and Jacques Demy (1931-1990), 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. "You Must Believe in Spring" is a 1967 jazz standard often associated with Bill Evans (1929-1980), who recorded the song for his 1981 album of the same name, and as a duet with Tony Bennett (b. 1926) on their 1977 album, Together Again. Type Sound Source Original 5-minute and 50-second audio recording: Legrand, Michel, Alan Bergman, Marilyn Bergman, and Jacque Demy. "You Must Believe in Spring," 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 Legrand, Michel Bergman, Alan Bergman, Marilyn Demy, Jacques 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 5.35 MB Medium 5-minute and 50-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Michel Legrand, Alan Bergman, Marilyn Bergman, and Jacques Louis Demy, 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 Michel Legrand, Alan Bergman, Marilyn Bergman, and Jacques Louis Demy 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/0bdc571c78ac5a030d9922f0a4106e5b.mp3" target="_blank">"You Must Believe in Spring" by Ira Sullivan</a> Alan Bergman alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH College of Arts and Humanities flautists flugelhornists flugelhorns flutes Ira Sullivan Jacques Demy jazz jazz ensembles jazz standard Marilyn Bergman Marilyn Keith Michel Legrand 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 You Must Believe in Spring Young Musicians Camp https://richesmi.cah.ucf.edu/omeka/files/original/fac6b51a9de60ded25045af43867f20e.mp3 7912017379398273c2bcb6758080bda2 Dublin Core The Dublin Core 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 "Con Alma" by Ira Sullivan Alternative Title "Con Alma" by Ira Sullivan Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Con Alma," composed by Dizzy Gillespie (1917-1993) 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. "Con Alma" is a jazz standard written and recorded by Gillespie for his 1954 album, Afro. The song combines aspects of bebop jazz and Latin rhythm. Type Sound Source Original 7-minute and 52-second audio recording: Gillespie, Dizzy. "Con Alma," 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 Gillespie, Dizzy 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 7.2 MB Medium 7-minute and 52-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Dizzy Gillespie, 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 Dizzy Gillespie 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">About WUCF</a>." WUCF.ucf.edu. http://wucf.ucf.edu/about.php (accessed March 9, 2015) 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/fac6b51a9de60ded25045af43867f20e.mp3" target="_blank">"Con Alma" by Ira Sullivan</a> alto hornists alto saxophones alto saxophonists alton horns bebop bop CAH College of Arts and Humanities Con Alma Dizzy Gillespie flautists flugelhornists flugelhorns flutes Ira Sullivan jazz jazz ensembles jazz standard John Birks Gillespie 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/55e5358c1af35db3865202b5d9807065.mp3 118861dd389497f1a7efc0f71bfa6fe9 Dublin Core The Dublin Core 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 "'O Sole Mio" by Jeff Rupert + Dirty Martini Alternative Title "'O Sole Mio" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "'O Sole Mio," composed by Eduardo di Capua (1865-1917), with lyrics by Giovanni Capurro (1859-1920), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "'O Sole Mio" is an internationally popular Neapolitan song composed in 1898 that has been recorded by numerous artists. The 1980 recording by Luciano Pavarotti (1935-2007) won the Grammy Award for Best Classical Vocal Performance. Type Sound Source Original 4-minute and 3-second audio recording: Capurro, Giovanni, and Eduard di Capua. "'O Sole Mio," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Naples, Campania, Italy Creator Capurro, Giovanni di Capua, Eduardo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 3.71 MB Medium 4-minute and 3-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Eduardo di Capua and Giovanni Capurro, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Eduardo di Capua and Giovanni Capurro 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/55e5358c1af35db3865202b5d9807065.mp3" target="_blank">"'O Sole Mio" by Jeff Rupert + Dirty Martini</a> ’O Sole Mio CAH College of Arts and Humanities Dirty Martini Eduardo di Capua Flying Horse Records Giovanni Capurro Italian jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio Neapolitan jazz NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/4bb860562f0d1aa5f181988c71721a13.mp3 f72fcba79fc939f42f5e342d6b7bbc06 Dublin Core The Dublin Core 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 "No More Blues" by Jeff Rupert + Dirty Martini Alternative Title "No More Blues" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "No More Blues," composed by Antônio Carlos Jobim (1927-1994), with lyrics by Vinícius de Moraes (1913-1980), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "No More Blues," or "Chega de Saudade," is a jazz standard that is considered to be the first recorded bossa nova song. The song was first recorded in 1958 by Elizete Cardoso, but the second recorded version in 1959 by João Gilberto became an international hit. Type Sound Source Original 5-minute and 35-second audio recording of Jeff Rupert + Dirty Martini, <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 2007: WUCF-FM, University of Central Florida. 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 Brazil Creator Jobim, Antônio Carlos de Moraes, Vinícius Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 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 Vinícius de Moraes, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Antônio "Tom" Carlos Brasileiro de Almeida Jobim and Vinícius de Moraes 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/4bb860562f0d1aa5f181988c71721a13.mp3" target="_blank">"No More Blues" by Jeff Rupert + Dirty Martini</a> Antônio Carlos Brasileiro de Almeida Jobim Antônio Carlos Jobim bossa nova Brazilian jazz CAH Chega de Saudade College of Arts and Humanities Dirty Martini Flying Horse Records jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini Marcus Vinícius da Cruz e Mello Moraes music musicians National Public Radio No More Blues NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists Tom Jobim UCF University of Central Florida Vinicius de Moraes WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/cb340dd192858625e2a5a00db0dd78de.mp3 98ec16ca888b894aa11cfe5e7d593b42 Dublin Core The Dublin Core 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 "Descarga" by Jeff Rupert + Dirty Martini Alternative Title "Descarga" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Descarga," composed and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Descarga" is the Afro-Cuban equivalent to an improvised jam session. Type Sound Source Original 2-minute and 32-second audio recording: Rupert, Jeff. "Descarga," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Cuba Creator Rupert, Jeff Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 2.32 MB Medium 2-minute and 32-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jeff Rupert 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/cb340dd192858625e2a5a00db0dd78de.mp3" target="_blank">"Descarga" by Jeff Rupert + Dirty Martini</a> Afro-Cuba jazz bossa nova CAH College of Arts and Humanities Descarga Dirty Martini Flying Horse Records jam sessions jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini Latin jazz music musicians National Public Radio NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/06525c8a65caca453ff762be64ecb873.mp3 ad0448f4a90ae6470b203f112028c91a Dublin Core The Dublin Core 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 "Bad Moon" by Jeff Rupert + Dirty Martini Alternative Title "Bad Moon" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Bad Moon," composed and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Bad Moon" was written by Rupert and recorded on his 2009 album, From Memphis to Mobile. Type Sound Source Original 5-minute and 10-second audio recording: Rupert, Jeff. "Bad Moon," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Brazil Creator Rupert, Jeff Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 4.74 MB Medium 5-minute and 10-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Jeff Rupert, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Jeff Rupert 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/06525c8a65caca453ff762be64ecb873.mp3" target="_blank">"Bad Moon" by Jeff Rupert + Dirty Martini</a> Bad Moon bossa nova Brazilian jazz CAH College of Arts and Humanities Dirty Martini Flying Horse Records jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/6cd03a6b41b54a39ae61f9b9fe266ae7.mp3 fd44df2b78928b58d464060231b35e42 Dublin Core The Dublin Core 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 Jitterbug Waltz" by Jeff Rupert + Dirty Martini Alternative Title "The Jitterbug Waltz" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United State Jazz--United States Description An audio recording of "The Jitterbug Waltz," composed by Fats Waller (1904-1943), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "The Jitterbug Waltz" is a jazz standard composed and recorded by Waller in 1942. It was one of the first jazz records that used a Hammond organ. Type Sound Source Original 4-minute and 26-second audio recording: Waller, Fats. "The Jitterbug Waltz," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Brazil Creator Waller, Fats Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 4.07 MB Medium 4-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Fats Waller, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Fats Waller 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/6cd03a6b41b54a39ae61f9b9fe266ae7.mp3" target="_blank">"The Jitterbug Waltz" by Jeff Rupert + Dirty Martini</a> CAH College of Arts and Humanities Dirty Martini Fats Waller Flying Horse Records jazz jazz ensembles jazz standard Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists The Jitterbug Waltz Thomas Wright Faller UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/dd904d974435b166f49f6a24c6eb6eda.mp3 883f9095759b35d7d658b528e3c842ad Dublin Core The Dublin Core 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 "Tenderly" by Jeff Rupert + Dirty Martini Alternative Title "Tenderly" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Tenderly," composed by Walter Gross (1909-1967) with lyrics by Jack Lawrence (1912-2009), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Tenderly" is a jazz standard first published and recorded in 1946. Sarah Vaughan's early recording was a hit in 1947, but the best-known version was by Rosemary Clooney in 1952. Type Sound Source Original 5-minute and 48-second audio recording: Gross, Walter, and Jack Lawrence. "Tenderly," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Brazil Creator Gross, Walter Lawrence, Jack Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 5.32 MB Medium 5-minute and 48-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Walter Gross and Jack Lawrence, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Walter Gross and Jack Lawrence 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/dd904d974435b166f49f6a24c6eb6eda.mp3" target="_blank">"Tenderly" by Jeff Rupert + Dirty Martini</a> CAH College of Arts and Humanities Dirty Martini Flying Horse Records Jack Lawrence jazz jazz ensembles jazz music jazz standard Jazz Studies Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service Tenderly tenor saxophones tenor saxophonists UCF University of Central Florida Walter Gross WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/72298c3432bb0437bf58f019c655e38e.mp3 798c36ad2deb28a22c030c7ca29a614f Dublin Core The Dublin Core 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 "You're Blasé" by Jeff Rupert + Dirty Martini Alternative Title "You're Blasé" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "You're Blasé," composed by Ord Hamilton and Bruce Sievier, and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "You're Blasé" is a 1931 jazz standard that was popularized by Ella Fitzgerald, who recorded the song in 1957 and agian in 1973. Type Sound Source Original 7-minute and 1-second audio recording: Hamilton, Ord, and Bruce Sievier. "You're Blasé," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Brazil Creator Hamilton, Ord Sievier, Bruce Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 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 Ord Hamilton and Bruce Sievier, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Ord Hamilton and Bruce Sievier 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/72298c3432bb0437bf58f019c655e38e.mp3" target="_blank">"You're Blasé" by Jeff Rupert + Dirty Martini</a> bossa nova Brazilian jazz Bruce Sievier CAH College of Arts and Humanities Dirty Martini Flying Horse Records jazz jazz ensembles jazz standard Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR Ord Hamilton orlando PBS Public Broadcasting Service tenor saxophones tenor saxophonists UCF University of Central Florida WUCF-FM Yamaha You're Blasé https://richesmi.cah.ucf.edu/omeka/files/original/582b62e48fb1577a52a9e344c5bd4828.mp3 04c89515f53edca7d74951623d82e5f1 Dublin Core The Dublin Core 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 "When Lights Are Low" by Jeff Rupert + Dirty Martini Alternative Title "When Lights Are Low" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "When Lights Are Low," composed by Benny Carter (1907-2003) and Spencer Williams (1889-1965), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "When Lights Are Low" is a jazz standard that was composed in 1936 and has been recorded by numerous artists. The most famous versions were recorded by Miles Davis (1926-1991) in 1956 and Tony Bennett in 1964. Type Sound Source Original 5-minute and 21-second audio recording: Carter, Benny, and Spencer Williams. "When Lights Are Low," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Brazil Creator Carter, Benny Williams, Spencer Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 4.9 MB Medium 5-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Benny Carter and Spencer Williams, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Benny Carter and Spencer 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 "<a href="http://musicians.allaboutjazz.com/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/582b62e48fb1577a52a9e344c5bd4828.mp3" target="_blank">"When Lights Are Low" by Jeff Rupert + Dirty Martini</a> Bennett Lester Carter Benny Carter bossa nova Brazilian jazz CAH College of Arts and Humanities Dirty Martini Flying Horse Records jazz jazz ensembles jazz standard Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service Spencer Williams tenor saxophones tenor saxophonists UCF University of Central Florida When Lights Are Low WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/43fb19a85d75ff03587fe54876db7807.mp3 fd4c92543629a9f1d96edc7a128e50f2 Dublin Core The Dublin Core 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 "Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini Alternative Title "Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Spring Can Really Hang You Up the Most," composed by Tommy Wolf (1925-1979), with lyrics by Fran Landesman (1927-2011), and performed by Jeff Rupert + Dirty Martini live on-air on WUCF-FM on April 23, 2007. Jeff Rupert (b. 1964) is a freelance tenor saxophonist, Director of Jazz Studies and professor at the University of Central Florida (UCF), founder of Flying Horse Records, composer, and Yamaha performing artist. He has recorded with numerous artists, including Maynard Ferguson (1928-2006), Sam Rivers (1923-2011), Mel Tormé (1925-1999), and Benny Carter, whose 1992 album, Harlem Renaissance, Rupert appeared on, won a Grammy award. He has recorded and performed with his own bands as well, including Jeff Rupert + Dirty Martini and The Jazz Professors. "Spring Can Really Hang You Up the Most" is a popular song composed in 1955 and recorded by numerous artists. The most famous version is Ella Fitzgerald's 1961 recording. Type Sound Source Original 7-minute and 3-second audio recording: Wolf, Tommy, and Fran Landesman. "Spring Can Really Hang You Up the Most," by Jeff Rupert + Dirty Martini: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, April 23, 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 Brazil Creator Wolf, Tommy Landesman, Fran Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Jeff Rupert + Dirty Martini Date Created 2007-04-23 Date Issued 2007-04-23 Date Copyrighted 2007-04-23 Format audio/mp3 Extent 6.47 MB Medium 7-minute and 3-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Tommy Wolf and Fran Landesman, performed by Jeff Rupert + Dirty Martini, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Tommy Wolf and Fran Landesman 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/jeffrupert" target="_blank">Jeff Rupert</a>." All About Jazz. http://musicians.allaboutjazz.com/jeffrupert (accessed March 18, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/43fb19a85d75ff03587fe54876db7807.mp3" target="_blank">"Spring Can Really Hang You Up the Most" by Jeff Rupert + Dirty Martini</a> bossa nova Brazilian jazz CAH College of Arts and Humanities Dirty Martini Flying Horse Records Fran Landesman jazz jazz ensembles Jeff Rupert Jeff Rupert + Dirty Martini music musicians National Public Radio NPR orlando PBS Public Broadcasting Service Spring Can Really Hang You Up the Most tenor saxophones tenor saxophonists Thomas Joseph Wolf Tommy Wolf UCF University of Central Florida WUCF-FM Yamaha https://richesmi.cah.ucf.edu/omeka/files/original/fb5661abb5f468bd61b07c2d823393a0.mp3 1d0da40cefc37939665ab239d4c97ba9 Dublin Core The Dublin Core 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 "Rhythm of Our World" by Arturo Sandoval Alternative Title "Rhythm of Our World" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Rhythm of Our World," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Rhythm of Our World" was written and recorded by Sandoval for his 1998 Grammy award-winning album, Hot House. Type Sound Source Original 9-minute and 39-second audio recording: Sandoval, Arturo. "Rhythm of Our World," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 8.84 MB Medium 9-minute and 39-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/fb5661abb5f468bd61b07c2d823393a0.mp3" target="_blank">"Rhythm of Our World" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities Cubop Hot House jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianist pianists piano pianos Public Broadcasting Service Rhythm of Our World trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/b73e598e2d4c44bc54ddc5afc656f1e9.mp3 89707d15d13da7d9a71cf34833e8eaad Dublin Core The Dublin Core 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 "Englishman in New York" by Arturo Sandoval Alternative Title "Englishman in New York" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Reggae music--United States Description An audio recording of "Englishman in New York," Sting, and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Englishman in New York" was written and recorded by Sting for his 1987 album, ...Nothing Like the Sun. Type Sound Source Original 9-minute and 21-second audio recording: Sting. "Englishman in New York," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Creator Sting Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sandoval, Arturo Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 8.56 MB Medium 9-minute and 21-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Sting, performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Sting 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/b73e598e2d4c44bc54ddc5afc656f1e9.mp3" target="_blank">"Englishman in New York" by Arturo Sandoval</a> ...Nothing Like the Sun Arturo Sandoval CAH College of Arts and Humanities Englishman in New York Gordon Matthew Thomas Sumner jazz ensembles Miami Beach music musicians National Public Radio NPR orlando pianists pianos pop Public Broadcasting Service reggae rock music scat singing Sting trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/8eb60bd9fdc2c1a534111659653acaf8.mp3 24eb83858539334af95f4be8064da735 Dublin Core The Dublin Core 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 "Solo Scat" by Arturo Sandoval Alternative Title "Solo Scat" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Solo Scat," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. Type Sound Source Original 1-minute and 12-second audio recording: Sandoval, Arturo. "Solo Scat," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 1.11 MB Medium 1-minute and 12-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="" target="_blank">"Solo Scat" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities Cubop jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service scat scat singing Solo Scat trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/2c6f150e371ba2db36e2e413b29fe372.mp3 1ab0388531c882c60cdc38cfe3a0cfd2 Dublin Core The Dublin Core 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 Diz" by Arturo Sandoval Alternative Title "Blues for Diz" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Blues for Diz," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Blues for Diz" was written and recorded by Sandoval on his 2005 album, Live at the Blue Note, and features Sandoval's renowned scatting. Type Sound Source Original 1-minute and 25-second audio recording: Sandoval, Arturo. "Blues for Diz," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 1.3 MB Medium 1-minute and 25-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/2c6f150e371ba2db36e2e413b29fe372.mp3" target="_blank">"Blues for Diz" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop Blues for Diz bop CAH College of Arts and Humanities Cubop jazz jazz ensembles Latin jazz Live at the Blue Note Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service scat scat singing trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/06ba64498e590f6336fd917a96b608cb.mp3 a808b1917f3d1c59233ccb0203d89ffc Dublin Core The Dublin Core 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 "Jewsharp Solo" by Arturo Sandoval Alternative Title "Jewsharp Solo" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Jewsharp Solo," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. Type Sound Source Original 40-second audio recording: Sandoval, Arturo. "Jewsharp Solo," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 636 KB Medium 40-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/06ba64498e590f6336fd917a96b608cb.mp3" target="_blank">"Jewsharp Solo" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities composer Cubop jazz jazz ensembles Jewsharp Solo Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service scat scat singing trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/d846ac4c83f0cffbb725c7f8ff52736e.mp3 1c29bb72f5e8b65f789e71c9ce439d62 Dublin Core The Dublin Core 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 Got You (I Feel Good)" by Arturo Sandoval Alternative Title "I Got You (I Feel Good)" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Rhythm and blues music--United States Funk (Music)--United States Soul music--United States Description An audio recording of "I Got You (I Feel Good)," composed by James Brown (1933-2006), and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "I Got You (I Feel Good)" was written and recorded as a single by Brown, who is often referred to as the "Godfather of Soul," in 1965, becoming his highest charting song. Type Sound Source Original 6-minute and 56-second audio recording: Brown, James. "I Got You (I Feel Good)," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Creator Brown, James Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sandoval, Arturo Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 6.35 MB Medium 6-minute and 56-second audio recording Language eng Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by James Brown, performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by James Brown 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/d846ac4c83f0cffbb725c7f8ff52736e.mp3" target="_blank">"I Got You (I Feel Good)" by Arturo Sandoval</a> Transcript Wo! I feel good, I knew that I would now I feel good, I knew that I would now So good, so good, I got you Wo! I feel nice, like sugar and spice I feel nice, like sugar and spice So nice, so nice, I got you When I hold you in my arms I know that I can do no wrong And when I hold you in my arms My love won't do you no harm And I feel nice, like sugar and spice I feel nice, like sugar and spice So nice, so nice, I got you When I hold you in my arms I know that I can't do no wrong And when I hold you in my arms My love can't do me no harm And I feel nice, like sugar and spice I feel nice, like sugar and spice So nice, so nice, well I got you Wo! I feel good, I knew that I would've I feel good, I knew that I would So good, so good, 'cause I got you So good, so good, 'cause I got you So good, so good, 'cause I got you Hey! Oh yeah-a Afro-Cuban jazz Arturo Sandoval bebop bop CAH College of Arts and Humanities Cubop funk I Got You (I Feel Good) James Brown James Joseph Brown jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service R&B rhythm and blues trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/0fbf8109d6be4805a6257af7283bba36.mp3 6a4eeb1a87c975c0bf9716b9037867f9 Dublin Core The Dublin Core 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 "Drum Solo" by Arturo Sandoval Alternative Title "Drum Solo" by Arturo Sandoval Subject Orlando (Fla.) Music--United States Jazz--United States Description An audio recording of "Drum Solo," composed and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. Type Sound Source Original 2-minute and 26-second audio recording: Sandoval, Arturo. "Drum Solo," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Artemisa, Havana, Havana Province, Cuba Creator Sandoval, Arturo Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 2.23 MB Medium 2-minute and 26-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created and performed by Arturo Sandoval and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Arturo Sandoval 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/0fbf8109d6be4805a6257af7283bba36.mp3" target="_blank">"Drum Solo" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval Arturo Sandoval Jazz Club bebop bop CAH College of Arts and Humanities Cuban jazz Cubop Drum Solo jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/298fa4199b1be42ccad13d5166f7c745.mp3 33ef739b315ce75f10c436b4aa8f7f60 Dublin Core The Dublin Core 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 "Hot House" by Arturo Sandoval Alternative Title "Hot House" by Arturo Sandoval Subject Orlando (Fla.) Music--Florida Jazz--United States Description An audio recording of "Hot House," composed by Tadd Dameron (1917-1965), and performed by Arturo Sandoval (b. 1949) live on-air on WUCF-FM on October 9, 1999. A protégé of trumpeter Dizzy Gillespie (1917-1993), who was the first musician to bring Latin influences into American jazz, Cuban-born Sandoval became one of the most celebrated trumpeters of all-time, winning ten Grammy Awards, six Billboard Awards, and an Emmy Award. Sandoval defected to the United States while touring with Gillespie in 1990. He was awarded the Presidential Medal of Freedom by President Barack Obama (b. 1961) in 2013. Arturo Sandoval's Jazz Club was briefly open in Miami Beach, Florida, in the late 2000s. "Hot House" was written by Dameron and recorded by Sandoval for his 1998 Grammy award-winning album of the same name. Type Sound Source Original 3-minute and 54-second audio recording: Dameron, Tadd. "Hot House," by Arturo Sandoval: <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>, Orlando, Florida, October 9, 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 Arturo Sandoval Jazz Club, Deauville Beach Resort, Miami Beach, Florida Creator Dameron, Tadd Publisher <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a> Contributor Sandoval, Arturo Date Created 1999-10-09 Date Issued 1999-10-09 Date Copyrighted 1999-10-09 Format audio/mp3 Extent 3.57 MB Medium 3-minute and 54-second audio recording Mediator History Teacher Humanities Teacher Music Teacher Provenance Originally created by Tadd Dameron, performed by Arturo Sandoval, and published by <a href="http://wucf.ucf.edu/" target="_blank">WUCF-FM</a>. Rights Holder Copyright to this resource is held by Tadd Dameron 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 Simon, Robert, Arturo Sandoval, and Marianela Sandoval. <a href="http://www.worldcat.org/oclc/880150347" target="_blank">John "Dizzy" Birks Gillespie: The Man Who Changed My Life: from the Memoirs of Arturo Sandoval</a>. Chicago, IL: GIA Publications, 2014 Meredith, Bill. "<a href="http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love" target="_blank">Arturo Sandoval : From Cuba, With Love</a>." Jazz Times, October 2007. http://jazztimes.com/articles/19107-arturo-sandoval-from-cuba-with-love (Accessed March 24, 2015). Click to View (Movie, Podcast, or Website) <a href="https://richesmi.cah.ucf.edu/omeka/files/original/298fa4199b1be42ccad13d5166f7c745.mp3" target="_blank">"Hot House" by Arturo Sandoval</a> Afro-Cuban jazz Arturo Sandoval Arturo Sandoval Jazz Club bebop bop CAH College of Arts and Humanities Cubop Hot House jazz jazz ensembles Latin jazz Miami Beach music musicians National Public Radio NPR orlando pianists pianos Public Broadcasting Service Tadd Dameron Tadley Ewing Peake Dameron trumpet players trumpeters trumpets UCF University of Central Florida WUCF-FM https://richesmi.cah.ucf.edu/omeka/files/original/8484ca00e529b1952c08d4ac340f7380.pdf 890d365fab807170fe38306cbad1935f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Vietnam War Collection Alternative Title Vietnam Collection Subject Vietnam War, 1961-1975 Veterans--Florida Description The Vietnam War was a Cold War Era "military conflict." The war was originally waged between Cambodia, Vietnam, and Laos. The United States became involved as a preventive measure to combat communism. The date of the war has been disputed, but a study in 1998 by the Department of Defense definitively put the start of the Vietnam War as November 1, 1955. The first combat military troops 9th Marine Expeditionary Brigade didn't arrive until 1965. With the arrival of the combat troops came the first traditional battles of combat fighting in the war. During the Vietnam War, not only did American military go into battle with and for South Vietnam, the military also trained members of South Vietnam to fight alongside during the war. Peace talks were attempted, with France moderating, beginning on May 10, 1968. These talks were unsuccessful and lasted over three years. The longest battle of the Vietnam War began on January 21, 1968 and didn't end until the U.S. reclaimed Route 9 on April 8, 1968, 77 days later. While the military conflict ended in April of 1975, it was a long process towards reunification and redevelopment as a country. The conflict left Vietnam in both political and economical ruins. Contributor <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Vietnam Contributing Project <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, 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://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/. Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank">America's Longest War: The United States and Vietnam, 1950-1975</a>. New York: Wiley, 1979. "<a title="American Experience" href="http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html" target="_blank">American Experience</a>." Public Broadcasting Company. http://www.pbs.org/wgbh/amex/vietnam/timeline/tl3.html. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Scherer, Rose Marie "Judy" Interviewee McGuire, George G. Location University of Central Florida, Orlando, Florida Original Format 1 audio/video DVD/CD Duration 43 minutes and 22 seconds Bit Rate/Frequency 157kbps Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of George G. McGuire Alternative Title Oral History, McGuire Subject Veterans--Florida Orlando (Fla.) Vietnam War, 1961-1985 Air Force Army Description An oral history interview of George G. McGuire, who joined the U.S. Air Force in 1963 and served until 1983. He was born on Summit, New Jersey, on October 17, 1941. A veteran of the Vietnam War era, McGuire achieved the rank of Lieutenant Colonel. This interview was conducted by Judy Scherer on April 1, 2014. Interview topics include McGuire's background and family, his college education, join the Air Force Reserve Officer Training Corps (AFROTC), Whiteman Air Force Base, McCoy Air Force Base, duties as a procurement officer and a contract administrator, the Defense Contract Administration Services, serving in Bangkok during the Vietnam War, the U.S. Air Force Office of Special Investigations (USAFOSI), the Rock Island Arsenal, military retirement, U.S.-Thailand relations, and his many travel experiences. Table Of Contents 0:00:00 Introduction 0:02:33 College years 0:03:06 Air Force Reserve Officers' Training Corps and Whiteman Air Force Base 0:04:42 McCoy Air Force Base 0:05:42 George Washington University, Defense Contract Administration Services, and Bangkok, Thailand 0:07:05 U.S. Air Force Office of Special Investigations 0:14:55 Assignments in the United States 0:15:33 Bangkok and Mom Rajawongse Seni Promoj 0:21:45 Duties as a Contract Administrator 0:23:24 Interesting people and stories from Thailand 0:28:06 Communicating with family 0:30:23 Communicating with Thais 0:35:50 Visiting South Korea with his wife 0:39:42 Closing remarks Abstract Oral history interview of George G. McGuire. Interview conducted by Judy Scherer at the University of Central Florida in Orlando, Florida. Type Moving Image Source <a href="http://stars.library.ucf.edu/veteransoralhistories/269/" target="_blank">McGuire, George G.</a> Interviewed by Judy Scherer, April 1, 2014. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, RICHES of Central Florida, University of Central Florida, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/92" target="_blank">Vietnam War Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format Digital transcript of original 43-minute and 22-second oral history: <a href="http://stars.library.ucf.edu/veteransoralhistories/269/" target="_blank">McGuire, George G.</a> Interviewed by Judy Scherer, April 1, 2014. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Summit, New Jersey Baton Rouge, Louisiana Fawley, England Durban, South Africa Statue of Liberty, Liberty Island, New York City, New York University of Notre Dame, Notre Dame, Indiana Whiteman Air Force Base, Missouri McCoy Air Force Base, Orlando, Florida George Washington University, Washington, D.C. Defense Contract Administration Services Management Office, Naval Air Station Sand Point, Seattle, Washington Chokchai Building, Bangkok, Thailand Armed Forces Staff College, Norfolk, Virginia Washington, D.C. Yokota Air Base, Fussa, Japan Rock Island Arsenal, Rock Island-Moline, Illinois Warsaw, Missouri Osan Air Base, Pyeongtaek-si, South Korea Seoul, South Korea Creator McGuire, George G. Scherer, Judy Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-02-22 Date Issued 2014-09 Date Copyrighted 2014-02-22 Format video/mp4 application/pdf Extent 358 MB 257 MB Medium 43-minute and 22-second audio/video DVD/CD 27-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Judy Scherer and George G. McGuire 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 Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank">America's Longest War: The United States and Vietnam, 1950-1975</a>. New York: Wiley, 1979. Click to View (Movie, Podcast, or Website) <a href="http://stars.library.ucf.edu/veteransoralhistories/269/" target="_blank">McGuire, George G.</a> Transcript Unidentified We’re ready. McGuire Are you saying go? Scherer [laughs] Today is April the 1st, 2014. I am interviewing, uh, Lieutenant Colonel George G. McGuire. My name is [Rose Marie] “Judy” Scherer. Uh, please call me Judy. Um, his interview is being conducted at UCF [University of Central Florida] in Orlando, Florida. It is part of the UCF, um—the whole title is—is Community History Project—[Community] Veterans History Project. Um, so we are going to start with, um, the early days. I would like to ask you where you were born and grew up. McGuire Alright. Well, I was born in New Jersey—Summit, New Jersey. And When I was, uh, a few weeks old, my family moved on to Baton Rouge[, Louisiana]. Scherer Wow [laughs]. McGuire Where my father worked in the oil refinery at Baton Rouge during World War II, and where I managed to acquire twin brothers and a sister. Scherer Oh [laughs]. McGuire Um, Shortly—well, not shortly. When I was about eight years old—eight or nine years old—we moved to England. Scherer Oh. McGuire Where my father was building an oil refinery at Fawley, near South Hampton, for Esso in England. After we had been there about three years, we moved to Durban, South Africa. Scherer Wow. McGuire Where he was again a resident engineer for construction of an oil refinery—first one on the continent of Africa—and where I acquired a brother. I had acquired another sister in England, and now I had a brother in South Africa, so there are six children. We sailed back to the United States. This is now approximately 1954 on a ship called the African Enterprise, which was a, um, freighter—combination freighter and passenger ship that carried a few passengers. And we were the only children, so we had the run of the ship. Scherer [laughs]. McGuire And that was great fun. We got back to, uh, New York in the middle of the wintertime. And my memory says it was in February, but that may not be right. And of course, being good loyal little Americans who had been out of the country for so many years, we had to stand up on the ship and watch Miss [the Statue of] Liberty as we came into New York Harbor. Uh, following that, we lived in New Jersey for a number of years. And then I went off to college at the University of Notre Dame. And shortly afterwards, my father quit his job and moved to Massachusetts. Scherer [laughs]. McGuire And, uh, the bane of my life was that when I would go home for vacation to a place in Massachusetts surrounded by girls’ colleges, they all had vacation break at the same time as we did. Scherer [laughs]. McGuire So there was nobody there. Scherer [laughs]. McGuire And of course, Notre Dame at that time was all men, and there were no women there, unless we found some in the local community, which was a very difficult thing to do. Uh, At Notre Dame, they had three R—all three ROTC [Reserve Officers' Training Corps] programs. This is 1959 when I started there. There’s a shooting [Vietnam] War going on in Asia. People are being drafted. I had no interest in being drafted and being given a rifle and go shoot people, so I said Okay. I’d rather be an officer. And no, I don’t want to walk around in the mud, and I don’t want to sit on a boat bobbing up and down in the ocean. And since you have Air Force, I will go Air Force. Um, so I did. And when I was graduating Notre Dame, I was commissioned as a Second Lieutenant in the United States Air Force and promptly sent to Whiteman Air Force Base in Missouri. So one of the first things I did was I bought myself a car. I didn’t have a car at that point, so I brought a brand new, shiny red Valiant convertible. And that was a neat looking car. I shaw—showed up on base, and went into my first assignment, and the people I’m working with—one of them takes one look at that car and says, “I give you one year.” Scherer [laughs]. McGuire Uh huh. And, uh, he turned out to be right. Because a few months later, I met a young lady, and less than a year later, we were married. All fault is directed at that shiny red convertible, I suppose. Scherer [laughs]. McGuire About a year or so after we were married, I got orders to transfer to McCoy Air Force Base, which, of course that’s a hardship tour to come to McCoy Air Force Base, which is now Orlando International Airport, where I was the base procurement officer here. Now, they had assigned me to procurement when I went to Whiteman, and I didn’t know what “procurement” was. I only knew one meaning for the term, and it had more to do with what you did after hours than it did with buying anything the Air Force wanted. Anyway, I became procurement officer. “Procurement” just simply means that you’re the guy in charge of going out and buying stuff. So I was stationed here in McCoy, and, um, about that time, is when what was then called “Orlando Air Force Base” is transitioning to the Navy. And the last Air Force unit to transition out from Orlando Air Force Base was the hospital. So my two sons have the distinction of having been born in an Air Force hospital on a Navy base. Scherer [laughs]. McGuire From here, the, uh, Air Force sent me up to Washington, D.C., to go to George Washington University for a Master’s Degree in Business Administration, as my assignment for a year and a half. And then from there, to go to Seattle, Washington, to the, uh, Defense Contract Administration Services management area Office, otherwise known as DCAS. Scherer Excuse me. What was it known as? McGuire DCAS. D-C-A-S. Scherer S. McGuire Judy had a problem with this one earlier. Scherer [laughs]. McGuire Which was at, um, Sand Point Naval Air Station, which was a little pimple on the side of the wealthiest area of ci—city of Seattle, a few blocks away from the University of Washington. Not very far from it. It no longer is a military installation. It’s now high-cost residential. Um, let’s see. from there, the next assignment was to Bangkok, Thailand, to be the, uh—one of the officers assigned to the Air Force’s Procurement Center in Downtown Bangkok, which was supporting all of the Air Force and some of the Army units, uh, throughout Thailand and, uh, Vietnam. And this is at the tail end of the Vietnam War. From there, I went back to the United St—came back to the United States to go to uh, Norfolk, Virginia, to the Armed Forces Staff College. And then from there, to the, uh, Air Force OSI—Air Force Office of Special Investigations—in Washington, D.C., to act as an in-house consultant on procurement matters. Air Force OSI had been founded la—years before, in the very early days of the Air Force, because of scandal having to do with contracting. And then they had gotten away from that and they had forgotten had to spell “contracting.” Scherer [laughs]. McGuire As they got mostly inter—interested in chasing drugs. But in, um—somewhere around 1970, there was another big scandal that came up that didn’t have anything to do with the Air Force, but it did with the Navy. And the Air Force decided that it would be smart to get back into that business and pay attention, because we are spending just huge sums of money. We ought to be paying attention to it. And the first thing they needed to do was to find somebody who knew something about the procurement system and could come in and act as an in-house consultant to them, and so they chose me. Scherer Really? McGuire So for two years, I taught OSI agents how to spell “procurement” and the kinds of things to look for. The big thing coming out of it was to find out just how honest the system really is at that level. There may be corruption at other levels, but at the level of the working people doing the job, it is a very, very honest system. Um, now what did I skip? Somewhere in here, I skipped something. No. I guess not. When that was finished, they sent me to Japan to be the Deputy Director of the Air Force’s Procurement Center in Tokyo—actually, at Yokota Air Force Base,<a title="">[1]</a> which is just in the western suburbs of Tokyo—in which I had the responsibility for all of the, um, in-country support for Air Force and Army, and staff responsibilities towards the, uh, Army Center—similar to it in Korea, that took care of Air Force and Army in Korea. And, uh, let me think for a moment. Oh, yes. One of the, um, cases that I had run in the OSI had been an accusation made against the Lieutenant Colonel who commanded the Air Force Procurement Center at Yokota Air Base—that he was corrupt, and that he was accepting bribes from, uh, one of the car companies , which the, uh, U.S had a contract with for small engines. Well, the truth of the story—it turned out, that the man was an elder of the Mormon Church,<a title="">[2]</a> as well, as being a[sic] Air Force officer. And he had led a church group on a visit to the plant. Just a visit to go see what the plant looks like. And his big mistake: when he got back to his office was he had written the thank you note on Air Force letterhead, rather than on Mormon Church letterhead. And that had kicked off all of these accusations that he was, uh, a corrupt and on the take from this car company, which of course, he was not. But we had spent a bunch of time going and checking it out, so I knew all about it [laughs] before I got there. Um, then that was followed by an assignment back in the United States to go to Rock Island Arsenal [in Rock Island-Moline, Illinois] to be the Deputy Director of the ammunition procurement division for U.S. Army Armament Material and [the U.S. Army Military Intelligence] Readiness Command, functioning as something called “Single Manager for Conventional Ammunition.” Army buys all the ammunition used by the military—all production ammunition, not development, but production—ammunition used by the military, of whom the Air Force was the second largest consumer. And therefore, the Air Force, to help with that mission, sent six officers to Rock Island to participate. And at th—this point, I am a Lieutenant Colonel. And so I became the Deputy Director of that division. We spent in that one division—and this is 1980—one and a half billion… Scherer [gasps]. McGuire Dollars a year. This is peacetime. One and a half billion. Buying bits and pieces of little things, most of which costs less than one dollar a unit, and the most expensive one was ten dollars a unit. All over the country. And then, the things we bought would flow to the Army load plants to be made up into rounds of ammunition—most of them. And they spent another billion and a half or so putting the stuff together as ammunition. Okay. So I’m making decisions every day about how am I spending one and a half billion dollar budget. I’ve got a hundred people literally working for me. Uh, we are loading plants all over the country. We are making decisions about which factories we keep in business and which ones we don’t, and which communities stay in business because the factory’s there, and which ones don’t. And then I go home, and I have to be concerned if there was enough money in the checking account for my wife to go grocery shopping. Scherer Whoa. A great[?] contrast. McGuire This got a little bit mind-bending at times. Scherer Quite a contrast. McGuire Hm? Scherer Quite a contrast. McGuire Quite a contrast. Yeah. And then, uh, I retired. Scherer Yes. McGuire At this point. I had been in the Air Force for 20 years and three weeks Scherer [laughs]. McGuire And I decided it was time to go. I had three kids that needed to go to college, and they weren’t going to do it on Lieutenant Colonel’s pay, so I had to go do something else. And another interesting thing, to me at least, was that I had joined Air Force ROTC back there in college, because I had no desire to be anywhere near the Army or the Navy, but especially the Army. And so for my final tour of duty, I am winding up serving with the Army Scherer Oh. McGuire As one of their officers [laughs]. Scherer [laughs]. McGuire Anyway, so that’s it. Scherer What—when were you serving for the Army? Was that duty procur—procure—procurement, or was that when you [inaudible]? McGuire No. That was with the Army. I was Deputy Director… Scherer Yeah. McGuire For Ammunition Procurement. Scherer Yeah. McGuire Deputy Directory of Ammunition Procurement Division of that Army command. Scherer Well, it all is very impressive, and I’m sure it was most important, but it sounds to me like your career was drug[?] running and buying guns [laughs]. McGuire Uh, no. actually… Scherer Just joking. McGuire I might have bought some drugs along the way. Scherer To find out where [inaudible]. McGuire But they would have been legal ones. Scherer [laughs]. McGuire Um, Never bought any guns. Never bought an airplane, but I bought just about everything else. Scherer Well, when you were doing procurement, the rifles—what were you actually… McGuire Oh, I didn’t buy the rifles. I bought the ammunition that went in the rifles. Scherer Oh, you bought the ammunition. Sorry. Yeah. McGuire Somebody else bought the rifles. Scherer Oh, you [inaudible]. McGuire There was another group doing that. Scherer Yes. McGuire And there was another officer. Scherer Mmhmm. McGuire Other officers assigned to that. SchererSo you said you were in Bang—so—so you said you were in Bangkok McGuire Mmhmm. Scherer And then you were in Thailand—I mean, Thailand is Bangkok. McGuire Yes. Scherer And other places, but um, did you—did you do anything in the states? How long were you in the states at the end of the career? McGuire Well, it was three years in, uh, Rock Island. Scherer Yes. McGuire It was three years at McCoy Air Force Base. Scherer Yes. McGuire So two years in Whiteman’s. So that’s at least eight years of doing procurement there. And it was two years in the OSI, advising the OSI people about procurement—participating in, uh—in their actions. Scherer Could you enlarge a little about your stay in Bangkok, and tell us more about what you did, and how difficult or easy it was? Because of the place, of course, it is always very hot there. [inaudible]. McGuire Yes. As we were talking earlier, if you got a, um, weather report for Orlando and a weather report for Bangkok, for the months of July, August, and September, you could not tell the difference as to which city you’re reading the report on. It’s the same. Scherer Interesting. McGuire The difference is, of course, that Orlando does cool down—some. Bangkok doesn’t. The, uh—Bangkok only has, um, three temperatures—hot, hotter, and hellatious. Scherer [laughs]. McGuire Uh, Bangkok was a very interesting and very, very different, uh, type of assignment. At that time, the Air Force’s procurement office was in a building in the center of Bangkok. It was called the “Chokchai Building,” and it, uh—it wasn’t terribly tall. My memory says seven floors, but it might’ve been more. Uh, the city was built on swamp, so the building was constructed such that it floated. And its basement was a big concrete barge, and it was floating. Now, the technology has progressed, and you go to Bangkok, and there are skyscrapers all over the place. It’s a fairly modern city, but at that time it was not. And, uh, so I was there as one of the officers assigned to that position. My memory says there were four of us, at that point, and I was the fifth one kind of detached. And, um, we just bought all the goods and services that the U.S. Air Force required in Thailand. And at that time, we had several bases scattered all over Thailand. And we had, um, people working for us—enlisted, uh, men—working for us at each base, also during procurement, but they were doing it as our subordinates for the stuff that had to come really from the local community. But otherwise, uh, we would buy the stuff in Bangkok—things in Bangkok. And this would be stuff—oh, it would be food, it would be entertainment, it would be the gas for the propane heaters, uh.—you name it. We would be buying it in Bangkok. Um, We lived in a, uh compound, which was very much like a park, that was a little ways away from the, uh—from the office. And, uh, you walked in there and it was a beautiful little park-like area. It was lined with houses, all of which are rented to, uh, foreigners, like ourselves. Either American or Australian or somebody else, or the, uh, members of the diplomatic corps. And at the front of the—of the property, there was a very old, interesting Thai gentleman, and at the back of the property was his son and his family. And the fellow at the front—named [Mom Rajawongse] Seni Pramoj. Scherer Seni Pramoj? [laughs]. McGuire Seni Pramoj. Now Seni Pramoj is rather important in Thai-American relations. In World War II, the Japanese moved into Thailand, and Thailand declared war on the United States. Scherer I never [inaudible]. McGuire Seni Pramoj was the ambassador in Washington, D.C. He refused to deliver the declaration of war. United States chose to ignore it. When WWII ended, the United States chose—says, “Thailand was not an enemy combatant. They were an occupied country.” Other Allies had different opinions, and there’s[sic] arguments about it. And so the United States agreed, “Okay. We would take a little, tiny bit of reparations. We ‘ll take one house.” And it became the residence of the American Ambassador. Scherer That’s a fascinating story. McGuire Seni Pramoj later was president of Thailand… Scherer Oh, really? McGuire At one time or another.<a title="">[3]</a> Scherer Oh. McGuire But at the time we met him, he is the landlord, sitting up at the front of the compound. Scherer Oh[?]. McGuire And we didn’t see him very often, but we did—knew who he was. But, um… Scherer I thought you were going to say he was the watchman. You know, because [inaudible]. McGuire No. We figured that the—there was very little obvious security in that compound. There was no real guard at the gate or noth—but there were gardeners all over the place, and we figured they were all Thai CID [Criminal Investigator's Department]. Scherer [laughs]Well, one of them was very important. McGuire And, uh… Scherer And I—I think that’s a story that is well worth recording, because it shows how a war was, uh—was, um, avoided by simple, you know… McGuire Yeah, um… Scherer Simple contacts. McGuire So, America has been—had a treaty of friendship with Thailand since 1835, or something like that. It was the first one we signed with anybody in Asia. Scherer Oh, that’s interesting. [inaudible]. McGuire ‘Course, at that time, I think Thailand was probably about the only independent Asian country that we could get into. Japan was closed. China was, uh, occupied by several people. The—the British had Burma<a title="">[4]</a> and Malaya, And Dutch had Indonesia, and the French had Cambodia and Vietnam. And Thailand was in the middle. And we signed a treaty of friendship with those folks. Scherer Yeah. McGuire which I think has paid off very handsomely for us. Scherer Too bad it’s so unique. McGuire And it’s very unique. Scherer Yeah. McGuire During the, um, Vietnam War, Thailand actively participated in the war. And Thailand provided us with access to their facilities, and that’s the only time they have ever done that for anybody that’s not Thai. Scherer Yes[?]. [inaudible]. McGuire So, um, [inaudible]. Scherer I wish—wish they had done the same thing in Vietnam. McGuire Well… Scherer You know, after [Ngô Đình] Diệm [inaudible]. But I’m supposed to ask you questions, and you answer at length McGuire Yeah. So… Scherer And I ask very short questions, but you’re asking at length very well [laughs]. McGuire One of the… Scherer So I don’t have to ask you many questions. McGuire One of the jobs I had, while I was there in Thailand, was to be the Contract Administrator for the Thai security guard contract. We employed… Scherer That sounds like a Chinese title. It’s so long. McGuire Almost. Scherer Can you say it again? McGuire Thai security guard contract. To be the contract administrator. We had a contract, and it was written as a regular Air Force Procurement contract, between ourselves and the [Thai] Ministry of Defense, whereby they provided, uh, Thai military reserves to act as the security guards for all of our forces—our locations, rather—all over the country of Thailand. Scherer Interesting. McGuire Every little—every U.S… Scherer [inaudible]. McGuire Space. Now, some of those were big. They’re big air bases. There’re lots of people. And some of them were little tiny listening posts… Scherer [laughs]. McGuire Out in the jungle… Scherer Wow. McGuire With maybe one or two Americans—well, usually more than that—maybe four Americans, and four or five Thai security guardsman to take care of them, to keep them safe, and literally keep the tigers from coming into the, uh… Scherer [inaudible]. McGuire Into the post. Scherer Mmhmm. That’s unusual. McGuire Yeah, and part of my duties were[sic] to go and inspect every one of those installations all over that country to make sure people are doing the job right. Scherer Well… McGuire Which I did. Scherer Yes. I’m sure you… McGuire Which was a very interesting [inaudible]. Scherer I’m sure you did it very arduously, but it sounds very interesting. McGuire It was. It was very interesting. Scherer Yeah. McGuire Uh, so where do we go next? Scherer I want to ask you if you, in all—in all these different places you’ve been, if you met any characters that stay—stayed in your mind as being particularly interesting, either, you know, um, good, bad, or eccentric, or whatever? McGuire Hm. Strange… Scherer Because your experiences are so different from other people’s in the military. McGuire Yeah. Scherer Usually[?], they’re in a unit, or they’re on some ship, and so on. But you were all over the place with all kinds of people, from the important ones to the not-so important ones. McGuire Yeah, but some of them were just ordinary folk. Uh, like[?] I was. [inaudible]. Scherer But you had to find people who spoke English, I presume. McGuire Yes. And in most of the world, you can get by on English. Scherer That’s true. McGuire Most educated Thais could speak some English. Scherer Mmhmm. McGuire The, uh, officers on the Thai side, with whom I interfaced—one was an Admiral, the other was an Army Major, uh—spoke—spoke beautiful English. Scherer Yes[?]. McGuire Um… Scherer That was—your stories are so interesting. McGuire That… Scherer Can you tell another story that—of interest… McGuire From that… Scherer [inaudible]. McGuire Well, there is one other one of interest from that. I went to one of the bases, and the, uh—the guardsmen work on the base. They work for the American, uh, military police chief, whoever he is. And so, I was talking to him one day, and he was telling me about a young airman who wanted to get married. Now, before a serviceman can get married overseas, especially in a warzone, his, uh, bride has to be vetted through the American Embassy. Scherer Mmhmm. McGuire And most Americans, when they look at a Thai woman, cannot tell how old she is… Scherer [laughs]. McGuire Until she is elderly, and then it’s obvious that she’s elderly. But as long as she is fairly young up through middle age, you’ve got no idea how old she is, when you look at her. So there was this, uh, one young fellow, who wanted to get married and this—this is, um—now, this is 1974 time period—to, uh, his Thai honey. And when they started checking on her, they found out that she had been a prostitute for the Japanese forces, when the Japanese had occupied this particular base 30 years earlier. Unidentified [laughs]. Scherer Very interesting turnaround[?]. Unidentified [laughs]. Scherer [laughs]. McGuire [laughs] So our 18 year old—18 year old… Scherer Yeah. McGuire American G.I. couldn’t tell she was probably 45. All [laughs]. Scherer Interesting. That’s interesting story. McGuire Yeah. Scherer Do you have friends around the world that you made at that time? McGuire We did have for a long time, but then, um, over the years… Scherer Yeah. McGuire They’re gone. The Admiral that[sic], uh, had been in charge from the Thai side—I kept in touch with for a long time, but then he died. Scherer I’m not supposed to add anything to this, but I have to say that a prostitute who was a prostitute for the Japanese was[?]—was, uh—was quite often recruited and kept as a slave for soldiers. McGuire Oh, more than likely. Scherer What did they call them? There’s a name for them. But anyway… McGuire Uh, comfort girls. Scherer Comfort girls. McGuire Or comfort women, rather. Scherer She—that could have happened to her. I mean, but still, she was old. McGuire It might have been. Scherer [inaudible]. McGuire But the point of the story wasn’t so much that she’d been a prostitute. Scherer That she was old. McGuire It was that she was at least 45 years old… Scherer [laughs]. McGuire And our 18 year old airman couldn’t tell. Scherer [laughs] That would’ve been an interesting—or a—have made a rather easy decision for the superior to make [laughs]. McGuire Yes. I don’t think she got her clearance. Scherer [laughs] So do you—yeah. Do you keep in touch with anyone that[sic] was posted in those places with you? McGuire No. By now, I have lost—well, with all, except one. I still keep in touch with the man I worked for when I was in Japan. Scherer Oh, yes. McGuire But, uh… Scherer [inaudible]. McGuire The rest of them, time has gone by. Scherer Tell us about more colorful characters you’ve met. McGuire ike, I don’t, uh—Well, one of the most colorful characters was a fellow out there when I was a Thailand—American officer, who had lost the, um, first two joints of[?] one of his fingers, through some kind of accident. He cut it off with a saw or something. It wasn’t—it wasn’t particularly interesting. But the thing was he only had that much. Now in Thailand, you bargained at that time. You bargain for everything, and—but the currency is baht. So we would go and we would say, “Four baht,” and “Five baht,” “Ten baht.” whatever. Well, he could bargain in half baht. Unidentified [laughs]. Scherer [laughs] I see why you remember him. McGuire That’s my main memory of him, is he could bargain in half bahts. Scherer I’m going to ask you a two-step question. Number one: did you ever keep a diary or make notes of what you were doing? Um… McGuire No. Scherer Oh, that’s [inaudible]—that’s more or less the answer then. Because, uh, it would be interesting, and you probably would have forgotten by now some of the things. Some of the [inaudible]. McGuire Oh, I’m sure I’ve forgotten probably most of it by now. Scherer Yeah. McGuire But no. I did—never kept any diary. I got movies and slides and stuff like that, but… Scherer So what about your family, that were in the states whilst you were doing all this? Did you keep in touch with them fairly well? McGuire Well, my family was with me. Scherer No. Not your immediate family. I mean, your… McGuire Oh. Scherer Parents and siblings[?]. McGuire My parents, and my brothers and sisters and siblings? Scherer Yeah. McGuire Oh, yeah. Scherer Yeah. McGuire I still do keep in touch with them. Scherer Yeah. McGuire Now, my parents are long gone, but yeah. My brothers and sisters and I still keep in touch. Scherer Well, of course, we didn’t have email or anything, so what did you do? Write to them? McGuire Yeah. We write—wrote letters. And every time you circulated that through the country, you would, um, go and see people. Um, yeah. My wife’s, uh, parents lived in War—in Warsaw, Missouri, which, uh, is kind of south and west of Kansas City[, Missouri]—a couple hundred miles out in the country at the head waters of the Lake of the Ozarks in the Missouri countryside—hill towns. And it was amazing how Warsaw became on the way to everything. Scherer Oh [laughs]. Via Warsaw [laughs]. McGuire Yeah. It didn’t matter where we were going. Scherer [laughs]. McGuire It was always by way of Warsaw… Scherer [laughs]. McGuire Missouri. It could have been—it was Washing—Florida to Washington, D.C., is by way of Warsaw, Missouri. Uh… Scherer [laughs] Oh, that’s good. McGuire Seattle to Alabama for Squadron Officer School is by way of Warsaw, of course. That’s not too bad. Scherer [laughs]. McGuire But, uh, everything was by way of Warsaw. Scherer Wow[?]. That’s funny. McGuire And then… Scherer Does your wife like traveling? McGuire Did she—yeah. She did. Scherer Oh, I [inaudible]. McGuire She’s now passed, but, uh, yeah. Scherer Oh, I’m sorry. McGuire She did. Scherer I didn’t know. Um… McGuire Yeah. Scherer Well, you’ve had a very interesting life. McGuire Yeah, ‘cause that particular—That first wife died about six years ago, but then she sent along a replacement, who ordered me up off of Match.com as her souvenir of her visit to America—the United States. And, uh, she’s Thai. Scherer Oh, really? Scherer Well, how is your Thai? [laughs]. McGuire My Thai is good enough… Scherer [inaudible] mai tai [laughs]. McGuire My Thai—Yeah. I can order one of those. Um… Scherer Mai tai [inaudible] [laughs]. McGuire My Thai is probably good enough to tell you “Hello” and “Goodbye.” Scherer [laughs]. McGuire All of which is the same word: sà-wàt-dee. And to ask, “Hông náam yòo têe năi?” “Where’s the toilet?” in Thai. Scherer [laughs] Good one[?]. Good phrase [laughs]. McGuire And I could say thank you: kòp kun mâak. And that’s about it. Uh, fortunately… Scherer [inaudible] If you were in procurement, people must have been saying, “Thank you” to you often. McGuire Oh, they were. Scherer Okay[?]. Were you bribed at any time? Or tempted to be bribed? McGuire No. No. Though, uh, some people had trouble with the U.S. standards on that. And in one particular instance in Thailand, uh, the contractors just could not understand when we said, “No. We cannot take anything.” So one Thanksgiving or Christmas or something, they showed up with a lot of turkeys and stuff. “No. we cannot take it.” “But I can’t take it.” “Well, okay.” we gave it to the orphanage. Scherer Oh, that was a good idea. McGuire But no. Scherer You must have come across a lot of interesting situations like that. That’s a—that’s… McGuire We came across a lot of things that were cultural differences. Scherer Yes, but I mean in the actual process of what you were doing. First of all, you had to find out who to start with to ask for what you needed. And then you had to choose between them. McGuire You had to choose between—yes. You have to define what you need. You have to find the people that can fill your need. And then you have to make a choice as to which one is going to fill it, and you have to pay attention to a whole long list of social things, as to which person can have this particular contract. Um… Scherer So you had to do a lot of hard work? McGuire Yeah. Yeah. Well, this is all goes with part of the job. Scherer The job. Yeah. McGuire Government procurement and commercial are not the same. Scherer Oh. McGuire And the big difference is the rules that, uh, the government person has to follow. And people that[sic] I was—when I was teaching at OSI, one of their frequently raised complaints was: “Well, it would be so much cheaper if we did this, or if we did it that way.” And I would have to explain to them that the, um, military procurement regulations, which fill a space like this, were not designed for the efficient and economic acquisition of goods and services for the military. They were designed to fill the social aims of Congress first. And after you fill the social aims of Congress, then we do things to make sure we get stuff. But we have things like—you have Buy American Act [of 1933]. You have a, um, law that governs the amount of money that must be paid to the contractors on the job, which often is very different than the local prevailing wages. You have to procure from minority-owned businesses. You want to procure from women- owned businesses. Scherer They did that then? Back that far? McGuire Oh, yeah. They’ve done this for a long time. And it goes on and on and on. On certain type of business would be set aside, to be filled by only people who meet these social constraints. Whatever they were. Scherer Yeah. McGuire To fill the social aims of Congress. Um, I [inaudible]… Scherer Tell me what was your biggest disappointment during this time? McGuire Uh… Scherer Something… McGuire I can’t think of one at the moment. Scherer Go wrong after you went half way into it, or something like that? McGuire Pardon? Scherer Did anything go wrong after you went half way into it? McGuire No. The only interesting thing was I never intended to stay there. Scherer [laughs]. McGuire I intended to do my first tour of duty, and then get out. Scherer Yes. McGuire But by the time that, uh, point came up, Air Force requirement is four years of service after commissioning. And the point I had four years of service, and I had three little children. And I knew I needed a Master’s Degree, and there wasn’t any way that I was going to be able to support four little children and a wife and go get a Master’s Degree on my own. And the Air Force says, “We will send you to, uh, George Washington University for your MBA [Master’s of Business Administration], if you would like. All you have to accept is an extended service commitment of three times the length of that year and a half of school.” And then every time I did that, or I got promoted, or I got sent somewhere, there was always a service commitment attached to it. It wasn’t until I had 18 years of service in, that I could’ve get out if I wanted to. At that point, I stopped accepting any offers for anything that had a commitment on it. Scherer I see. That’s understandable. And I think you [inaudible]… McGuire But by then, I was at Rock Island Arsenal in Illinois. Scherer I think—I think you’ve your judgments in order. McGuire Hm. Scherer Because I—I admire what you put first[?]. McGuire [laughs]. Scherer But you certainly had an intering—interesting career. McGuire Yeah. Scherer Tell me about something that—funny that happened whence you—when—when you were in one of these places. McGuire Well, alright. Well, uh, the one we were talking about at lunchtime. Military people on active duty, and as a retiree, are entitled to fly space available on military aircraft from one point to another. ‘Course you have last priority. So we were in Japan, and my wife wanted to go to [South] Korea, which there were frequent flights between Yokota Air Base in Japan and Osan Air Base in Korea. So we went over to Korea, and on the way over we rode on a chartered airliner. And this just like riding in any other airliner, except this one is under charter with the [U.S.] DOD [Department of Defense]. And we went shopping in Seoul[, Gyeonggi-do, South Korea]. She bought all kinds of stuff. We got back down to Osan Air Base with the—almost a pick-up truck full of, um, things that she wanted to take, and found out there was no space available going back to Japan. There were lots of people like us and no space going back. And furthermore, there were no hotel rooms available in this little town outside Osan to spend the night. So I called up my friend, who was the OSI boss in Osan, because this was shortly after my—my OSI tour, so I still knew the people. And he called around, and he called me back, and says, “Okay. Go down to this hotel,” [clears throat] “and they’ll take care of you and put you up for the night.” We did. And the next morning, I informed her that she had just spent the night in a whorehouse. All [laughs]. Scherer And how… McGuire That’s what it was. Scherer And how did you get back? [inaudible]. McGuire So we went back to the base to wait along with all of these other people, and the, uh, wing at Yokota sent a training flight over to Osan. The Air Force flies training flights all the time. They have to. To train the people. Keep their skills up. So they said, “Okay. Well, we got all these people waiting over there. We’ll send this flight over today to Osan to, uh—to pick these folks up.” And they did, in a [Lockheed] C-130 [Hercules]. The C-130 is a flying truck. You sit in the back end of this, and it’s like sitting in the back end of a big truck, on a canvas seat with very little in the way of heat or any sort of comforts whatsoever. So we all filed in there, put all of our luggage in there in front of us, and then… Scherer In front of you? McGuire Yeah. Yeah. Yeah. This is a… Scherer All down the middle of the plane? McGuire Down the middle. This is the bay of a cargo airplane. This is not an airliner. Scherer Oh. McGuire You—you’ve seen pictures though Scherer Yeah. McGuire Now, they’re—they’re… Scherer In the movies. McGuire There—they’re about as—about like sitting in the back of a dump truck. Now, you load over the rear of that airplane. That’s how its tailgate goes down. And they can drive tanks, and trucks… Scherer Oh, I’ve seen McGuire And things like that. So everybody’s in there. We’re all sitting down, and the loadmaster goes to life the tailgate, and it won’t shut. Can’t get the door of the airplane shut. Scherer [laughs]. McGuire So he takes a piece of wire, wraps it around the door, holds it in place… Scherer [laughs]. McGuire Take off to go back to Japan. Scherer All wired up [laughs]. McGuire And my brother-in-law, who is a—at that time, a paratrooper in the Army—uh, standard joke people ask him, “Why would you want to jump out of a perfectly good airplane?” And his answer is “Because the Air Force doesn’t have any.” Scherer [laughs] Oh, really? McGuire This was… Scherer Very interesting. McGuire A perfectly good airplane by Air Force standards. You could wire the door shut and fly. Scherer Is there anything else you would like to tell us before we end? McGuire Oh, I guess that’s probably about it. Scherer Well, you’ve been an easy person, because I was supposed to tell you at the beginning, that this is for you to tell your stories, and I’m just… McGuire Okay[?]. Scherer Just there to ask the questions. But it was, uh—I didn’t have to do that, because you had so many stories, and you told them so well, and it was really interesting, and I’m sure everyone who reads veterans’ stories will like this story. McGuire If we’ve got time for one more quick[sic] one… Scherer Yes. We do. McGuire This is a funny one—to me, a funny one. Seattle is bordered on the eastern side of the city by a 20-mile long fresh water lake called Lake Washington. And One particular day, one of my friends up[?] there and I decided to check out some sailboats, because we had a—a sailboat, rather—as the Navy base had sailboats, and do sailing on Lake Washington. And we did. And we promptly knocked the sailboat down. Scherer [laughs]. McGuire And we got it back up, and then we promptly knocked it down again. Now, the big lesson that I learned about doing that was that a can of beer, if it has not been opened, will float. Scherer [laughs]. McGuire Because the beer we had, we can’t—that hadn’t been opened yet—all of it just floated every time we knocked the sailboat over, and so we got it back up, and we got out beer back on board. Scherer Oh, really? That’s interesting. Is it because there’s air in the can? McGuire Sure. Scherer Or because there’s not very much in it? [laughs]. McGuire There’s air in the can, and a can of beer is sealed. It can’t get out, and it floats. And I… Scherer [inaudible]. McGuire Didn’t know until then that a can of beer will float. Scherer Is there anything else you’d like to tell us… McGuire No. Scherer We conclude? McGuire Now that I’m thinking about it, I could go all afternoon. Scherer Yes[?]. Well, you were the easiest person to interview, I must say. Um, let’s see there was something I wanted to say to you, as well. Well, we—we thank you very much for being part of this program, McGuire Sure. Scherer And, um, I certainly enjoyed listening to your story, so I think you’ll be a great contributor. And… McGuire I hope so. Scherer So thank you very much. McGuire You’re welcome. Scherer Good luck. McGuire Thank you. <div> <div> <a title="">[1]</a> Correction: Yokota Air Base. </div> <div> <a title="">[2]</a> Officially the Church of Jesus Christ of Latter-day Saints (LDS Church). </div> <div> <a title="">[3]</a> September 17, 1945-January 31, 1946. </div> <div> <a title="">[4]</a> Also known as the Republic of the Union of Myanmar. </div> </div> 2nd Lieutenant African Enterprise AFROTC Air Force Air Force Reserve Officers' Training Corps aircraft airplanes Ambassador AMC ammunition procurement division Armed Forces Staff College Army Materiel Command Army Military Intelligence Readiness Command BAA baht Bangkok, Thailand bargains Baton Rouge, Louisiana bribery bribes business administration Buy American Act of 1933 C-130 cargo Chokchai Building Church of Jesus Christ of the Latter-Day Saints CID comfort girls Community Veterans History Project Congress conscription construction consultants contract administrators contracting contractors corruption Criminal Investigator's Department CVHP DCAS declaration of war Defense Contract Administration Services deputy directors DOD Downtown Bangkok drafts Durban, South Africa engineering engineers Fawley, England Fussa, Japan George C. McGuire George Washington University GWU hospitals Judy Scherer Korea Lake Washington LDS Church legislation lieutenant colonel Lockheed C-130 Hercules McCoy AFB McCoy Air Force Base Ministry of Defense MIRC Missouri Mom Rajawongse Seni Pramoj Mormonism Mormons NAS Sand Point Naval Air Station Sand Point New Jersey New York City, New York New York Harbor Norfolk, Virginia Notre Dame, Indiana OIA oil oil refineries oil refinery orlando Orlando AFB Orlando Air Force Base Orlando International Airport Osan AB Osan Air Base OSI planes President of Thailand presidents procurement centers procurement officers prostitutes prostitution Pyeongtaek-si,South Korea regulations Reserve Officers' Training Corps retirement Rock Island Arsenal Rose Marie Scherer ROTC sailboats sailing scandals Seattle, Washington Second Lieutenant Seni Pramoj Seni Pramoj, Mom Rajawongse Seoul, South Korea sex workers Single Manager for Conventional Ammunition Squadron Officer School Statue of Liberty Summit, New Jersey Thai Thai Ministry of Defense Thailand tour of duty U.S. Air Force U.S. Air Force Office of Special Investigations U.S. ambassador U.S. Army U.S. Army Materiel Command U.S. Army Military Intelligence Readiness Command U.S. Department of Defense U.S. Navy UND University of Notre Dame University of Notre Dame du La USAF USAFOSI veterans Vietnam Vietnam War Warsaw, Missouri Washington, D.C. Whiteman AFB Whiteman Air Force Base World War II WWII Yokota AB Yokota Air Base https://richesmi.cah.ucf.edu/omeka/files/original/9d752cd3aa575d9fec8b61845098d41a.pdf 8029e7962c673e092163f97adfd6ad89 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title UCF Community Veterans History Project Collection Description As part of RICHES of Central Florida, UCF intends to record, archive, and make accessible oral history interviews of Central Florida veterans. Diversity is a main focus for this project since there are many different subgroups under the group veterans, all with important stories. While the histories will be largely archived and made available through the UCF library, a portion will be contributed to the ongoing Veterans History Project based out of the Library of Congress. 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 Alternative Title CVHP Collection Subject Veterans--Florida United States. Army Army United States. Navy Navy United States. Air Force Air Force United States. Marine Corps Marine Corps Is Part Of <a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Language eng Type Collection Coverage Jacksonville, Florida Orlando, Florida Honolulu, Hawaii Pearl Harbor, Hawaii Great Lakes, Illinois Long Island, New York Newport, Rhode Island Norfolk, Virginia Germany Qaasuitsup, Greenland Keflavik, Southern Peninsula, Iceland Azores Islands, Portugal Mediterranean Sea 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://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/. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Young, Mary Hughes Interviewee Levine, Lawrence "Larry" Paul Location University of Central Florida, Orlando, Florida Original Format 1 audio/video recording Duration 41 minutes and 6 seconds Dublin Core The Dublin Core 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 Lawrence Paul Levine Alternative Title Oral History, Levine Subject Veterans--Florida Vietnam War, 1961-1975 Air Force Description An oral history interview of Lawrence Paul Levine (b. 1947), who enlisted in the U.S. Air Force (USAF) in August of 1966, just after being drafted into the U.S. Army. Levine was born in Rochester, New York, on June 8, 1947. He served in Europe during the Vietnam War, until he was discharged on August 31, 1970. Levine received a Good Conduct Medal for his service. This oral history interview was conducted by Mary Hughes Young on April 1, 2014. Interview topics include Levine's background, his enlistment in the Air Force and drafting into the U.S. Army, basic and advanced training, being stations in Europe, getting married voerseas, returning to the U.S. after being discharged, and his life as a civilian afterward. Table Of Contents 0:00:00 Introduction 0:00:32 Background 0:02:38 Draft and enlistment 0:06:42 Basic training at Lackland Air Force Base 0:10:06 Sharpshooting and career assignment 0:13:52 Advanced training at Amarillo Air Force Base 0:21:16 Assignment in Europe 0:26:55 Relationships with other servicemen and assignments 0:30:15 Getting married overseas 0:31:09 Rank and discharge 0:33:30 Life after service 0:36:28 Treatment from civilians 0:37:29 How service affected civilian life 0:39:15 Closing remarks Abstract Oral history interview of Lawrence Paul Levine. Interview conducted by Mary Hughes Young at the University of Central Florida in Orlando, Florida. Type Moving Image Source <a href="http://stars.library.ucf.edu/veteransoralhistories/259/" target="_blank">Levine, Lawrence Paul</a>. Interviewed by Mary Hughes Young. April 1, 2014. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/277/rec/1" target="_blank">Item DP0014898</a>, UCF Community Veterans History Project, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/92" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Has Format Digital transcript of original 41-minute and 6-second oral history: <a href="http://stars.library.ucf.edu/veteransoralhistories/259/" target="_blank">Levine, Lawrence Paul</a>. Interviewed by Mary Hughes Young. April 1, 2014. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Rochester, New York Brown University, Providence, Rhode Island U.S. Bureau of Customs and Border Protection, Providence, Rhode Island Lackland Air Force Base, San Antonio, Texas Amarillo Air Force Base, Amarillo, Texas McGuire Air Force Base, Burlington County, New Jersey Rhein-Main Air Base, Germany Shaw Air Force Base, Sumter, South Carolina Rochester Institute of Technology, Rochester, New York Creator Levine, Larry Young, Mary Hughes Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-04-01 Date Copyrighted 2014-04-01 Format video/mp4 application/pdf Extent 353 MB 224 MB Medium 41-minute and 6-second audio/video recording 28-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Mary Hughes Young and Larry Levine 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 Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank">America's Longest War: The United States and Vietnam, 1950-1975</a>. New York: Wiley, 1979. Transcript Unidentified Recording. Young Today [clears throat] is April the 1st[, 2014]. I am Mary Hughes Young, and I am interviewing Lawrence Paul Levine. Levine Right. Young Who served in the U.S. Air Force [sniffs]. Um, This is part of the University of Central Floride—Florida’s Community Veterans History Project, and we’re recording this interview at University of Central Florida in Orlando, Florida. Okay. Larry, tell me first about when and where you were born. Levine I was born in Rochester, New York, in 1947. Young Okay. And did you live there for all of your educational years? Levine Uh, primarily, yes. Yes. I, uh, graduated college in Rochester also, after the—after my service. Young Okay. Uh, do you have brothers or sisters? Levine Yes. I have two brothers. Young Two. So there were three of… Levine Yes. There were three of us in the family. Young Where were you in the birth order? Levine Uh, I’m the oldest. Young The oldest? Okay. What did your parents do for a living? Levine Well, my father had a number of different jobs. Uh, He was a bread salesman for Thomas’ English Muffins for a while, and then worked for a supermarket chain as one of their managers of one of their stores. Um, my mother was pretty much of a stay-at home mom. Um, She became very si—very sick, um, at a very young age and—and passed away at a very young age also. Uh… Young Okay. And how old were you when she passed away? Levine I was, uh, 20. Young 20? Okay. Levine 21. Young Uh, Were any of your family members or extended members in the military? Levine Yes. My father—my father was. He was in World War II. He, uh, was an in-flight radio operator in—at that time, was the Army Air Corps, uh, which then became the Air Force. Uh, in-flight radio operator and served over in India, going back from Karachi to Calcutta, India. Young Okay. Uh, tell me about your education before you went into the military. Levine Well, I, um, graduated high school in 1964. Uh, was accepted to Brown University, um, in Providence, Rhode Island. [clears throat] Finished one year there, and then my mother became very ill, and I had to come back home, which led me into the next phase of my life of being in the—in the military. Um, so that was prior to me going into the service. Young Okay. Uh, And why did you decide to go into the military? Levine Well, uh, because I came back home and had to help the family out. Uh, during that time, it was the Vietnam War, obviously—back in the—in the [19]60s. Um, in all honestly, I was ultimately drafted. Now, there was a[sic] interesting—very interesting story that leads up to that. Um, When I came back home, I went to work for the U.S. Customs Service. My background is primarily: I was going to school in business and accounting, and I was fortunate enough to get a job [clears throat] with the U.S. Bureau of Customs [and Border Protection] in Rochester. Uh, went to work for them full-time. Did a number of j—jobs for them, primarily in the accounting area, and also, uh, did a few clearances of planes and—and ships and that system, where I need to, in that particular area. But I worked in the, um, government, uh—in the state office building—actually, it was a Federal building. It wasn’t even a state. It was a Federal building, because it was U.S. Customs. And, uh, the draft board was right downstairs from my offices. And I became very friendly with a number of the different people who worked in the draft board, and informed them of my situation: that, uh, I was eligible for the draft, because I wasn’t going to school full-time. I was going to school part-time. Uh, they had informed me at that particular time that, “No—no worries. No problems.” That, uh, I would be safe, because I knew everybody there. And low- and behold, before I knew it, my letter from Uncle Sam came and said I was drafted. Young Okay. Levine So I went back to the [laughs]—to the, uh, draft board and said, “What happened here?” And their excuse was, “Oh, we’re sorry. It got by us,” and everything like that. So, um, in ess—in essence, I was drafted, but before I was drafted, I enlisted in the Air Force. Young Okay. Levine Okay. Young Um, and was this before the lottery was in effect? Levine No. The lottery was in effect, if I’m not mistaken. Um, the—there was a lottery, and I had a pretty, pretty low lottery number. Young Okay. Levine Meaning that I was very eligible for the draft. Uh, I wasn’t going to Canada. I wasn’t going any place, but I was informed again by the draft board that I’d be safe. And, uh, low and behold, I wasn’t. Young Okay. Because of the work you were doing? Levine No. It’s just that—because I knew people at the draft board, who said if they saw my name come up, they would pull it [laughs]. Young Oh, okay. Okay. Well, how did you feel about being drafted then? Um, was it—was it… Levine Concerned. Young A big shock? Levine Concerned. Young Okay. Okay. Levine Shock. Uh, the first thing, obviously, that came to my mind, was: Well, if you’re drafted, then you’re going into the Army. And if you go in the Army, you are going to carry a gun. If you carry a gun, you’re going to go to Vietnam. So, uh, when that—when that happened, obviously, the family was very concerned about it. And, uh… Young And so—so… Levine They didn’t want me to go. So I figured it would be best if I went into the Air Force. Young Right. And so you signed up for the Air Force… Levine Yes. Young Right after you were drafted? Levine Yes. That’s correct. Young Okay. Levine That’s correct. Young And So your family was feeling Levine Uh… Young Concerned about the situation too? Levine They were more concerned, obviously, during that whole period of time, but not as concerned if I allowed myself to be drafted in the Army. Young Into the Army. Okay. How about your, uh peers? You friends or girlfriend? How did they feel about you going into the military? Levine Uh, my friends were kind of like, Better you than me, at that particular time. Uh, I’m sure most people realized that was not the greatest time in our history for the military. Most people were looked down on in going into the military. Uh, I had some tough experiences myself with that particular situation. Uh, my girlfriend, at the time, was pretty much—said, “If you are going into the military, then I’m not waiting around for you, so,” [laughs] “I’m—I’m gone.” Young As if you had a choice, right? [laughs]. Levine Yeah. As if I had a choice. Right. Right. Young Okay. Uh, well, now you’re in the Air Force. Levine Mmhmm. Young And where did you do your basic training? Levine Uh, Lackland Air Force Base in San Antonio, Texas. I was there in August of 1966. Young Okay. And, uh, what were your expectations of— being in the, uh—in basic training? Did you—did you have any idea of what was going—what it was going to be like? Levine No. I had an idea, but I didn’t—I didn’t think it would be as bad as it really was. Uh, I was in good shape at the time, okay? Young Uh huh. Levine Weighed a lot less than I do now. And, um, expected it to be a little different, uh, physically and mentally. Uh, The aspects of basic training are obviously to get you in a situation to where you are able to accept orders, and you’re able to—be able to do things when they’re—when you’re told to do them. And, uh, I accepted that without any problem. It’s just—there’s a little more physical on my body than I had anticipated. Young Okay. Can you elaborate a little bit on that? Levine Yeah. The marching… Young What was a typical day like? Levine The typical day is we get up at like five in the morning—4:30-5 o’clock in the morning, and we’d have to make our bunks and get everything straightened away for the day. We go to me—the mess hall, where we had breakfast. And that was one of the things that surprised me, because we just didn’t take our time in—in being able to eat breakfast. We were given a certain amount of time to get in line, eat our breakfast, and get ready to go outside. It was a lot shorter than I had anticipated. So, uh, my eating habits had to change very quickly, because of that. Young Hm. Levine Uh, after that, we would do either calisthenics or marching. Um, go to the gun range, which kind of surprised me, because I didn’t think I would be shooting a gun. Uh, had qualified in the—in the gun range. And had different classes on just general military, um—you know, the way of life of a—of a person in the military. Uh, Things—how to handle yourself, how to be able to, uh, you know, again, take orders, and anything that had to do with the military. Military history, all of that. Young Okay. And this—how long was your basic training? How many weeks? Levine Uh, wow. You see, I—that—I, uh—I want to say eight weeks. Young Eight weeks? Okay. Levine But it might be a little bit longer than that. I mean, that’s 40—what? 40—safe[sic] —48 years ago. And [laughs]… Young Okay. Levine [inaudible]. I really didn’t wanna do any… Young It’s not for everybody[?]. Levine Research on that. Young You know there’s an end to it. Levine Yes. Young It’s not gonna be forever. Levine That’s absolutely correct. Young Okay. Um, what were your instructors like? Levine [sniffs] I thought the meanest people in the world, okay? They didn’t take any—they didn’t take anything from anybody. Young Uh huh. Levine Um, which is what they were supposed to do. You were supposed to be there to listen to them. Them—they were, um, NCOs [non-commissioned officers], which is, uh, the equivalents of sergeants, okay? They were not officers, although the heads—some different, um, sections were—were officers—captains and—and, uh, lieutenants and that. But, um, you know… Young [inaudible]. Levine I realized after a while, that they were doing their job, and that if they were soft on us, and if we became—a situation, which we got involved in, we couldn’t be soft either. So the, um—they did their job, and I think they did it—looking back on it, I think they did a good job on ‘em. Young Okay. Uh, let’s back up a minute. Levine Sure. Young You said you didn’t think you’d have to shoot a gun Levine Mmhmm. Young But you did. Levine Right. Young And I think I noticed on your paper that you were, uh, a sharpshooter. Levine Yeah. I surprised myself, to be honest with you. Young Had you ever shot a gun before? Levine No. Young Okay. So… Levine No. Young You adapted to that well. Levine I adapted to it. Yeah. Well… Young Okay. Levine Which again, kind of concerned me. In effect, if I’m a sharpshooter, they might do something with me, other than what I wanted to do [laughs]. Young Did you receive, uh, any advanced, specialized training? Levine Not at that time. No. When we, uh—Just To—to go back a little bit, uh, historically, what led up to this: when I enlisted in the—in the Air Force—and I— don’t mean to take away what you’re—you—the questions you are asking—uh, I had to take a battery of tests… Young Mmhmm. Levine To determine where I was best fit for the Air Force. Uh, and, at that time, I was—I—I actually scored highest in the administrative area. It was like electronics, administrative, mechanical, uh—those I think—and—and just basic—basic air. So I scored highest in administrative, which I assumed that I would, because that was pretty much my background and what I wanted to do. However, at the time that I went in, and—there were no openings in the administrative field. So I said, “Well, if you don’t have anything in the administrative area, send me home. I don’t—I don’t need to come then.” Young [laughs]. Levine They said, “No. that doesn’t work that way, okay? Now, you’re going to be in the electronics field.” I said, “Okay. Electronics.” “Yeah. You know, putting wires together and all this kind of stuff. Wherever you’re needed in electronics.” You know, that’s a wide area, obviously. I said, “Okay.” and they gave me another battery of tests, and one of the tests was called the Ishihara [Color] Test—and I’m not sure if you’re fa—familiar with that? That’s the one where they have the numbers that are embedded in the different colors, so that if you’re looking at it, it is to determine if you are colorblind or not. Young Oh. Levine Well, I really botched that up big time. I think I only got two numbers out of all of them that they showed me. I just couldn’t pick out the different numbers in the blocks of different colors. So they sat back and they said “Well, hm. If you can’t pick out the numbers, how are you going to put a red wire together with a green wire or with a blue wire, and make sure it’s running properly? So you can’t go into electronics.” So I said, “Good. Send me home.” They said, “No. it doesn’t work that way.” I said, “Well, how about administrative again?” “No. we still don’t have any openings.” “Okay. So now what?” “Well, we’re going to give you your choice of what you want to do, Okay? This is the career that you’re going to have in the Air Force.” One: You can become a cook, okay? Number two: you can become a parachute rigger, okay? Putting together the parachutes for the pilots and [inaudible]. Three: you can be an air policeman, because you did qualify that [inaudible]. Or four: you can be an airframe repair specialist. So I sat back and I thought, Well, I could kill everybody with my cooking, because I couldn’t cook very well, okay? If I became a parachute rigger, god forbid if a parachute didn’t open when the pilot jumped out of the plane or whatever[?], I’d probably kill somebody that way. Air police? I says[sic], Nah. I’m not big enough to be a good air policeman, you know? I could direct traffic, but that would probably be all that I could do. So that left me with airframe repair, okay? So that’s where we’re back—that’s where—that’s a little bit about the background on my next point after basic training. Young Okay. So in basic training, you get your assignments? Levine Exactly. Young And you were assigned to be an air… Levine Airframe Repair. Young Airframe Repair? Okay. Levine That’s exactly correct. Young Okay. So that’s working on the outside of the airplane. Levine Uh, It could be the inside too. Young Oh, okay. Anything to do with the frame of an airplane? Levine Right. Young Okay, but, um—so where were you assigned after basic training? Levine I was assigned after basic training to advanced training at Amarillo Air Force Base—Texas also. I really didn’t leave Texas for my basic training and my advance training. And this was strictly was airframe repair now. Young Okay. Levine Okay? This was how—to teach me how to be, uh, an airframe repairman. Young Okay. Levine I have two left hands, so you can imagine Young [laughs]. Levine What it was like to be in Airframe Repair School [laughs]. Young Okay. And—so how long where you in Levine Uh… Young Airframe training? Levine Six months, actually. Young Six months? Okay. Levine Almost six months. It was—yeah. Young And What was your impression of this a—assignment? Levine I thought it would be just going to school, But unfortunately, it wasn’t. It was an extension of the basic training, only, to be honest with you, worse. First of all, the weather in Amarillo, Texas, was horrible. I was there during the wintertime, and it was cold and freezing, and we were doing calisthenics outside and we were running, and we were marching. And I said, This isn’t supposed to be like this. This is like I’m supposed to learn how to work on airplanes, not [laughs]—not—I said, “This was already done in basic training. Why do I—why do I gotta do that again?” “No, no, no.” And actually, they—they called them “TIs”—technical instructors—were worse in—in Airframe Repair School than they were in basic training. They were harder on us in—in, uh—in school. Young Okay. Levine So… Young How many hours would you actually be in—in training for repairs? Levine For repairs? It was about six to eight hours a day. Young So a long day? Levine Yeah. It was just on the repair. Just on airframe repairs. That wasn’t—again, the calisthenics or the marching and everything else. So it was a full day. Young Okay. And did it start early… Levine Yes. Young Like in basic training? Levine Not as early, but pretty close. Young Pretty close? Okay. Levine [laughs]. Young What did your duties entail as an airframe worker? Levine Well, again, there’s another story that goes along with that, okay? Young Tell it. Levine Uh,Well, in—in basic airframe repair, you do anything from sheet metal work to fiber glassing to, umm anything that has to do, again, with—with the frame. Ma—uh, making sure that the—that the actual plane itself is in good shape to fly, okay? From a sheet metal standpoint, and not the electronics standpoint. Obviously, that’s in another area. But, uh—this—this, again, is a—is another story. I had two left hands, as—as I had mentioned. Uh, I couldn’t hit a hammer—nail with a hammer great, and they’re putting me on working on airplanes. Well, each part of the course was a different thing you did with an—with the airframe. Riveting was one area, sheet met—cutting out certain, uh, pieces on the plane was another area. Uh, one of the areas that they had, they called them “blocks.” each one was a separate block, and what you did was you learned as part—as in the individual blocks was, uh, fiber glassing, okay? And how to fiberglass, how to use fiberglass, and how to be able to mold it on a plane were necessary things like that. I wish you could’ve seen me doing the fiberglass work. You’d—it’d—it’s a real comedy. It was a real comedy, a real joke. Young What was the, uh, difficulty in—in doing that? I don’t—I haven’t worked with fiberglass. Levine Well, it’s just mixing—mixing the ras—the resin together… Young Oh, okay. Levine So it’s the right consistency. Being able to lay out the sheets of fiberglass on there, and smooth it over, sand it down. All of these different areas are part of the—are part of the fiberglass work, okay? Young Okay. Levine So that—that—that’s—that was part of it. That was one of the blocks. Young Alright. And there were other things, like riveting classes? Levine How to use a rivet gun properly. Um, All different types—all different of things on—on, Again, using sheet metal, and using—and repairing aircraft. Young What did you like best about that? Levine Nothing [laughs]. Young Nothing? Okay. So you kind of felt like you were a... Levine I was a… Young Round peg… Levine Yes. Young In a square hole? Levine Exactly. Young [laughs]. Levine Exactly. I was not in the proper location. Young Okay. Levine And unfortunately, the Air Force didn’t realize at the time, okay? They put me through it. Young Were your instructors, um, understanding? Or… Levine Yes. Young Patient? Or… Levine They pretty—they were pretty understanding, with the exception of the one from the fiberglass area, because, uh, I ultimately did not pass the test to move on to the next phase of the Airframe Repair School. So I actually had to take a complete week all over—or, em, two weeks, I believe, or three weeks. I had to take that all over again. Young All the fiberglass work? Levine Yes. The fiberglass portion. And the other ones I had passed… Young Uh huh. Levine But the fiberglass portion, I had a very difficult time with, and, uh, I had to take that part of the program all over again. Young Okay. And then you passed it? Levine Yes. Young Okay. So now are you ready for the next, uh—for your next assignment? Levine Well, again, the reason—now, I was part of a group of students. My class, I think, was like 12 or 14 students in my class. Because I had failed the test, they moved on to the next phase, I had to wait until the next class came along to pick up with them, and to begin the fiberglass portion all over again. Young Okay. Levine Okay. Which I did. Uh, I think I had to wait a week before the next class came to the point that they were going to do the fiberglass… Young Oh, okay. I see. Levine Block. So I waved goodbye to all of my fellow students. They had gone—they had gone on to the next phase, and started it, and started the next group. Which a second time I did pass, okay? So I finished and graduated tech school, at that point. Young Okay. So you only had to wait behind two weeks, and then do you catch up with your class again? Levine No. Young No? Levine No. Then I’m involved with this next… Young Your [inaudible]? Levine New class. [inaudible]. Young Okay. Did you go through all the training you did before? Levine No. No. I just picked it up from the fiberglass portion. I’m not sure if it was the third block or the second block. I really don’t remember. Young Uh huh. Levine But then I just proceeded on with that class. Now, as they had finished block one and block two… Young Right. Levine And they went into fiber glassing. I had finished one and two, and started in with them as part of my new class, and we continued on together. Young Okay. [inaudible]. Levine So I had to meet all new students, and—and get involved with the new class. Young Can you describe an event that wasn’t typical in this particular time of your training? You’re in the six months training now. Is there anything that happened that wasn’t typical of an everyday experience or—that you can think of? Levine Mm. Not really. No. It was just pretty much—cou—can’t wait to get out and get an assignment type of situation. And, um, I—Like I said, I did the very best I can. I knew I had no choice, and, uh, I was able to pass and continue on. But it was pretty much the same routine. The only difference that we had was that we had, uh, leave on the weekends, and we were able to go into Amarillo, which There’s not much there. So we did have leave—we did have leave time then. It wasn’t like a seven days a week type of training. Young Okay.So not really anything memoral—memorable during this time? Levine Not really. No. Young Okay. So at six—when you finished that six-month training… Levine Mmhmm. Young What happened then? Levine ‘Nother interesting point. I guess—I guess I had more interesting points than I thought I did. When I, um, came out of my next—with my new class, my previous class had gone on. And of course. they graduated from the technical school before I did. They all got their orders, and the entire class got orders for Vietnam, okay? So if I was in that class, I would have ended up going to Vietnam, at the time. My situation was, when I graduated and I saw my orders posted, I got sent to Europe [laughs]. So… Young That’s interesting Levine It is. It was lu—very lucky. Uh… Young At that point, you weren’t too [inaudible] —too very sorry that you weren’t very adept to… Levine No. Not really. But of course, you know, that can change—that can change at any time also. But, uh, quite a relief on my family’s part, to say the least. Young Right. Levine Um, It—it was—it was very, [laughs] very interesting time, believe me. So I was sent to Europe, uh, in what they called a “TDY outfit,” which was temporary duty assignments. Now, I was assigned to work on a [McDonnell Douglas] F-4 [Phantom II] aircraft. they called it the “phantom jet.” I worked on [McDonnell] F-101s [Voodoo], [Republic F-]105s [Thunderchief], uh, various different types of programs. My basic job was to work on the outboard tanks and pylons. The pylons were, uh, the apparatus that held the bomb racks on. So we were working on putting on bomb racks on the different types of aircraft, and they would then go over to Vietnam. Young Okay. Levine Now… Young So you were specialized in your duties? Levine Yes. Yes. We were—we became specialized in our duties. Now, the government, at the time—again, we were set up as a temporary duty assignment. We had—had to go from base to base to work on these different aircraft. The government thought that it would be cheaper for us to travel in groups and work on these tanks and pylons, because the point of the—with these jets are: they had the jettison their outboard tanks and their pylon or bomb racks when they took off after their bombing runs. Because if they kept those on, it would add weight to the plane itself, in which case, they couldn’t get away—get away as quick, uh, without them. So they were continuously jettisoning these, and when they would come back to—to Europe, we’d have to refit them with new ones, and make—and—and get them all set up for them to go out again. Even though most of them were based right in Vietnam or Thailand and that[?], um, they still came for—for, uh, overall maintenance back to the, uh—back to Europe. Young Okay. Levine So… Young Where in Europe were you? Levine Okay. I was in, uh, Turkey, Italy, Greece, Libya, England, Spain, and my home base was in Germany, okay? That’s where we worked out of. We worked out of Rhein-Main [Air Base], Germany, in, uh, Frankfurt [am Main, Hesse, Germany], okay? So that’s where my main outfit was. It was Detachment 51. Young Okay. And that’s[sic] the ones you graduated with? Levine No. Young [inaudible]. Levine Actually, some—Most of them—most of them did go on to that, but I think there were about six or seven that went to different, uh— areas, okay? Uh, that’s another [laughs]—again, that’s another interesting point. Uh, When I flew over from, uh, New Jersey—McGuire Air Force Base. I left out of McGuire Air Force Base. It’s—it’s a funny story. There were like three planes lined up taking all of us over to Europe. There were two commercial airliners, and then there was what they called a “C-141 Galaxy.” And I said, “Oh, I’m going to go over to Europe in a nice, uh, airliner,” and I ended up going over on a military aircraft, sitting in the seats on the sides [laughs]. So it was kind of a bumpy ride over there. But when I landed, my orders were to catch up with my unit in what they called—in a place called Chaumont[, Haute-Marne], France, okay? So I landed at Rhein-Main Air Force Base, Germany, caught a shuttle, uh—a military shuttle. Uh, it wasn’t a plane. It was a bus, alright? Down to Chaumont, France. Caught up with my, eh—with my group down there, okay? With my detachment down there. And I noticed as I went into—to the offices to report in, that they’re packing up everything. And I went and signed in, and I said to the desk sergeant or whatever his name was, “What—what’s going on,” okay? “I was told to report here.” They said, “Well, we’re leaving.” I said, “Why are you leaving?” Well, at that time, France was not in the best, you know, of friends with the—with the United States. And, uh, this is part of the NATO [North Atlantic Treaty Organization] Pact, and we were—we were leaving out of France. And I said, “Oh,” I said, “So we’re not going to stay in France?” “No.” “Well, where are we going?” He said, “Rhein-Main Air Force Base in Germany.” I said, “Wait a minute. I just came from there.” [laughs] I said, “I just took a bus and came from Rhein-Main.” Young Going to your official[?] [inaudible]. Levine “Why didn’t anybody tell—why didn’t anybody tell me that I was going to go back to—I would never have left I would have waited for ya there.” Well, as it turned out, we went—we went back to Rhein-Main, and, um, set up shop there, and, uh, proceeded to travel all over Europe, and—and working on these tanks and pylons and—and getting them set, so that they—we can put ‘em on the planes, and they can take off. Young Did you have a schedule for where you would be and… Levine Yes. Young How… Levine Yes. We had orders every—every time. Uh… Young And how did that work? Or—or did you not know ahead of time? Levine Um, when we finished one assignment, we’d come back for a while, and, uh, work around… Young Always back to Germany? Levine Back to Germany. Right. Young Okay. Levine And then get our—get our next assignment when we were told to go out… Young Okay. Levine Again. Young What was your relationship with the oth—other service personnel that you worked directly with on the pylons? Levine Oh, we, uh—we had a good relationship. I mean, we were a unit. We pretty much hung around together. Uh, when we had time, we played softball, uh, on—in a league on base. And again, I was a lot, a lot thinner [laughs] back then. And, uh, we had—we had a good time. I mean, it was pretty much a regular eight-hour day, okay? Uh, if—whether or not it was at the—at the base that we were at, or at our home base in Germany. There was—every once in a while, we had assignments. Outside of our unit, was the, uh, uh Boeing 707—I think it was, um, at the time. It was the General of the Air Force’s plane, uh, of Europe Young Mmhmm. Levine Okay. Uh, [inaudible]. It was the General’s plane—his personal plane—was out there. Actually, come to think of it now, it was the [Boeing] KC-135 [Stratotanker] —was—which was an inflight re-fueler, where those, you know—the planes come up to it, and they drop the boom in that. Well, this was a converted KC-135 for the General. Really nice, nice plane. And we had work on that every once in a while, changing some things, and, you know, making sure that everything was okay. Young When you were, uh, at base, or on these assignments, were you always busy? Or were there times that you didn’t—were waiting for the next assignment? Levine Uh, No. We were busy most of the time. We were busy most of the time. I mean, once again, it was pretty much and eight-hour day, and when we were done, we had—we were free to do whatever we wanted. It was just, uh, like a normal job, except we worked [inaudible]… Young Okay. But there wasn’t a lot of just sit around and wait? Levine No, no, no, no. Young Okay. How did you stay in touch with your family and friends back home? Levine Well, at that time, I was—there—there was no such thing as Skype, or, uh, e-mail, and things like that. So it was pretty much by letter. Just by regular letter. Sna—snail mail. Young Snail mail. Levine [laughs]. Young Uh, do you believe you were well-trained for your assignment? Levine As best as they could, considering what they had to deal with [laughs]. Young Uh, did you always have the equipment and the supplies that you needed… Levine Yes. Young To do your job? Levine Yes. That—that we had no trouble—we had no trouble with. Young And you mentioned you played softball. Levine Mmhmm. Young How else did you entertain yourself when you weren’t on duty? Levine Mm. Well, I’d say drink [laughs]. Um, Just going to different, uh—go to the USO [United Service Organization] over there, and saw stag shows, and had one—one or two beers—four or five. Young Was there a USO show that was particularly memorable? Levine Yes. The Platters. The original Platters were there. And, um, I—I liked them from the beginning, and I was very fortunate to meet ‘em, and, uh, listen—they put on a great show. Young Uh huh.Was that in Germany? Or in one of your other assignments? Levine No. That was in Germany. Young Okay. Levine It was in Germany [sniffs]. But When I—I was in Spain, uh, over one of the New Year’s [Eve]. I was in, uh, Madrid, Spain, and got and to see a flamenco show there. A real, real flamenco show, which was pretty good. Young Did you take advantage of any, uh, sightseeing, or… Levine Oh, yes. Young Or tours… Levine Yes. Young When you were there? Levine Yes. Young Okay. That would be entertaining [inaudible] Levine Actually, um, I got married while—while I was overseas. Young Uh huh. Levine And my wife was in the States. She was a—she was an American. She was German—born German, but, um, I married—I got married. And she was able to come over to Europe and get a job in Germany, while I was gone. Fortunately enough, she, um, uh spoke German. So she was able to get around the economy very nicely while I was gone, because I was gone most of the time. Young Uh huh. Levine But it was nice to have her over there. And when—when I was back there, we were able to travel around. Young Oh, nice. Levine We were able to go to Holland,<a title="">[1]</a> and, uh, visit a lot of Germany. Go around—go around Germany. Young That’s a—that’s very, uh—very nice thing to have happened… Levine Mmhmm. Young While you’re Levine Mmhmm. Young Young, and, uh—and not a lot of money… Levine Right. Exactly. Young You cantravel around on… Levine Exactly. Young Uh, Uncle Sam’s dime. Levine Mmhmm. Young Uh, when were you—tell me about your ranking and how that—and how you… Levine Well, actually, I became a sergeant. Young You ended up a staff sergeant. Levine Uh, pardon me? Young You ended up as a staff sergeant. I saw on your… Levine Yeah. It was a… Young Okay. You start off as a—tell me how that works. Levine Well, you just go in as an airman. Young Okay. Levine Okay. And then, at that time, it was, um, second class, first class, and sergeant. Young Okay. Levine Actually, I think I mis—misstated. Um, I was three stripes, which was considered a sergeant at the time. Young Uh huh. Levine Okay. Four stripes is a staff sergeant, so… Young Okay. Levine I made three. If I had reenlisted, I probably would have gotten a fourth stripe. Young Okay. Alright. So you ended up as a sergeant? Levine Right. Young Okay. And, um, when were you discharged from the military? Levine August of 1970. When I rotated back from the States, I, uh, was stationed in, uh, Shaw Air Force Base in Sumter, South Carolina, which was about 7-8 months. So I lived in South Carolina, outside of Columbia. Young And how long were you there? Levine I think it was 7-8 months. Something like that. Young Seven—okay. Um, how did you feel once you were out of the military? Levine Relieved. Um, Glad I did what I did. Uh, kind of—Kind of upset as to what was going on, while I was in the military, back home with the individual tour—“pacifists,” I guess you call them—or against the war in Vietnam. I mean, I was not all in favor of what was going on, but, uh, when I did come home on leave at one time, uh, it was not ver— it was not a very good situation. I mean, we were—for all intents and purposes, we were spat at, at the airports, when we walked through. Nobody said, “Thank you for your service.” And, uh, they just didn’t like it. They didn’t like anybody in the military, or anybody in uniform. So that—that kind of part was tough. Um, Again, I was relieved. But on the other hand, I felt that all of my friends—I was the only one of all my friends back in Rochester. I was the only one to go into the military, and felt that I was four years behind them in education and—and, um—and just getting on with my life. So, you know, it—both sides. I felt good with serving, but on the other hand, I felt that I lost some time. Young Um, once you were out, what did you do? Levine [sniffs] Another good, interesting situation. Uh, when I got out of the service, my wife became pregnant [laughs]. And, uh, it was probably from the week I got discharged [laughs] Young Uh huh. Levine She—she got pregnant. In which case, if she got pregnant while we were in the military, the government would have paid for it. If she had given birth while I was in, the military would have paid for it. But I, uh—when I got out of the service, my main goal was to get back to school. I wanted to get my degree in accounting and—and go on from there. But a little s—s—little turn of events when your wife becomes pregnant. Going to day school is pretty difficult. So I took a job. um, and again, I got out in August, and, uh, school was going to start in September, but I was gonna take—go to night school, okay? And—and get a job during the day. But until that time started, I went to work at McDonald’s, uh, slinging hamburgers. See, eh, eh, my memory’s coming back. I was going to go to day school. Young Uh huh. Levine So I wasn’t going to enroll until September, but I needed some—to get some income coming in, uh, for my wife and that. So I went to work at McDonald’s slinging hamburgers, which was not a great experience. Because here’s an older gentleman, who’s, uh, slinging hamburgers with a bunch of teenagers, and looking at me, thinking, Boy, he must be a real loser if he’s doing this, not knowing the situation. But I got the job in telling ‘em that I was going to—I wanted to go to school training to become a manager at McDonald’s. This is how I got the job. And, uh, the owner of the place said, “Okay.” He said, “But you—but in order to do that, you have to learn all the different areas of—of McDonald’s.” French fries, working on the grill, the clean-up, the whole bit. . I said, “Okay.” Well, that lasted about a week—week and a half—and I just couldn’t handle it anymore. I would come home smelling terrible from all the fat that was in the French fries. So that lasted maybe a week—week and a half. But we managed. Um, and I did start going to school, but things got to a point where I just needed to get money. So I went—I was going back to night school. I went to night school, and got a job. Uh, at that time, [sniffs] I was working, I believe, at one of the local manufacturing companies in their finance department. I was working in their cost accounting department. Even though I didn’t have a degree, they—they put me on as—in a lower level type of position. But it was bringing in income, and I—I was able to go to school at night. Young And where was this, Larry? Levine Rochester Institute of Technology. Young Oh, you were back in… Levine Yeah. Young Back in New York. Levine I was back in Rochester. I went back to New York. Young Okay. Were you—were there any G.I.<a title="">[2]</a> benefits Levine Yes. Young That you were able to take advantage of? Levine Yes. Absolutely. I was on the G.I. Bill.<a title="">[3]</a> Helped me pay for my schooling. Yes. Definitely. Young Okay. And so you’re working in the daytime and… Levine Mmhmm. Young And going to school at night. Levine Right. Young Okay. Levine Mmhmm. Young And, uh, we talked about how you were treated… [background noise] Young When you came home, and that, um, there was, um, uh, disrespect… Levine Mmhmm. Young Dor you as a soldier. Now… Levine Right. Young Was that set across the board every time you came home on leave? Or, uh, did you notice that when you would go to New York? Or when you would go—when you came back to South Carolina? Was there a difference in the way the local people treated you? Levine Not really. No. Not that I can remember. It was just an area that they didn’t go out of their way to—to do anything. More like they were trying to ignore us, then, um—like we were the—the plague. Young Mmhmm. Levine Okay. And just no—no respect. No respect for anyone. And that’s what makes me feel so good now is that you’re seeing these, uh, individuals in the military, and people are giving them respect and thanking them for their service. So that’s one of the areas where I—I felt cheated out of also—is not getting the respect and that, because it was four years of my life, and that’s a long time. Young It is a long time, especially at that age. Levine Right. Exactly. Young Uh, did your military experience affect your civilian life in any way? Levine I became more appreciative of life. Um, More appreciative of the things that I—that I was able to get, uh, of—of my family at the time. Because being away from them most of the—now fortunately, like I said, my wife was able to come with—to come with me over to Europe, but, uh, I missed my brothers and my—and my father. My mother had passed away prior to that, so, uh—but, yeah. Uh, a lot of things, uh—a lot of things that I was more appreciative of, at the time. Young Do you think that you were more serious in your education than you would have been as a 20… Levine Most definitely. Most definitely. That’s a very good point. I looked at my education totally different. Uh, more—I—I was more involved with history. Um, I—I didn’t feel at the time—you see, there was a lot—a lot difference in going to school and being, pretty much, made to go to school, or that—that was the norm. You—you went to high school. You finished high school. You went to college and then you went on from there. And because of the interruption, I looked at it from a different stand point that, you know, this is an opportunity. This is a great opportunity, and, uh, the government is helping me with this opportunity, through the G.I. Bill. I’m going to take full advantage of it. So I took full courses. And if anybody knows about Rochester, New York, and going to school at night in Rochester, New York, in the middle of winter is not easy. Okay. It was cold. It was freezing. It was snowing. But, uh, I had a family to support, and I wanted to be able to get my education, so Luckily, I was able to complete it. Young Okay. Looking back on it all, can you describe about how you feel about your service? You said that you were glad you did it… Levine Mmhmm. Mmhmm. Young And anything else you want to add to that? Levine No. Other—other than the fact that, um, I personally think that it makes a—a person better going into the military. And I for one, feel that it should be mandatory, because there’s a lot of kids that are going to—to education and that, because they don’t know what else to do. Young And so you feel it… Levine Okay. And I think when they say it—when they say… Young Gives them time to mature and… Levine I’m sorry. What’s that? Young It gives them time to mature… Levine Absolutely. Young And to learn… Levine Absolutely. Young A little about the world and… Levine And to grow up… Young And to grow up. Levine And to grow up… Young And to learn some discipline [laughs]. Levine Yes. That’s the other area. That’s the other area. Like I said, so many don’t know what they want to do with themselves, and they end up in the military. Although they didn’t give me the opportunity to go in the direction that I wanted to. It certainly opened up my eyes to a lot of things. And one is independence. You know, being independent, being able to do things on your own, uh, washing your own clothes, making your own bed, uh, choosing the right things to do. Young Did you become more adept to working with your hands? Levine I wish I could say yes [laughs]. Young [laughs] Some things you just can’t learn. Levine Some things that you—you have a difficult time doing. That’s correct. Um, I think I’m a little better with a hammer and nails now than I was. I wouldn’t go as far as work with any kind of sheet metal or anything, because I’m sure I would cut my fingers up in shreds, but Yeah. I think I’m a little bit better. I can—I can… Young Well, Larry, I thank you for your service. And I thank you for this—for you doing this… Levine Well, it was a pleasure. Young With us. Levine Very enjoyable. Very enjoyable. Young And, uh, I enjoyed talking with you about it. Levine Mmhmm. Thank you. Thank you. <div> <div> <a title="">[1]</a> Formally called The Netherlands. </div> <div> <a title="">[2]</a> Government Issue or General Issue. </div> <div> <a title="">[3]</a> Servicemen's Readjustment Act of 1944. </div> </div> Click to View (Movie, Podcast, or Website) <a href="http://stars.library.ucf.edu/veteransoralhistories/259/" target="_blank">Levine, Lawrence Paul</a> accounting advanced training Airframe Repair School airframe repair specialists airframe repairman airframe repairmen airplanes Amarill, Texas Amarillo AFB Amarillo Air Force Base anti-war movement basic training Boeing 707 Boeing KC-135 Stratotanker Brown University BU Bureau of Customs and Border Protection Burlington County, New Jersey C-141 Galaxy colorblindness Community Veterans History Project conscription Custom Service CVHP Detachment 51 draft board draft lottery drafts education enlistment Europe F-101 F-105 F-4 fast food restaurants fiber glassing fiberglass firearms Frankfurt am Main, Germany G.I. Bill Germany Good Conduct Medal gun ranges guns instructors Ishihara Color Test jet jet fighter jets KC-135 Lackland AFB Lackland Air Force Base Larry Levine Lawrence Paul Levin marching marriages Mary Hughes Young McDonald's McDonnell Douglas F-4 Phantom II McDonnell F-101 Voodoo Mcguire AFB Mcguire Air Force Base metal military draft military education military training pacifism pacifists peace movement phantom jets planes protests Providence, Rhode Island pylon Republic F-105 Thunderchief Rhein-Main AB Rhein-Main Air Base RIT riveting Rochester Institute of Technology Rochester, New York San Antonio, Texas Selective Service System Sergeant Servicemen's Readjustment Act of 1944 sharpshooters sharpshooting Shaw AFB Shaw Air Force Base sheet metal Staff Sergeant Sumter, South Carolina TDY temporary duty The Platters TI training U.S. Air Force U.S. Air Force in Europe U.S. Army U.S. Army Air Corps U.S. Bureau of Customs and Border Protection U.S. Customs Service United Service Organization USAFE USO veterans Vietnam Vietnam War World War II WWII https://richesmi.cah.ucf.edu/omeka/files/original/8dc754f78542e2b20a29fd8e3a923981.pdf 90a8914bd4d2c5bdbbead62142908165 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lone Sailor Navy Memorial History Project Collection Alternative Title Lone Sailor Collection Subject Veterans--Florida Orlando (Fla.) United States. Navy Navy Sailors--United States Description Collection of digital images and oral histories related to the former Recruit Training Center Orlando (RTC Orlando) for the United States Navy. The training center transformed raw recruits into highly effective sailors. This process took place over an intensive eight-week training period, commonly referred to as "boot camp." RTC Orlando occupied roughly one half of the former Naval Training Center Orlando (NTC Orlando), which was located at present day Baldwin Park, Orlando, Florida. Between 1968 and 1994, over 650,000 men and women graduated from RTC Orlando. Contributor <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Naval Training Center, Orlando, Florida Contributing Project <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Connie Reuter Alternative Title Oral History, Reuter Subject Veterans--Florida Navy Orlando (Fla.) Description An oral history interview of Martha Reuter (b. 1964), who is nicknamed Connie. Reuter was born in Abingdon, Virginia, on March 20, 1964. She enlisted in the U.S. Navy (USN) on May 7, 1984, and completed her service on April 1, 1988. Reuter re-enlisted just six months later in the U.S. Naval Reserve (USNR) and was discharged on October 31, 2005. Reuter attended Naval Training Center Orlando (NTC Orlando). She later served at Naval Air Station Corpus Christi in Corpus Christi, Texas, and Naval Air Station Ingleside in Ingleside, Texas. This oral history interview was conducted by Leanne Wiggins on March 6, 2014. Interview topics include Reuter's background, enlistment, naval training, attending boot camp at NTC Orlando, serving was a woman in the Navy, graduation from boot camp, Liberty Call, the USS Blue Jacket, the Grinder, serving as a photographer's mater, the Naval Reserve, and the Lone Sailor Memorial Project. Table Of Contents 0:00:00 Introduction 0:00:35 Background 0:02:12 Enlistment 0:04:12 Boot camp at Naval Training Center Orlando 0:08:49 Training as a woman in the Navy 0:11:15 Responsibilities and social interactions at boot camp 0:15:09 Training 0:17:19 Proudest and memorable moments 0:19:54 USS Blue Jacket and the Grinder 0:22:48 Chapel and chow hall 0:24:12 Graduation and Navy memorabilia 0:26:56 Serving as a photographer's mate 0:32:04 Naval Reserve 0:34:44 Values learned from the Navy 0:36:59 Lone Sailor Memorial Project 0:41:49 Closing remarks Abstract Oral history interview of Martha Reuter. Interview conducted by Leanne Wiggins at the University of Central Florida in Orlando, Florida. Type Moving Image Source <a href="http://stars.library.ucf.edu/veteransoralhistories/223/" target="_blank">Reuter, Martha</a>. Interviewed by Leanne Wiggins. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/294/rec/1" target="_blank">Item DP0014908</a>, UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a><a href="http://java.com/en/download/index.jsp" target="_blank">Java</a>. <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format Digital transcript of original 43-minute and 30-second oral history: <a href="http://stars.library.ucf.edu/veteransoralhistories/223/" target="_blank">Reuter, Martha</a>. Interviewed by Leanne Wiggins. Audio/video record available. <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/294/rec/1" target="_blank">Item DP0014908</a>, UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Naval Training Center Orlando, Orlando, Florida Naval Air Station Corpus Christi, Corpus Christi, Texas Naval Station Ingelside, Ingelside, Texas World Trade Center, New York City, New York Creator Reuter, Connie Wiggins, Leanne Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-03-06 Date Issued 2014-09 Date Copyrighted 2014-03-06 Format video/mp4 application/pdf Extent 373 MB 172 MB Medium 43-minute and 30-second DVD audio/video recording 14-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Leanne Wiggins and Connie Reuter 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 "<a href="http://cfnavyleague.org/lone-sailor/lone-sailor-history/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/lone-sailor-history/. "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://stars.library.ucf.edu/veteransoralhistories/223/" target="_blank">Reuter, Martha</a> Transcript Wiggins Today’s date is Thursday, March 6th, 2014. I am interviewing Martha “Connie” Reuter, who served in the United States Navy. She served on active duty between May 1984 and April 1988, and as a [Naval] Reserve between October 1988 and October 2005. My name is Leanne Wiggins. I am interviewing Ms. Reuter as part of the UCF Community Veterans History Project and as research for the creation of the Lone Sailor Memorial Project. We are recording this interview at the University of Central Florida in Orlando, Florida. Ms. Reuter, will you please start us off by telling us when and where you were born? Reuter I was born in Abingdon, Virginia. March 20th, 1964. Wiggins And what did your parents do for a living? Reuter Um, my mom was a stay-at-home mom, and, um, my dad was a, um, pastor—Lutheran minister. Wiggins And do you have any brothers or sisters? Reuter And, uh, one older brother. Wiggins Growing up, where did you go to school? Reuter Um, we moved, uh, a couple of times during my childhood. Um, started out, uh, around Shenandoah, Virginia. Moved to Martinsville, Virginia. I spent most of my, uh, ah, years in, uh, Martinsville, and then, um, moved to, uh, Newton, North Carolina, for, uh, my junior and senior year of high school. Wiggins And what did you do before entering the Navy? Reuter Uh, I was, uh, uh, trying to figure out what I was going to do with my life [laughs]. So I was working, um, at a Hardee’s. I had gone to school for retail merchandising. Um, decided, uh, not to go that route. Was trying to figure out what to do, and, uh, one of my friends came through and said “Connie, let’s join the Navy.” And we were going to go in on the [Navy] Buddy [Enlistment] Program. And, uh, I went to a recruiter about three times. The fourth time I said, uh, “If I’m going to go, I’m going to go now.” and, uh, I signed on the Delayed Entry Program in February, and I left for boot camp in May. My friend did not go [laughs]. So it was just me. Wiggins So why did you choose the Navy, as opposed to other branches of the military? Reuter As, uh—basically, I had no clue. I just, uh—like I said, when she came through and said, “I got a[sic] idea. Let’s join the Navy,”—’cause her boyfriend had joined, and, um—uh, was like, “Great.” I have, uh—some of my relatives, um, are—have also been in the military. My cousin, who was in the Air Force, my uncle, uh, in the Army, and then my grandfather was in the Army. But it wasn’t, uh—I didn’t live near any big military bases, so I really didn’t—didn’t know. So I said—when she decided—when she said, “Let’s join the Navy,” I— Alright.” [laughs]. Wiggins How did, uh, your family members feel about you joining the Navy? Reuter Uh, I think they were—they were definitely, uh, proud. Um, shocked, because I did all that and, uh, going to the recruiter and everything, um, without telling them [laughs]. So, um, after I had already join[sic], came home and told them. Wiggins So where did you attend boot camp? Reuter Uh, eh, Orlando, Florida. Wiggins And were you trained to do—what were you trained to do for your career in the Navy? Reuter Uh, while I was [inaudible] —I came in non-designated, so I didn’t decide ahead of time what career I wanted to do in the Navy. So I, uh—after, uh, boot camp, I went to Airman Apprenticeship Training School. And, um, from there got my, um, first duty station, talked to the Navy career counselor, and decided from there. Wiggins When did you begin your training at NTC [Naval Training Center] Orlando? Reuter Um, May 7th, 1984. Wiggins Before coming to NTC Orlando, what did you know about the region, militarily or otherwise? Reuter Nothing, uh, military-wise. And, of course, for Orlando, all you basically hear about is, uh, Walt Disney World. I had, a, uh—a [sic] uncle and cousins, who lived here. And so we had come down, um, once to visit them, and we went to Walt Disney World when I was a kid. And, um, so that’s all I knew. I had no idea about the military. Wiggins How long were you at NTC Orlando? Reuter Uh, I did the, uh, eight weeks of boot camp. And then, I believe Airman Apprenticeship Training was an additional four weeks. And, um, so then I left, all total, ‘round September. Wiggins When you first arrived, what was your first impression of the base or the area? Reuter Uh, well, when I first arrived, it was at night. Um, I was 20 years old, and that was my, uh, first time being on a commercial airplane. So, um, the MEPs [Military Entrance Processing] station was in Charlotte, North Carolina. So I flew from Charlotte to Orlando, as my first time on a commercial airplane. And, uh, it was at night. Uh, don’t remember much [laughs], okay? Uh, I know we had a bus, came right to the base, um, uh, everybody—when I came into the barracks, most of everybody was in their bunks already going to sleep. Um, I remember getting in my bunk, and then, uh, realizing I had to go to the bathroom. Scared to ask if I could get up and go to the bathroom, But I did, [laughs] and, uh—um, so then, I went back to sleep and woke up the next morning and that’s when it all began. Wiggins So what were your first days of service like? Reuter Pretty, um, uh, regimented—routine. Start dinner routine, start, uh, issuing, um, uniforms. uh, even though I had, uh, cut my hair short before I came to Orlando for boot camp, um, because I thought that, uh, you know, If I’m going to have my hair short, I want to be able to kind of, you know—well, do it myself. [laughs] Well, it didn’t matter. You still went to the barbershop. They still cut some more off, even though it was already short. So I had, uh, um, short hair for the first time in my life [laughs]. And, um, uh, like I said, everything was pretty much, uh, just routine. You did as you were told. You stood where they told you to stand, listen to instructions, and everything. And if you listened well, you got along great. Wiggins So what was it like to be a woman at NTC Orlando? Reuter Uh, it—it really didn’t, uh, bother me at all being a woman at NTC Orlando. Um, I didn’t have any problems at boot camp. Um, I know some of my bunkmates, uh, uh, did. Um, and it wasn’t necessarily—I don’t think—because of a woman. It’s just a—a different—it’s an adjustment. Um, but, uh, uh, we—the boys were still around. Uh, we had—went to classes with them. Um, saw them in the—at chow halls. All that. But we didn’t march with them, didn’t have them in the barracks, uh, and on—or anything. But, um, I remember we called them “trees.” and you were not allowed to look at the “trees” or anything. But, um, one of the best pieces of advice that I got before I left for boot camp, was my friend’s boyfriend, who was in the Navy already. He said “When they first ask you to raise your hand—to be on either the color guard, drill team, flag guard—raise your hand.” So I was like, “Okay.” So as soon as my company commanders, you know, asked that question, I raised my hand and they picked me and it was the best advice I had ever gotten. Uh, I had a really good time being on the drill team. Uh, you were on the drill team with the boys, so therefore you could talk to them [laughs] and meet them. Um, uh, I got out of a lot of other inspections, a lot of the PT [physical training], um, all that, because we had to go to drill practice. And so again, that was the best advice I could have ever gotten. Wiggins So besides your responsibilities with the drill team, what were—did you have any other primary responsibilities? Reuter No. That was it in boot camp. just, uh, keep everything in shipshape, um, make up your bunk correctly, have your clothes folded correctly, um, clean the barracks some, uh, go to classes, and, uh, that was about it. Wiggins So what was your overall impression of the recruits and their training during your time at the base? Reuter I felt it was very good. Um, uh, as—I felt comfortable. Um, I felt like I could trust them. Um, I said I didn’t have any problems. Um, when they yelled—you know, the company commanders yelled or—or whatever, but, you know, it didn’t bother me. I just let it roll—roll off my back. You know, do what they say. That’s it. Um, it, uh, definitely taught me a lot. Um, for, uh—everybody should go through it [laughs]. Wiggins So who did you interact with on a daily basis? Reuter It was mainly my, um—the bunkmates that were closest to me. So, um, I was in the lower bunk, so, uh, my shipmate, who was in the top bunk, uh, we became very good friends. And the shipmate pretty much right next to me, we became really good friends. And, um, uh, other than that there was, uh, one of—one of my, um, boot camp, uh, ladies that were[sic]—that was in my company, she got stationed at the same place I did for the first duty station. So, uh, when I went to my first duty station, I already knew one person. So that was great. Um, and then a couple years later, while I was there, uh, one of, um—another girl that I was in, uh—I was in boot camp with, got stationed there, and so we became really good friends after that. Wiggins Who were your instructors, and what were they like? Reuter We had, uh, the company commanders, um, was[sic] Hines[sp] and Merritt[sp] —um, Petty Officer Hines and Petty Officer Merritt. Um, of course, I do not know their first name, [laughs], because you don’t have first names in boot camp. Uh, everything is by your last name. But, um, again, like I said, when they—they would, you know, yell if they had to. Um, I remember one time, you know, they asked you about what a gig line is, and I had no idea. And, um, you know, they would go around and ask everybody, and none of us knew, but we learned awfully quick[sic] what a gig line was. And [laughs] that’s something you’ll never forget. Wiggins What was a gig line? Reuter That is the line on your shirt that overlaps, it lines up with your belt buckle all the way down. That’s the gig line. Wiggins What was the hardest thing that you remember doing at NTC? Reuter [sigh] Oh, gosh. Um, I don’t know about the hardest. There was, uh, a couple—uh, we did go in the gas chamber, and, uh, so it was kind of scary. Um, and, uh, you know, you all go in as a group. They tell you to take your mask off. You start feeling the, uh, um, burn. And, uh, uh, [laughs] I remember one of our girls in the company, way in the back, was like “Help!” And she had such a high pitched voice and everybody started laughing. And, um, so then, um, they—by that time, they finally—they opened the door and you all came out. But, um, you experience that. You experienced, um, putting out a fire and, uh, putting out a fire on a ship with a big hose and working together as a team. Um, you experienced, uh, swimming, and how to survive in swimming and using your clothes as floatation devices. Um, that’s the first time I’d ever shot a gun, uh, I think it was a, uh, .45 [caliber handgun]. And, um—so that was an experience. Um, so I can’t really say anything was really hard. I was already fairly physically fit before I went in. um, and I could—I listened well and took instructions well. Wiggins What was a moment that you felt the most proud? Reuter Oh, gosh. Um, graduation [laughs]. Wiggins What was graduation like? Reuter Um, uh, my parents had come down, and, um, my uncle had come over. And, uh, uh, it was a good time. And we went also went on a Liberty Call. And, um, I went with my parents, and—and, uh, couple of my, um, uh, friends from boot camp. I went to SeaWorld [Orlando], and, uh—yeah. Wiggins Can you tell me a story of a time at NTC Orlando that you’ll never forget? Reuter [laughs] Oh, let’s see. There’s several. Um, oh [laughs], I’ll never forget—um, after boot camp, I was at a—I went to, uh, Airman Apprenticeship Training School, which was, uh, another additional four weeks. And during that time, we could have, uh, Liberty Call at around 16:00 to 16:30— somewhere around there. Never failed. Orlando, during that time frame, would, uh—there would always be a huge thunderstorm downpour, uh, right at Liberty Call. So right when you were getting ready to go out on the [laughs] town or whatever, um, and have a little bit of your own time, they would have to cancel Liberty Call. And it would only last about an hour, and then Liberty was open. So it [laughs] —never failed. And still to this day [laughs] [sniffs]. Wiggins How would you describe the USS Blue Jacket and its function? Reuter Um, I think, uh, back then, it was, uh, a very good replica of a Navy ship. And, uh, I said that is where we went to learn how to, uh, fight a fire on a ship, to work as a team. um, and, uh, even though, during my Navy career [laughs], uh, I never went out to sea—I was on the land on shore—but, uh, I’m sure, uh, it was—it was a good replica for the real thing. Wiggins What was the official purpose of the Grinder, and what was its significance to you and the recruits? Reuter The Grinder was, uh, where you marched and you marched [laughs]. And, uh, you also did the PT out there. Uh, the Grinder was a large, um—uh, what was it? Concrete or asphalt area. Um, big rectangle that you just marched up and down. And, uh, so you learned how to march in a straight line, you learned how to, uh, take the corners while you’re marching, and, um, you spend a lot of time out on the Grinder [laughs]. Wiggins What other trainings went on at the base? Reuter Um, well, again, as I said, I went to Airman Apprenticeship Training School, and, um—but there were also, um, Nuclear Power School out there, and—um, which of course, while you’re in boot camp, you don’t know that anything else is going on around you, except for your little area. But, um, uh, during Airman Apprenticeship Training School, you could, uh, get to know a little bit more of the base. And, uh, you could go to the, uh—also during boot camp and afterwards, go to the chapel on Sundays, and—and, uh, so you get to learn a little bit more. Wiggins Were there any other areas on base that were of particular importance to you? Reuter Um, besides the chapel? It was, uh, the chapel [laughs]. And, um, another thing I will also never forget is: when you march up, getting ready to go into the chow hall, there is, um, uh, a recruit up there who has this big spiel about, uh, “You have 20 minutes, and 20 minutes only to eat your fine Navy chow.” and, uh, I know that there’s more, but, uh, [laughs] that’s the line that I remember. And, uh, you just went into the chow hall, got your food, ate. There were always huge, um, bottles of peanut butter on the tables, because peanut butter, uh, was more sustaining, and to—to help you keep full, if you needed to or whatever. But, uh, uh, you would always put peanut butter on, on the, uh, uh, chocolate bars, the ice cream, or make peanut butter sandwiches, or something, but there was always a huge jar of peanut butter. Wiggins [sniffs] So what did it feel like to graduate and finally put that hat on? Reuter [laughs] This was, uh, um, my cover that I got from, uh, boot camp. This was issued to me during boot camp. Uh, one of the, uh, things that I realize now is that, uh, we, back then, wrote our full Social Security [Insurance] number in, uh—in our, some of our gear. Uh, so I still have [laughs] my full Social Security number, uh, written in here. But, uh, it definitely has all of the stains from, uh, many years of—of wear. Um, I was also issued, uh, “birth control glasses.”<a title="">[1]</a> So I still have my “birth control glasses,” that, uh—and you could not wear contacts. You had to wear these “birth control glasses” during boot camp, and after, um, boot camp, during Apprenticeship Training School, then I could, uh, wear my contacts. But, uh, these were lovely [laughs], But hey. Everybody that needed glasses had them. Uh, we all, for the most part, looked the same. This is, uh, still my, uh, uh, tie that was issued in boot camp. I still have, uh, my initials, um, engraved—or, uh, inked on there. That was another one of the things that as soon as you were issued your gear, you all, uh, went in a line and, uh, with the stencil, and then, uh, stenciled all your gear. So, uh, this was the first time that I was issued. And, um, this was, uh, the picture of my mom and dad at, uh, graduation. And this was just a picture that they took of me in, uh, front of the sign. And then this was just my, uh, first, uh, photograph. Wiggins Did you want to share anything else of the memor—memorabilia you brought? Reuter Um, well, later on, uh, when, I got to my first duty station, and finally decided what I wanted to be in the Navy, that is when I decided to, uh, uh, be a Photographer’s Mate. And, uh—so I went and, um, during that time, the Photographer’s Mate rating was open, meaning that they needed people to be photographers in the Navy, so I was like, “I can take pictures.” So I decided to [laughs] —to go that route. And, um, this is my, um, rating badge. Uh, that is, uh, no longer, uh, used in the Navy. This, uh, was, uh, the Photographer’s Mate rating badge, it’s an IFKA[?]. And the wings represent, uh, that we were—that it was the air-dealt rating. So um, now the Navy has combined three ratings into one. So, uh. Now there are no more Photographer’s Mates. They have a new rating.<a title="">[2]</a> Wiggins So tell me a bit more about your experience as a Photographer’s Mate. Reuter Again, that was, uh, very, um, thrilling, and, a lot of fun. You were up front, uh, of everything, because you had to get the picture. And, um, you also got to tell, uh, some of the officers, uh, what to do, where to stand, and, uh, you know, what to do. So that was always fun [laughs]. And, uh, um, there was always some, some—some, uh, great opportunities. I, uh, had to take pictures of, um, a wheels-up landing. I was stationed in, uh, Corpus Christi, Texas. And, um, a [Beechcraft] T-34 [Mentor] was coming in for a landing, and the wheels would not come down. The landing gear would not come down. So, um, we—me and another Photographer Mate went out to shoot, um, pictures of this wheels-up landing to document it. And I was shooting the stills, and he was shooting the video. But, uh, at first, I was nervous and—camera was shaking while I was trying to take the pictures [laughs] but, uh, you know, we had the fire trucks there, and they just came right in on the belly of the plane—skid right in—and, uh, they were fine. Thank goodness. But, um, uh, I also went to take pictures of, uh, Naval Station Ingleside[, Texas], which is no longer there already [laughs]. The Navy’s already sold it back to Corpus Christi. But, uh, uh, we took the groundpreak[sic]—groundbreaking pictures of, um, Naval Station Ingleside. And, uh, so it’s just, um—it was always cool to be a part of history—document history. Um, uh, document, uh, happy occasions, lots of, uh, changes of command ceremonies, lots of promotion ceremonies, retirement ceremonies. Um, and uh, document some not-so-good things. You also were on duty, um, and when it was your duty day, and you got called, I had, um, three different suicide attempts. So you had to go and document, um, the scene and what had happened. And, uh, one guy had tried to slit his wrist, so you’re documenting all the blood and all that. And, uh, um, another person had jumped out a second story window. Um, so you have to go, you know, just document. And, uh, so, you never knew what was going to happen. What you were going to be called to do. So it was—it was exciting. Wiggins Do you recall the day that your active service ended? Reuter Um, well, I was on active duty for four years. And, um, as I said, I was stationed in Corpus Christi, Texas, and that was my first duty station. And from there, uh, I had met my future husband, so I decided—we got engaged, and I decided to, um, get out of the Navy, uh, so we could get married. And, uh, from there, I stayed in the Reserves. So, um, the remaining of my time, I, uh, did the, you know, uh, weekend-a-month, two weeks a year Reserve drill. Uh, still as a Photographer’s Mate. And, uh, that worked out well, because I was able to do my Reserve duty anywhere that, uh, he was stationed, because he was still active duty Navy. Wiggins So when you were not doing your Reserve duties, what were you doing otherwise? Reuter Well, I was very lucky to be able to, uh—once we had our first child, to stay at home. And, uh, so, uh, the majority of my time was as a stay-at-home mother. Uh, we ended up, uh, with three children, so [laughs], uh—and fairly close together, so that… [vacuum cleaner turns on] Reuter Kept me busy. But, um, uh, we, uh—I also would do, uh, other different things, uh, besides my Reserve time, to, uh, just stay active as far as, uh, either within their school, being a substitute teacher, going and helping out and volunteering. Um, uh, doing, uh—did the realtor for a couple of years, did pampered chef for a couple of years. So anything that I did, I made sure that my schedule, I could still be home. Wiggins What values or characteristics of the Navy do you believe made an impression on your life? Reuter Hm, um, [sighs] I think I had, um, a lot of good values, um, already instilled in me from my parents, uh, that the Navy and the military, um, uh, you know, uh, possesses, and that’s, uh, good character, uh, teamwork. There’s the honor, courage, and commitment. Um, uh, I always felt that, uh—I said, “If they were your shipmate, uh, and you were in trouble, they would be there to help.” um, so just—just a little bit more of, of continuing of what my parents had already told me. Wiggins What was the most valuable lesson that you learned, um, in your time in the Navy? Reuter Hm, um, as I said, just be a—be a team player. It’s—it’s not about you. It’s getting the job done, keeping everybody safe, um, keeping the country safe, um, being a team player. [vacuum cleaner turns off] Wiggins How has NTC Orlando base or the Central Florida region changed since the time you originally spent here? Reuter Oh, goodness. A lot. Uh, when we—my family and my husband—me and my husband and—and our three kids—um, moved back to Orlando, because, uh, he was being stationed here at NAWCTSD [Naval Air Warfare Center Training System Division], um, I was like, you know, [laughs] “Let’s go see where, uh, NTC Orlando was.” Where was I? Where did I go to boot camp? Uh, I knew that the base had been closed, but—I don’t know. I guess I was expecting to see something, um, and there was really nothing. Nothing there to show that the Navy had been here, as far as a, um, boot camp. And like, you know—like we’ve talked about, with the, um—the Grinder, the—the big replica of the, you know, the Blue Jacket ship, uh, um, there was nothing. Uh, the chapel [laughs]—and nothing and so I was very surprised. And, uh, I said, I was, um, very pleased to, uh, find a group who was trying to do something about that. And, um, so since that time, I have, uh—me and my husband have volunteered to be on the, uh, committee, to get, uh, something to show where NTC/RTC [Recruit Training Center] was. um, so that people can not only come to take their kids to Disney World or SeaWorld or, um, Universal Studios [Orlando], uh, but if they went to boot camp, they can bring them to an area, uh, that they can show their kids where they were during that time frame. I, um—when I retired, the Lone Sailor [Memorial Project] statue was the, um, one thing that I wanted as a retirement gift, and so I’m very proud. Wiggins So when they come back to visit the memorial, what do you think Naval personnel would like to see? Reuter Um, I think they would like to see, uh, um, pictures of, uh, the way—to—to show the way it used to be—what was really there. Because, you know, now it’s a Baldwin Park community. um, so it’s just really, I feel, interesting to see, um, old pictures of—of when we were there, Um, maybe a little write up of the history, um, and, um, of course, not only a—a male Lone Sailor, but a, hopefully, one day, we get a female Sailor statue there also, to represent, um, the men and women who went to boot camp there. Wiggins What do you think is the lasting legacy of the NTC Orlando or the Navy to the Central Florida region? Reuter Uh, just that it—it, uh—it’s a lot of good people. It, uh, helped a lot of people grow up, and become, uh, great, um, adults—giving adults—back to their communities and country, um, sacrificing what you have to have sacrifice for the good of all. Wiggins Is there anything else that you would like to share about your Navy experience? Reuter Um, it was definitely, uh, a good, good experience. Lots of, uh, memories. Lots of opportunities. Lots of opportunities to travel to different places, um, meet different people, uh, lots of—build lots of lasting friendships, um, see and do many different things. Uh, during one of my two weeks of active duty, I was in New York City for Fleet Week, and during that time was when they, um, brought out the last beam for, uh, the World Trade Center. and I was manning the rails as they brought out the last beam, and I was all the way down—the bottom of World Trade Center—and, uh, at Ground Zero. And, uh, to just be down there and look up—amazing. Wiggins Well, I want to thank you very much for your time and for giving this interview, and for all of the wonderful experiences that you have shared with me. Reuter Thank you. <div> <div> <a title="">[1]</a> G.I. glasses. </div> <div> <a title="">[2]</a> Mass Communications Specialist. </div> </div> Abingdon, Virginia active duty Airman Apprenticeship Training School Baldwin Park basic training Beechcraft T-34 Mentor birth control glasses boot camps chapels chow halls church churches cold war Community Veterans History Project Connie Reuter Corpus Christi, Texas CVHP Delayed Entry Program DEP drill teams education educators enlistment eyeglasses females firearms Fleet Week G.I. glasses gas chambers gig lines glasses graduations Ground Zero guns Hines inactive duty Ingelside, Texas instructors Leanne Wiggins Liberty Call Lone Sailor Memorial Project LSMP Martha Reuter memorials MEP Merritt military education Military Entrance Processing military training NAS Corpus Christi Naval Air Station Corpus Christi Naval Air Station Ingelside Naval Air Warfare Center Training System Division Naval Training Center Orlando Navy Buddy Enlistment Program NAWCTSD New York City, New York NS Ingelside NTC Orlando orlando peanut butter Petty Officer, Second Class photographer's mates photographers photography Recruit Training Center Recruit Training Center Orlando recruits RTC Orlando sailors ships suicides T-34 teachers The Grinder training U.S. Naval Reserve U.S. Navy USN USNR USS Blue Jacket veterans weather woman women World Trade Center WTC https://richesmi.cah.ucf.edu/omeka/files/original/28413adeef381b1c73a29b4565de0474.jpg f0b67d974b524cd942c7ff213268e2b1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Undertaker's Memorandum for Amos Arrington Alternative Title Undertaker's Memorandum, Arrington Subject Orlando (Fla.) Undertakers and undertaking--United States Description An undertaker's memorandum for Amos Arrington (1892-1894), who passed away on August 11, 1894. Arrington was an African-American child who was just under two years old when he died. His address is listed as Middle Street, which was likely in the Orlando, Florida, where the Carey Hand Funeral Home was located. Arrington's physician was A. L. Prince. His cause of death was listed as marasmus, which is a severe malnutrition characterized by energy deficiency. Arrington was buried in Orlando, but the memorandum does not specify at which cemetery. The Carey Hand Funeral Home, originally located at 39 West Pine Street, was founded by Elijah Hand in 1885. Hand was the first known embalmer in Orlando. In 1907, his son, Carey Hand, inherited the funeral home. He passed away in 1947 and his wife sold the business the following year. In 1969, the Carey Hand Funeral Home merged with Cox-Parker Funeral Homes. Now called the Carey-Hand Cox Parker Funeral Home, the home is located at 1350 West Fairbanks Avenue in Winter Park, Florida. Type Text Source Original memoranda, 1894: "Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896." Call number RA622 .C36, Carey Hand Funeral Home Records, <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141856" target="_blank">Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896</a>, Central Florida Memory. http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141856. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/20" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original memoranda, 1894: "Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896." Has Format Digital reproduction of original memoranda, 1894: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141712" target="_blank">Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896</a>." Tag number DP0003993, Carey Hand Funeral Home Records, Central Florida Memory. Coverage Carey Hand Funeral Home, Downtown Orlando, Florida Date Created ca. 1894-08-11 Date Copyrighted 2004-04-13 Format image/jpg Extent 239 KB Medium 1-page handwritten memoranda Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections & University Archives</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="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference "<a href="http://library.ucf.edu/SpecialCollections/Exhibits/CareyHandExhibit.php" target="_blank">The Carey Hand Funeral Home Records</a>." Special Collections & University Archives, University of Central Florida Libraries, University of Central Florida. http://library.ucf.edu/SpecialCollections/Exhibits/CareyHandExhibit.php. A. L. Prince African Americans Amos Arrington babies Carey Hand Carey Hand Funaral Home children deaths Downtown Orlando Elijah Hand embalmers funeral homes infants malnutrition marasmus morticians orlando Prince, A. L. undertakers undertaking https://richesmi.cah.ucf.edu/omeka/files/original/c433f05155a19bf23e7256f7361afc1f.jpg 393e3286d369d6f6d57481733558fff9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Original Format 1-page memoranda Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Undertaker's Memorandum for Isaac Chapman Alternative Title Undertaker's Memorandum, Chapman Subject Orlando (Fla.) Undertakers and undertaking--United States Description An undertaker's memorandum for Isaac Chapman (1792-1894), who passed away on August 30, 1894. Chapman was an African American who died at the age of 102 years and six months. His cause of death was listed as old age and cholera morbus. Chapman was buried in Orlando, Florida, but the memorandum does not specify at which cemetery. The African Methodist Episcopal (AME) Church paid for his funeral expenses. The Carey Hand Funeral Home, originally located at 39 West Pine Street, was founded by Elijah Hand in 1885. Hand was the first known embalmer in Orlando. In 1907, his son, Carey Hand, inherited the funeral home. He passed away in 1947 and his wife sold the business the following year. In 1969, the Carey Hand Funeral Home merged with Cox-Parker Funeral Homes. Now called the Carey-Hand Cox Parker Funeral Home, the home is located at 1350 West Fairbanks Avenue in Winter Park, Florida. Type Text Source Original memoranda, 1894: "Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896." Call number RA622 .C36, Carey Hand Funeral Home Records, <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141856" target="_blank">Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896</a>, Central Florida Memory. http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141856. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/20" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original memoranda, 1894: "Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896." Has Format Digital reproduction of original memoranda, 1894: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141716" target="_blank">Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896</a>." Tag number DP0003993, Carey Hand Funeral Home Records, Central Florida Memory. Coverage Carey Hand Funeral Home, Downtown Orlando, Florida Date Created ca. 1894-08-30 Date Copyrighted 2004-04-13 Format image/jpg Extent 227 KB Medium 1-page handwritten memoranda Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections & University Archives</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="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference "<a href="http://library.ucf.edu/SpecialCollections/Exhibits/CareyHandExhibit.php" target="_blank">The Carey Hand Funeral Home Records</a>." Special Collections & University Archives, University of Central Florida Libraries, University of Central Florida. http://library.ucf.edu/SpecialCollections/Exhibits/CareyHandExhibit.php. African Methodist Episcopal Church AME church Carey Hand Carey Hand Funaral Home church churches Downtown Orlando Elijah Hand embalmers embalming funeral homes Isaac Chapman morticians orlando undertakers undertaking https://richesmi.cah.ucf.edu/omeka/files/original/988eb1e0e5153915ea16e0a7fbe223be.jpg 4245e351492acd3443b14ac0832602be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Original Format 1-page memoranda Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Undertaker's Memorandum for Josephine L. Schultz Alternative Title Undertaker's Memorandum for Josephine L. Schultz Subject Orlando (Fla.) Undertakers and undertaking--United States Description An undertaker's memorandum for Josephine L. Schultz (ca. 1854-1894), who passed away on October 22, 1894. Schultz was a female from Winter Park, Florida, who died at the age of 44. Her cause of death was listed as consumption, which is now more commonly known as tuberculosis. Schultz was buried in Orlando, but the memorandum does not specify at which cemetery. The Carey Hand Funeral Home, originally located at 39 West Pine Street, was founded by Elijah Hand in 1885. Hand was the first known embalmer in Orlando. In 1907, his son, Carey Hand, inherited the funeral home. He passed away in 1947 and his wife sold the business the following year. In 1969, the Carey Hand Funeral Home merged with Cox-Parker Funeral Homes. Now called the Carey-Hand Cox Parker Funeral Home, the home is located at 1350 West Fairbanks Avenue in Winter Park, Florida. Type Text Source Original memoranda, 1894: "Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896." Call number RA622 .C36, Carey Hand Funeral Home Records, <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141856" target="_blank">Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896</a>, Central Florida Memory. http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141856. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/20" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original memoranda, 1894: "Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896." Has Format Digital reproduction of original memoranda, 1894: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/141727" target="_blank">Book 002: Carey Hand Funeral Home records, July 16, 1894 to December 31, 1896</a>." Tag number DP0003993, Carey Hand Funeral Home Records, Central Florida Memory. Coverage Carey Hand Funeral Home, Downtown Orlando, Florida Date Created ca. 1894-10-22 Date Copyrighted 2004-04-13 Format image/jpg Extent 231 KB Medium 1-page handwritten memoranda Language eng Mediator History Teacher Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections & University Archives</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="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference "<a href="http://library.ucf.edu/SpecialCollections/Exhibits/CareyHandExhibit.php" target="_blank">The Carey Hand Funeral Home Records</a>." Special Collections & University Archives, University of Central Florida Libraries, University of Central Florida. http://library.ucf.edu/SpecialCollections/Exhibits/CareyHandExhibit.php. A. Henkel Carey Hand Carey Hand Funaral Home consumption Downtown Orlando Elijah Hand embalmers embalming funeral homes Josephine L. Schultz morticians MTB orlando phthisis phthisis pulmonalis TB tuberculosis undertaker's memoranda undertakers undertaking Winter Park https://richesmi.cah.ucf.edu/omeka/files/original/4cb39c729cee4f0149b435b09169ad3e.jpg 3d41c36be581e6c25139c4cf91e7c36d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 color postcard Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Fountain at Eola Park, Orlando: "The City Beautiful" Postcard Alternative Title Fountain at Eola Park Postcard Subject Orlando (Fla.) Fountains--Florida Parks--Florida Description A postcard showing the Sperry Fountain on the southern shore of Lake Eola in Downtown Orlando, Florida. The fountain was named in honor of Frank E. Sperry (1843-1916), Mayor of Orlando from 1913 to 1916. Lake Eola and the surrounding park are one of the unusual features that sets the city of Orlando apart from other places. From its earliest days, Downtown Orlando was situated on the west side of the lake. As the town grew into a city, Lake Eola continued to be a focal point for the inhabitants, who used it for bathing, swimming, and fishing, while on its shores people picnicked and listened to concerts and religious services. Much of the land around Lake Eola was donated to Orlando by Jacob Summerlin (1820-1893), who designated that it be a public park. It has remained one ever since. The rest of the park land was donated by the Musselwhite family and Mayor Sperry. Once Sperry had settled in Orlando, he started the South Florida Foundry and Machine Works, which developed into a large enterprise and Orlando's first real industry. Sperry was active in the business for a number of years, but sold out his interest because of failing health. He also began to have a great interest in the growing of citrus in the county. He served as Mayor of Orlando and was also a member of the Park Commission. In 1913, while serving with the Park Commission, he donated the final piece of land on Lake Eola that completed a ring around the lake. On that land, he donated $2,000 to place a fountain that stands to this day and bears his name as a reminder of his generosity. The fountain, made of wrought iron was described as a "large acanthus leaf with a duck base surmounted by a bittern set in an octagonal masonry basin with eight vases." At the base of the fountain there is a plaque with the following statement: "This fountain donated by Frank E. Sperry, Mayor 1914 - 1916." Abstract Color postcard of Lake Eola, Orlando, Fla. Front: photo of Lucerne Circle. Back: blank message side with information describing Edward's Park on Lake Ivanhoe, largest of Orlando's 33 lakes. Postcard published by Central cigar and Tobacco Co.and Orlando, Florida. Photography by Tichnor Quality Views, Boston, Mass. Type Still Image Source Original color postcard: ""Fountain at Eola Park, Orlando, Florida: 'The City Beautiful.'" Central Cigar and Tobacco Company, Orlando, Florida: Thomas and Georgine Mickler Collection, <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of Thomas and Georgine Mickler Collection, <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original color postcard: "Fountain at Eola Park, Orlando, Florida: 'The City Beautiful.'" Central Cigar and Tobacco Company, Orlando, Florida. Has Format Digital reproduction of original color postcard: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/2081" target="_blank">Fountain at Eola Park, Orlando, Florida: 'The City Beautiful.'</a>" Central Cigar and Tobacco Company, Orlando, Florida: Tag number DP0010656, Thomas and Georgine Mickler Collection, Central Florida Memory. Coverage Sperry Fountain, Lake Eola Park, Downtown Orlando, Florida Publisher Central Cigar and Tobacco Company Contributor Tichnor Quality Views Date Created ca. 1930-1949 Date Copyrighted ca. 1930-1949 Format image/jpg Extent 194 KB Medium 1 color postcard Language eng Mediator History Teacher Geography Teacher Provenance Originally published by the Central Cigar and Tobacco Company. Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections & University Archives</a> and is provided here by RICHES of Central Florida for educational purposes only. Accrual Method Donation Contributing Project <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections & University Archives</a> Curator Cepero, Laura Digital Collection <a href="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Transcript Fountain at Eola Park, Orlando, Florida. "The City Beautiful" O-132 Central Cigar and Tobacco Company Downtown Orlando Edward's Park Eola Park fountains Gaston Edwards Park Georgine Mikler Lake Eola Lake Eola Park Lake Ivanhoe lakes Lucerne Circle orlando parks Sperry Fountain The City Beautiful Thomas Mikler Tichnor Quality Views https://richesmi.cah.ucf.edu/omeka/files/original/418eb1a8e8ddf1f5da682f90575a0d49.jpg 0808e493ad97cd990e7dd789928b7457 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 color postcard Physical Dimensions 10 x 14 centimeters Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Atlantic Coast Line Railroad Station Postcard Alternative Title ACL Railway Station Postcard Subject Orlando (Fla.) Railroads--Florida Description A color postcard featuring the Atlantic Coast Line (ACL) Railway Company station, located at 1400 Sligh Boulevard in Orlando, Florida, in the 1930s. This station was constructed in 1926 at a cost of $500,000 and was originally part of the ACL system. However, in 1967, the station joined the Seaboard Coast Line (SCL) Railroad, after a merger between the SCL and the ACL. With stucco facade and towers flanking its entrance, the station has been studied many times for its Mission Revival-style architecture. After being in operation for 65 years, the Orlando Amtrak station was in desperate need of renovations. In 1991, a collective of local organizations, companies and groups came together to fund the needed renovations. Abstract Color postcard of A.C.L. Railway Station, Orlando, Fla. depicting genre scene of people waiting to board a train. Type Still Image Source Original 10 x 14 centimeter color postcard: "A.C.L. Railway Station, Orlando, Fla. 'The City Beautiful.'" Orange News Company, Orlando, Florida: <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original 10 x 14 centimeter color postcard: "A.C.L. Railway Station, Orlando, Fla. 'The City Beautiful.'" Orange News Company, Orlando, Florida. Has Format Digital reproduction of original 10 x 14 centimeter color postcard: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/30021" target="_blank">A.C.L. Railway Station, Orlando, Fla. 'The City Beautiful'.</a>" Orange News Company, Orlando, Florida: Tag number DP0004817, Central Florida Memory. Coverage Atlantic Coast Line Railroad Company Station, Orlando, Florida Publisher Orange News Company Contributor Curteich Date Created ca. 1930-1939 Date Copyrighted ca. 1930-1949 Format image/jpg Extent 64.5 KB Medium 10 x 14 centimeter color postcard Language eng Mediator History Teacher Geography Teacher Provenance Originally published by the Orange News Company. Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections & University Archives</a> and is provided here by RICHES of Central Florida for educational purposes only. Accrual Method Donation Contributing Project <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections & University Archives</a> Curator Cepero, Laura Digital Collection <a href="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference "<a href="http://www.greatamericanstations.com/Stations/ORL" target="_blank">Orlando, FL (ORL)</a>." Great American Stations, Amtrak®. http://www.greatamericanstations.com/Stations/ORL. Mulligan, Michael. <a href="http://www.worldcat.org/oclc/225874809" target="_blank">Railroad Depots of Central Florida</a>. Charleston, SC: Arcadia Pub, 2008. Turner, Gregg M. <a href="http://www.worldcat.org/oclc/184906141" target="_blank">A Journey into Florida Railroad History</a>. Gainesville: University Press of Florida, 2008. Turner, Gregg M. <a href="http://www.worldcat.org/oclc/52260683" target="_blank">A Short History of Florida Railroads</a>. Charleston, SC: Arcadia Pub, 2003. Murdock, R. Ken. <a href="http://www.worldcat.org/oclc/38291666" target="_blank">Outline History of Central Florida Railroads</a>. Winter Garden, Fla: Central Florida Chapter, National Railway Historical Society, 1997. "<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2477" target="_blank">RICHES Podcast Documentaries, Episode 25: The Railways of Central Florida</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2477. "<a href="http://www.csx.com/index.cfm/about-csx/our-evolution-and-history/interactive-timeline/" target="_blank">Our Evolution and History: CSX</a>." CSX http://www.csx.com/index.cfm/about-csx/our-evolution-and-history/interactive-timeline/. "<a href="http://www.american-rails.com/atlantic-coast-line.html" target="_blank">The Atlantic Coast Line Railroad, Standard Railroad of the South</a>." The American Railroads: A Long and Storied History. http://www.american-rails.com/atlantic-coast-line.html. "<a href="http://www.american-rails.com/seaboard-air-line.html" target="_blank">The Seaboard Air Line Railroad, Through The Heart Of The South</a>." American-Rails.com. http://www.american-rails.com/seaboard-air-line.html. Transcript O.129—A. C. L. Railway Station, Orlando, Fla. "The City Beautiful" ACL ailroad stations Atlantic Coast Line Railroad Company Curteich Orange News Company orlando railroad station railroads rails railways The City Beautiful https://richesmi.cah.ucf.edu/omeka/files/original/d18fbb09ecd609e49cdf5c37397b0569.jpg 33de8b999407fabeb609613f54c78650 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 color postcard Physical Dimensions 9 x 14 centimeters Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Downtown Orlando Atlantic Coast Line Railroad Station Postcard Alternative Title ACL Railway Station, Orlando Postcard Subject Orlando (Fla.) Railroads--Florida Description A postcard featuring the Atlantic Coast Line (ACL) Railway Company station, located at 127 West Church Street in Downtown Orlando, Florida, in the early 20th century. The station was first constructed in 1880, connecting Orlando to Sanford. After the railroad was bought up by the Plant System in 1883 from the South Florida Railroad, it was extended to Tampa. This brought a large boom to Orlando's economy shipping cattle and lumber, but chiefly citrus. By 1926, the depot was becoming too small for the volume of trade going through, so the depot was moved south to what is today the Amtrak Station. This depot became run down until the mid-1970s, when Church Street Station opened up around the depot and stayed open until the early 2000s. Now, the station is used as a stop along the Sunrail Tram system. Abstract Hand colord photographic postcard of the Atlantic Coast Line Depot, Orlando, Fla. published by the H. and W.B. Drew Co. depicting the station as it appeared in the early 20th century. Type Still Image Source Original 9 x 14 centimeter color postcard: "Atlantic Coast Line Depot, Orlando, Fla." H. and W. B. Drew Company, Orlando, Florida: <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original 9 x 14 centimeter color postcard: "Atlantic Coast Line Depot, Orlando, Fla." H. and W. B. Drew Company, Orlando, Florida. Has Format Digital reproduction of original 9 x 14 centimeter color postcard: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/30774" target="_blank">Atlantic Coast Line Depot, Orlando, Fla.</a>" H. and W. B. Drew Company, Orlando, Florida: Tag number DP0004813, Central Florida Memory. Coverage Atlantic Coast Line Railroad Company Station, Downtown Orlando, Florida Publisher H. and W. B. Drew Company Date Created ca. 1900-1926 Date Copyrighted ca. 1900-1926 Format image/jpg Extent 51.5 KB Medium 9 x 14 centimeter color postcard Language eng Mediator History Teacher Geography Teacher Provenance Originally published by the H. and W. B. Drew Company. Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida's Special Collections & University Archives</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections </a> University Archives Curator Cepero, Laura Digital Collection <a href="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference Mulligan, Michael. <a href="http://www.worldcat.org/oclc/225874809" target="_blank">Railroad Depots of Central Florida</a>. Charleston, SC: Arcadia Pub, 2008. Turner, Gregg M. <a href="http://www.worldcat.org/oclc/184906141" target="_blank">A Journey into Florida Railroad History</a>. Gainesville: University Press of Florida, 2008. Turner, Gregg M. <a href="http://www.worldcat.org/oclc/52260683" target="_blank">A Short History of Florida Railroads</a>. Charleston, SC: Arcadia Pub, 2003. Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Murdock, R. Ken. <a href="http://www.worldcat.org/oclc/38291666" target="_blank">Outline History of Central Florida Railroads</a>. Winter Garden, Fla: Central Florida Chapter, National Railway Historical Society, 1997. "<a href="https://richesmi.cah.ucf.edu/omeka2/items/show/2477" target="_blank">RICHES Podcast Documentaries, Episode 25: The Railways of Central Florida</a>." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka2/items/show/2477. Transcript The Atlantic Coast Line Depot, Orlando, Fla. ACL Atlantic Coast Line Railroad Company Church Street Station Downtown Orlando H. and W. B. Drew Company orlando railroad stations railroads rails railways The City Beautiful https://richesmi.cah.ucf.edu/omeka/files/original/1ff1b2dbbbb08af39b1e8b3285ef82a9.jpg 68dc6cbb056e1ffb995795ea043110de Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 black and white postcard Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Celery Field, Orlando Postcard Alternative Title Orlando Celery Field Postcard Subject Orlando (Fla.) Celery Description A postcard featuring the agricultural laborers working at a celery field in Orlando, Florida. The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center Orlando (NTC Orlando) in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Abstract Picture postcard of workers in a celery in Orlando, Florida. Reverse side blank. Type Still Image Source Original black and white postcard: "Celery Field, Orlando, Fla.": <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>, Orlando, Florida. Is Part Of <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original black and white postcard: "Celery Field, Orlando, Fla." Has Format Digital reproduction of original black and white postcard: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/2235" target="_blank">Celery Field, Orlando, Fla.</a>." Tag number DP0008256, Central Florida Memory. Coverage Orlando, Florida Date Created ca. 1920 Date Copyrighted ca. 1920 Format image/jpg Extent 63.9 KB Medium 1 black and white postcard Language eng Mediator History Teacher Geography Teacher Rights Holder Copyright to this resource is held by <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cepero, Laura Digital Collection <a href="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="https://www.thehistorycenter.org/" target="_blank">Orange County Regional History Center</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Transcript CELERY FIELD, ORLANDO, FLA. agriculture celery employees labor laborers orlando workers https://richesmi.cah.ucf.edu/omeka/files/original/7642280fa9d1d2ecef514e3ae0ab5651.jpg 142b2b6b3070b196e5632a31dc7243f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orlando Collection Description The Orlando area was originally occupied by the Creek and Seminole tribes. In 1838, Fort Gatlin was erected on the shores of Lake Gatlin, just a few miles south of present-day Downtown Orlando. Centered around Church Street, Orlando became a city in 1884. Originally a cattle town, Orlando grew into a major citrus growing center by the 1920s. The city continued to grow during the Great Depression with aid from the Work Progress Administration (WPA). During World War II, Orlando became a major military center as well, with the development of the McCoy Air Force Base and Pinecastle Air Force Base, and with the addition of the Naval Training Center (NTC) Orlando in 1968. Downtown Orlando declined in the 1960s and 1970s. Redevelopment began in the 1970s and continued into the 1980s, with projects such as the Church Street Station entertainment complex. In 1998, a building boom began and continued through the 2000s. Contributor Cook, Thomas Cepero, Nancy Lynn Cepero, Laura Lynn Alternative Title Orlando Collection Subject Orlando (Fla.) Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank">Orange County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Orlando, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. "<a href="http://sanfordhistory.tripod.com/Links/wtour.pdf" target="_blank">Downtown Orlando Historic District Walking Tour</a>." City of Orlando. http://sanfordhistory.tripod.com/Links/wtour.pdf. Has Format <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank">Orlando Philharmonic Orchestra Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank">Orlando Remembered Collection</a>, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/126" target="_blank">Downtown Orlando Information Center Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/110" target="_blank">Orlando Public Library Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/111" target="_blank">Orlando Regions Bank Collection</a>, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 color postcard Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Orange Court Apartment Hotel Postcard Alternative Title Orange Court Apartment Hotel Postcard Subject Orlando (Fla.) Hotels--Florida Description A postcard featuring Orange Court Apartment Hotel, located at 650 North Orange Avenue in Downtown Orlando, Florida. The hotel was designed in Spanish Revival architectural style by G. Lloyd Preacher (1882-1972) of Atlanta, Georgia, and constructed by G.A. Miller, Inc. (also known as the GA Miller Construction Company) in 1924. The hotel had 275 rooms, a Spanish garden, and a small orange grove. Orange Court was also one of the first hotels in Orlando to have a steam-heated swimming pool. The building was demolished in 1990. Abstract Color picture postcard of Orange Court Apartment Hotel, Orlando, Florida. Printed on reverse side: Orlando is the seventh city of Florida and the largest inland city in the state. It is the county seat of Orange County and located in the very heart of Florida's brick highway system, the heart of the citrus belt, and the heart of the lake region of Central Florida. Type Still Image Source Original color postcard: "Orange Court Apartment Hotel, Orlando, Florida." E. C. Kropp Company, Milwaukee, Wisconsin: <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Orlando Collection</a>, Orange County Collection, RICHES of Central Florida. Is Format Of Original color postcard: "Orange Court Apartment Hotel, Orlando, Florida." E. C. Kropp Company, Milwaukee, Wisconsin. Has Format Digital reproduction of original color postcard: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/2078" target="_blank">Orange Court Apartment Hotel, Orlando, Florida</a>." E. C. Kropp Company, Milwaukee, Wisconsin. Tag number DP0010655, Central Florida Memory. Coverage Orange Court Apartment Hotel, Downtown Orlando, Florida Date Created ca. 1924-1990 Date Copyrighted ca. 1924-1990 Format image/jpg Extent 84.8 KB Medium 1 color postcard Language eng Mediator History Teacher Economics Teacher Geography Teacher Provenance Originally published by the E. C. Kropp Company. Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida's Special Collections & University Archives</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="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference Antequino, Stephanie Gaub, and Tana Mosier Porter. <a href="http://www.worldcat.org/oclc/783150094" target="_blank">Lost Orlando</a>. Charleston, S.C.: Arcadia Pub, 2012. Rajtar, Steve. <a href="http://www.worldcat.org/oclc/70911136" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Transcript Orange Court Apartment Hotel, Orlando, Florida. Downtown Orlando E. C. Kropp Company G. A. Miller, Inc. G. Lloyd Preacher GA Miller Construction Company George Lloyd Preacher hotels Orange Court Apartment Hotel orlando Spanish revival tourism https://richesmi.cah.ucf.edu/omeka/files/original/daa8142fea3aa6e6df7df6314ca9c1c7.jpg 58f41d61ac372e6cd5067d82ee6af4f0 Dublin Core The Dublin Core 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. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 black and white photographic postcard Physical Dimensions 9 x 14 centimeters Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title First Street, Sanford Postcard Alternative Title First St. Postcard Subject Sanford (Fla.) Description A postcard featuring East First Street in Sanford, Florida, in the 1930s or 1940s. The Victory Bar and the Sanford Atlantic National Bank, which was located at 1010 East First Street can been seen on the left. On the right of the photograph is a drugstore with advertisements for Coca-Cola soft drinks. Abstract Postcard image which depicts First Street in Sanford, Florida. A business in the left foreground is named the Victory Bar. In the left background of the image is the Sanford Atlantic National Bank building. A drugstore business on the right side of the image advertises Coca-Cola drinking sodas. Automobiles can be seen parked along the sides of the road and driving down the main thoroughfare. A woman can be seen walking to a building at the extreme right of the image. Type Still Image Source Original 9 x 14 centimeter black and white photographic postcard: "First Street, Sanford, Florida": <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. Is Part Of <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">Special Collections & University Archives</a>, University of Central Florida, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank">Sanford Collection</a>, Seminole County Collection, RICHES of Central Florida. Is Format Of Original 9 x 14 centimeter black and white photographic postcard: "First Street, Sanford, Florida." Has Format Digital reproduction of original 9 x 14 centimeter black and white photographic postcard: "<a href="http://digital.library.ucf.edu/cdm/ref/collection/CFM/id/116501" target="_blank">First Street, Sanford, Florida</a>." Tag number DP0008196. Central Florida Memory. Coverage East First Street, Sanford, Florida Date Created ca. 1930-1949 Date Copyrighted ca. 1930-1949 Format image/jpg Extent 119 KB Medium 9 x 14 centimeter black and white photographic postcard Language eng Mediator History Teacher Economics Teacher Geography Teacher Rights Holder Copyright to this resource is held by <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida's Special Collections & University Archives</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="http://www.cfmemory.org/" target="_blank">Central Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank">University of Central Florida, Special Collections and University Archives</a> External Reference Sanford Historical Society (Fla.). <a href="http://www.worldcat.org/oclc/53015288" target="_blank">Sanford</a>. Charleston, SC: Arcadia, 2003. Transcript Sanford Atlantic National Bank Victory Bar Coca-Cola FIRST STREET SANFORD FLORIDA J134 1st Street automobiles banks bars cars Coca-Cola Coke Downtown Sanford drugstores First Street pharmacies pharmacy roads Sanford Sanford Atlantic National Bank sodas soft drinks streets Victory Bar https://richesmi.cah.ucf.edu/omeka/files/original/30867b1375948873167d4d20c516f319.jpg 0d7b817f7fd923df2758336413759285 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Laura Cepero Collection Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 color postcard Physical Dimensions 9 x 14 centimeters Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Weeki Wachee Spring on Florida's Gulf Coast Postcard Alternative Title Weeki Wachee Postcard Subject Weeki Wachee (Fla.) Spring Hill (Fla.) Springs--Florida Parks--Florida Description A postcard featuring an underwater mermaid at Weeki Wachee Springs State Park in 1949. Weeki Wachee, located at 6131 Commercial Way in Spring Hill, Florida, is best known for its famous tourist attraction, Weeki Wachee Springs. The attraction features performances by underwater mermaids, a glass-bottom boat ride, and other natural attractions. The springs are named after the Seminole words for "little spring" or "winding river." In 1946, former U.S. Navy member Newt Perry (1908-1987) began to develop a tourist attraction at Weeki Wachee. By the 1950s, Weeki Wachee was one of the top tourist stops in the United States. The American Broadcasting Company (ABC) purchased the site in 1959 and continued to expand. In 2008, Weeki Wachee was taken over by the state of Florida as a state park. Abstract The Weeki Wachee Springs attraction was created in 1947 by an ex-Navy frogman named Newton Perry. Weeki Wachee Springs later became a state park on November 8, 2008. Note at the bottom right: 110 - Weekiwachee Spring on Florida's Gulf Coast Scenic Highway (U. S. #19). Type Still Image Source Original 9 x 14 centimeter color postcard: "Mermaid Performing at the Weeki Wachee Springs Waterpark." 1949: Image number PC12593, Postcard Collection, <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</a>, Division of Library and Information Services, Florida Department of State, Tallahassee, Florida. Is Part Of Postcard Collection, <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</a>, Division of Library and Information Services, Florida Department of State, Tallahassee, Florida. <a href="https://richesmi.cah.ucf.edu/omeka/collections/show/213" target="_blank">Laura Cepero Collection</a>, RICHES. Is Format Of Original 9 x 14 centimeter color postcard: "Mermaid Performing at the Weeki Wachee Springs Waterpark." 1949. Has Format Digital reproduction of original 9 x 14 centimeter color postcard: "<a href="https://www.floridamemory.com/items/show/274325" target="_blank">Mermaid Performing at the Weeki Wachee Springs Waterpark</a>." 1949: Image number PC12593. Florida Memory. Coverage Weeki Wachee State Park, Spring Hill, Florida Date Created 1949 Date Copyrighted 1949 Format image/jpg Extent 147 KB Medium 9 x 14 centimeter color postcard Language eng Mediator History Teacher Economics Teacher Geography Teacher Rights Holder Copyright to this resource is held by the <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</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://www.floridamemory.com/" target="_blank">Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</a> External Reference "<a href="http://weekiwachee.com/about-us/history-of-weeki-wachee-springs.html" target="_blank">History of Weeki Wachee Springs</a>." Weeki Wachee Springs State Park. http://weekiwachee.com/about-us/history-of-weeki-wachee-springs.html. Pelland, Maryan, and Dan Pelland. <a href="http://www.worldcat.org/oclc/67516850" target="_blank">Weeki Wachee Springs</a>. Charleston, SC: Arcadia, 2005. Vickers, Lu, and Bonnie Georgiadis. <a href="http://www.worldcat.org/oclc/780478262" target="_blank">Weeki Wachee Mermaids: Thirty Years of Underwater Photography</a>. Gainesville: University Press of Florida, 2012. Publisher Modern Photographers Transcript PHOTO BY MODERN PHOTOGRAPHERS 110—Weekiachee Spring on Florida's Gulf Coast Scenic Highway (U. S. #19) bathing suits fish mermaids Modern Photographers parks Scenic Highway springs swimsuits tourism tourist attractions U.S. 19 U.S. Route 19 Weeki Wachee Weeki Wachee Springs State Park https://richesmi.cah.ucf.edu/omeka/files/original/30bdf6e99912cd3e9f43c5a2584ef5dc.jpg b58a939900b4bcf4cef8803dc0746b88 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Silver Springs Collection Description Collection of digital images, documents, and other records depicting the history of Silver Springs, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Silver Springs was originally settled by the Timucuans in the early 1500s. Although they were able to reclaim their territory after Spanish invasion, the Timucuans were ultimately succeeded by other tribes, such as the Seminoles. In the 1860s, Samuel O. Howse purchased 242 acres of land in the area around Silver River. Silver Springs became known as Florida's first tourist attraction beginning with glass-bottom boat (invented by Hullam Jones and Phillip Morrell) tours in the late 1870s. W. Carl Ray and W.M. "Shorty" Davidson of Ocala further developed the land surround the springs into what is now know as Silver Springs Nature Theme Park. Alternative Title Silver Springs Collection Subject Silver Springs (Fla.) Contributor Cepero, Nancy Lynn Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/50" target="_blank">Marion County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Silver Springs, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Martin, Richard A. <a href="http://www.worldcat.org/oclc/952964" target="_blank">Eternal Spring; Man's 10,000 Years of History at Florida's Silver Springs</a>. St. Petersburg, Fla: Great Outdoors Pub. Co, 1966. Rockwell, Lilly. "<a href="http://www.floridatrend.com/article/15745/spring-woes-in-florida" target="_blank">Spring woes in Florida</a>." Florida Trend, June 20, 2013. http://www.floridatrend.com/article/15745/spring-woes-in-florida. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 color postcard Physical Dimensions 9 x 7 centimeters Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Silver Springs: Nature's Underwater Fairyland Postcard Alternative Title Silver Springs Postcard Subject Silver Springs (Fla.) Springs--Florida Parks--Florida Description A color postcard featuring a model posing next to a horseshow palm at the Silver Springs State Park, formerly located at 1425 Northeast 58th Avenue in Silver Springs, Florida, in 1949. Silver Springs was originally settled by the Timucuans in the early 1500s. Although they were able to reclaim their territory after Spanish invasion, the Timucuans were ultimately succeeded by other tribes, such as the Seminoles. In the 1850s, Silver Springs began to attract tourists for steamboat rides. The park's popularity skyrocketed when the glass-bottom boat was invented in 1878. Type Still Image Source Original 9 x 7 centimeter color postcard: "Model Posing Next to Lucky Horsehoe Palm Tree at Silver Springs." 1949: Image number PC12591, Postcard Collection, <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</a>, Division of Library and Information Services, Florida Department of State, Tallahassee, Florida. Is Part Of Postcard Collection, <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</a>, Division of Library and Information Services, Florida Department of State, Tallahassee, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/38" target="_blank">Silver Springs Collection</a>, Marion County Collection, RICHES of Central Florida. Is Format Of Original 9 x 7 centimeter color postcard: "Model Posing Next to Lucky Horsehoe Palm Tree at Silver Springs." 1949. Has Format Digital reproduction of original 9 x 7 centimeter color postcard: "<a href="https://www.floridamemory.com/items/show/157665" target="_blank">Model Posing Next to Lucky Horsehoe Palm Tree at Silver Springs</a>." 1949: Image number PC12591. Florida Memory. Coverage Silver Springs State Park, Florida Date Created 1949 Date Copyrighted 1949 Format image/jpg Extent 55.7 KB Medium 9 x 7 centimeter color postcard Language eng Mediator History Teacher Geography Teacher Rights Holder Copyright to this resource is held by <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</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://www.floridamemory.com/" target="_blank">Florida Memory</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://dos.myflorida.com/library-archives/" target="_blank">Florida State Archives</a> External Reference Martin, Richard A. <a href="http://www.worldcat.org/oclc/952964" target="_blank">Eternal SpringMan's 10,000 Years of History at Florida's Silver Springs</a>. St. Petersburg, Fla: Great Outdoors Pub. Co, 1966. Rockwell, Lilly. "<a href="http://www.floridatrend.com/article/15745/spring-woes-in-florida" target="_blank">Spring woes in Florida</a>." Florida Trend, June 20, 2013. http://www.floridatrend.com/article/15745/spring-woes-in-florida. Transcript Silver Springs—Nature's Underwater Fairyland bathing suits horsehoe palms Marion County model models parks Silver Springs Silver Springs State Park spring springs swimsuits tourism tourist attractions https://richesmi.cah.ucf.edu/omeka/files/original/7e3fcdc20c514b6670d12ea4d0811503.JPG f49162227417d13897a1508935b1e1a7 https://richesmi.cah.ucf.edu/omeka/files/original/19e1984d1ae8a309353cda64488b7e36.JPG 2060ab4494ea838cf957625c876a1994 https://richesmi.cah.ucf.edu/omeka/files/original/35c2d87ec40c882c4f09494593d7ebc8.JPG 71fc72b936c8fbb14519eb0d19b4a0e5 https://richesmi.cah.ucf.edu/omeka/files/original/1ff4c1d7223e808ca2fbb16a6be62581.JPG c7360e1d6b02bc276ba5a40192602a1a https://richesmi.cah.ucf.edu/omeka/files/original/edd3be10d1cc2a55899a5303abc45151.JPG ea8c6383ba534526c132e63c9d16d012 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lake Wales Collection Alternative Title Lake Wales Collection Subject Lake Wales (Fla.) Description Collection of digital images, documents, and other records depicting the history of Lake Wales, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The land around present-day Lake Wales was first surveyed by Sidney Irving Wailes in 1879. Wailes changed the name of the area's major lake, then called Watts Lake, to Lake Wailes. The area was used by settlers for the turpentine, lumber, grapefruit, and orange industries. Around 1911-1912, the City of Lake Wales was established by the Lake Wales Land Company. The town was officially incorporated in 1917 and the City of Lake Wales was granted a municipal charter in 1921. In 1925, the Atlantic Coast Line (ACL) Railroad Company constructed a railroad line joining Haines City to Everglades City, with a depot located in Lake Wales. Contributor Moore, R. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/48" target="_blank">Polk County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Lake Wales, Florida Bok Tower Gardens, Lake Wales, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www.cityoflakewales.com/" target="_blank">About Lake Wales</a>." City of Lake Wales. http://www.cityoflakewales.com/. Privett, Jan. <a href="http://www.worldcat.org/oclc/639158785" target="_blank">Lake Wales</a>. Charleston, S.C.: Arcadia Pub, 2010. 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Bok Tower Gardens Visitor Center Alternative Title Bok Visitor Center Subject Lake Wales (Fla.) Gardens--United States Tourism--Florida Description The Visitor Center at Bok Tower Gardens, located at 1151 Tower Boulevard in Lake Wales, Florida. These images were taken by Russell Moore in 2010. Edward Bok (1863-1930) retired to the town of Lake Wales, located south of Orlando. Bok set out a plan to establish a natural garden and bird sanctuary where people to visit to quietly enjoy nature. He engaged Frederick Law Olmstead, Jr. (1870-1957) to design the grounds and asked architect Milton Bennett Medary (1874-1929) to design and build a carillon tower. Lee Lawrie (1877-1963), a noted sculptor from New York, designed the elaborate marble sculpture that adorns the tower. Work was completed in 1928 and on February 1, 1929, President Calvin Coolidge dedicated the Sanctuary. Bok died less than a year later in 1930 and was buried at the foot of the tower. The tower and the carillon housed inside is Bok Tower Gardens' most distinctive feature. The carillon consists of 60 bells, ranging in size from 16 pounds to just under 12 tons. The bells are played like an organ with the keys connected to the clappers of each bell. Bok Tower has had only three regular carillonneurs in its more than 70 years. The Sanctuary's first carillonneur was Anton Brees, serving as the only carillonneur from 1928 until 1967. Milford Myhre has been the resident carillonneur since 1968. William De Turk has been the assistant carillonneur since 1993. De Turk is also the librarian of the Anton Brees Carillon Library, which is reportedly the largest and most comprehensive carillon library in the world. Type Still Image Source Original color digital images by Russell Moore, March 7, 2010: Private Collection of Russell Moore. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/146" target="_blank">Lake Wales Collection</a>, Polk County Collection. RICHES of Central Florida. Coverage Visitor Center, Bok Tower Gardens, Lake Wales, Florida Creator Moore, Russell Date Created 2010-03-07 Format image/jpg Extent 2.24 MB 1.74 MB 2.27 MB 2.18 MB 2.27 MB Medium 5 color digital images Language eng Mediator History Teacher Geography Teacher Provenance Originally created by Russell Moore. Rights Holder Copyright to this resource is held by Russell Moore and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://boktowergardens.org/" target="_blank">About Bok Tower Gardens</a>." Bok Tower Gardens. http://boktowergardens.org/. "<a href="http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm" target="_blank">Bok Tower Gardens</a>," Floridata, http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/49907961" target="_blank">Bok Tower Gardens</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 1981. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/24131437" target="_blank">The Bok Tower Gardens Newsletter</a>. Lake Wales, FL: The Gardens, 1980. Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank">The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002. Transcript Make you the world a bit better or more beautiful because you have lived in it. BOK TOWER GARDENS Bok Tower Gardens Bok Tower Gardens Visitor Center Lake Wales Russell Moore tourism tourist attractions tourists visitor centers https://richesmi.cah.ucf.edu/omeka/files/original/a07044a2d477ad58133cfea42ed05b11.JPG a6391c4bb5f323af8f7d54f1b1688351 https://richesmi.cah.ucf.edu/omeka/files/original/42b5bc14fffe70cb65cc71922e4c8254.JPG 0ac02dc83092358661ae557d86834e22 https://richesmi.cah.ucf.edu/omeka/files/original/337fa36aaab61949d93193f693a74301.JPG 16fef4b4bc1f902fd60c4d9932255897 https://richesmi.cah.ucf.edu/omeka/files/original/b384ae7a2ba2169ecb0017a867f9ab77.JPG 759b518d5649332b13d29a5e967da8fb https://richesmi.cah.ucf.edu/omeka/files/original/4b372a08638ed670757f32fd530ec105.JPG 295fcac86d4b72f253fd2bc589f40323 https://richesmi.cah.ucf.edu/omeka/files/original/98644678b3b6f80656f413e3f0312861.JPG 194ce3367b67de8923bc618b769c4291 https://richesmi.cah.ucf.edu/omeka/files/original/5b5200220dc7b4a1e4db7e021a5b1e75.JPG 13e01cd6863298369148053a58867277 https://richesmi.cah.ucf.edu/omeka/files/original/e86610c24989c02cead2317e6ae24a23.JPG b3b28707568011a56efb33b78759a5ed https://richesmi.cah.ucf.edu/omeka/files/original/a2e1047c6747dd349108b7cc34f2546e.JPG f2c988a3a64e4afef7b4c1d4c08e1be4 https://richesmi.cah.ucf.edu/omeka/files/original/ee94fa6b9a217c6c444b14fe139938bb.JPG 15692a938e97906c5d7e22e0cac8c778 https://richesmi.cah.ucf.edu/omeka/files/original/48fe26b157becc9727864bb3414cc2e6.JPG b754e90effc0c88ecae2003d920379fa https://richesmi.cah.ucf.edu/omeka/files/original/cf909d4097ff0885d5e83dacddd79aec.JPG 2a06a2ed2d00d7f9674fe011df9dfcbd https://richesmi.cah.ucf.edu/omeka/files/original/d9e13899ef92178991f0dd2f125d2315.JPG 3767dc7678f5c0fa3e4a63ff294411dc https://richesmi.cah.ucf.edu/omeka/files/original/33fdf8aa9b6b9045b53d56544c714bb7.JPG 94dd19f38ed5604d25e753bb0a9bca90 https://richesmi.cah.ucf.edu/omeka/files/original/57a5d77d8555d496eabe3a5b8e5252b0.JPG 6c96542b869aa49619b7f8b8aa6726ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lake Wales Collection Alternative Title Lake Wales Collection Subject Lake Wales (Fla.) Description Collection of digital images, documents, and other records depicting the history of Lake Wales, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The land around present-day Lake Wales was first surveyed by Sidney Irving Wailes in 1879. Wailes changed the name of the area's major lake, then called Watts Lake, to Lake Wailes. The area was used by settlers for the turpentine, lumber, grapefruit, and orange industries. Around 1911-1912, the City of Lake Wales was established by the Lake Wales Land Company. The town was officially incorporated in 1917 and the City of Lake Wales was granted a municipal charter in 1921. In 1925, the Atlantic Coast Line (ACL) Railroad Company constructed a railroad line joining Haines City to Everglades City, with a depot located in Lake Wales. Contributor Moore, R. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/48" target="_blank">Polk County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Lake Wales, Florida Bok Tower Gardens, Lake Wales, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www.cityoflakewales.com/" target="_blank">About Lake Wales</a>." City of Lake Wales. http://www.cityoflakewales.com/. Privett, Jan. <a href="http://www.worldcat.org/oclc/639158785" target="_blank">Lake Wales</a>. Charleston, S.C.: Arcadia Pub, 2010. 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Bok Tower Gardens Alternative Title Bok Tower Gardens Subject Lake Wales (Fla.) Gardens--United States Tourism--Florida Description Bok Tower Gardens, located at 1151 Tower Boulevard in Lake Wales, Florida. These images were taken by Russell Moore in 2010. Edward Bok (1863-1930) retired to the town of Lake Wales, located south of Orlando. Bok set out a plan to establish a natural garden and bird sanctuary where people to visit to quietly enjoy nature. He engaged Frederick Law Olmstead, Jr. (1870-1957) to design the grounds and asked architect Milton Bennett Medary (1874-1929) to design and build a carillon tower. Lee Lawrie (1877-1963), a noted sculptor from New York, designed the elaborate marble sculpture that adorns the tower. Work was completed in 1928 and on February 1, 1929, President Calvin Coolidge dedicated the Sanctuary. Bok died less than a year later in 1930 and was buried at the foot of the tower. The tower and the carillon housed inside is Bok Tower Gardens' most distinctive feature. The carillon consists of 60 bells, ranging in size from 16 pounds to just under 12 tons. The bells are played like an organ with the keys connected to the clappers of each bell. Bok Tower has had only three regular carillonneurs in its more than 70 years. The Sanctuary's first carillonneur was Anton Brees, serving as the only carillonneur from 1928 until 1967. Milford Myhre has been the resident carillonneur since 1968. William De Turk has been the assistant carillonneur since 1993. De Turk is also the librarian of the Anton Brees Carillon Library, which is reportedly the largest and most comprehensive carillon library in the world. Type Still Image Source Original color digital images by Russell Moore, March 7, 2010: Private Collection of Russell Moore. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/146" target="_blank">Lake Wales Collection</a>, Polk County Collection. RICHES of Central Florida. Coverage Bok Tower Gardens, Lake Wales, Florida Creator Moore, Russell Date Created 2010-03-07 Format image/jpg Extent 2.99 MB 3.33 MB 1.55 MB 1.73 MB 2.34 MB 2.7 MB 2.49 MB 3.04 MB 1.78 MB 1.67 MB 1.48 MB 3.54 MB 3.48 MB 3.02 MB 2.58 MB Medium 15 color digital images Language eng Mediator History Teacher Geography Teacher Provenance Originally created by Russell Moore. Rights Holder Copyright to this resource is held by Russell Moore and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://boktowergardens.org/" target="_blank">About Bok Tower Gardens</a>." Bok Tower Gardens. http://boktowergardens.org/. "<a href="http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm" target="_blank">Bok Tower Gardens</a>," Floridata, http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/49907961" target="_blank">Bok Tower Gardens</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 1981. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/24131437" target="_blank">The Bok Tower Gardens Newsletter</a>. Lake Wales, FL: The Gardens, 1980. Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank">The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002. Transcript Pinewood Estate birds Bok Tower Gardens botanical gardens citrus flowers gardens Lake Wales Russell Moore tourism tourist attractions tourists trees https://richesmi.cah.ucf.edu/omeka/files/original/a9608ff0550fac05b08e52f46b9dfea7.JPG 75abd0bd27fd78857b3fb4311da7d27e https://richesmi.cah.ucf.edu/omeka/files/original/6250ac56e3914782a3f8bf32ff98c9ed.JPG 92b6648be4909c121eb7588474433b60 https://richesmi.cah.ucf.edu/omeka/files/original/2b0bb1853b1186b41729d877f4e840f6.JPG fb7a8726a7142639d81c2c80a4aad6a5 https://richesmi.cah.ucf.edu/omeka/files/original/b6783067bdd11ddcd024a9523dc76353.JPG 0480c5d1b1fb09ec8b295c21d1cc9141 https://richesmi.cah.ucf.edu/omeka/files/original/d3b7cf53f46e51af82ac71704866a0a4.JPG 7bfb0afc98be2d700e34ca1f4f6bdeb1 https://richesmi.cah.ucf.edu/omeka/files/original/4e9e8e71fe2d13b311c12b222ee855e5.JPG d8a37e712e836abf825e3d9c0e9fc126 https://richesmi.cah.ucf.edu/omeka/files/original/eea107d9a198ba8838328cfaedf9cec2.JPG afa8efa9373e0dde6bc1649b4b3e9993 https://richesmi.cah.ucf.edu/omeka/files/original/8ea16b360562c174e1c312c7741ae2a0.JPG e238f4cce56df5484860e89d59003c80 https://richesmi.cah.ucf.edu/omeka/files/original/ad66a55dfd6bb8005cc4a5c842ce5118.JPG 1e87ca14e3e15dc1ef1095271617cd11 https://richesmi.cah.ucf.edu/omeka/files/original/13963cbfc11db07eeb3294027212ea76.JPG 6fee95fc892201a896accb5afc2d70d3 https://richesmi.cah.ucf.edu/omeka/files/original/1325c67ec510c14609d07f0f20386ba4.JPG 62b7c0ca4c6681d590c1480523f3c0b2 https://richesmi.cah.ucf.edu/omeka/files/original/e32663872c35a24a206d04396f09ac20.JPG ec329672de828059992029f2d9cd46cd https://richesmi.cah.ucf.edu/omeka/files/original/8220d14f3237556857181dae82fb971e.JPG 4d2b11158821e27c24f8c6082c3fa876 https://richesmi.cah.ucf.edu/omeka/files/original/fe9421614eff11d308f674698c3352b7.JPG 6a2b2078f7754265c9244f08b70261f3 https://richesmi.cah.ucf.edu/omeka/files/original/2dd32444a710f4fbfbcde610a6abc3cf.JPG f53c7bad8d8c1fadc4dd11f7deb17713 https://richesmi.cah.ucf.edu/omeka/files/original/5f36957c5cf25e929b429038161d40f9.JPG 94a0d0e44127139f0929c337c7cb3674 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lake Wales Collection Alternative Title Lake Wales Collection Subject Lake Wales (Fla.) Description Collection of digital images, documents, and other records depicting the history of Lake Wales, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The land around present-day Lake Wales was first surveyed by Sidney Irving Wailes in 1879. Wailes changed the name of the area's major lake, then called Watts Lake, to Lake Wailes. The area was used by settlers for the turpentine, lumber, grapefruit, and orange industries. Around 1911-1912, the City of Lake Wales was established by the Lake Wales Land Company. The town was officially incorporated in 1917 and the City of Lake Wales was granted a municipal charter in 1921. In 1925, the Atlantic Coast Line (ACL) Railroad Company constructed a railroad line joining Haines City to Everglades City, with a depot located in Lake Wales. Contributor Moore, R. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/48" target="_blank">Polk County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Lake Wales, Florida Bok Tower Gardens, Lake Wales, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www.cityoflakewales.com/" target="_blank">About Lake Wales</a>." City of Lake Wales. http://www.cityoflakewales.com/. Privett, Jan. <a href="http://www.worldcat.org/oclc/639158785" target="_blank">Lake Wales</a>. Charleston, S.C.: Arcadia Pub, 2010. 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Bok Tower Alternative Title Bok Tower Subject Lake Wales (Fla.) Gardens--United States Tourism--Florida Description Bok Tower, located at 1151 Tower Boulevard in Lake Wales, Florida. These images were taken by Russell Moore in 2010. Edward Bok (1863-1930) retired to the town of Lake Wales, located south of Orlando. Bok set out a plan to establish a natural garden and bird sanctuary where people to visit to quietly enjoy nature. He engaged Frederick Law Olmstead, Jr. (1870-1957) to design the grounds and asked architect Milton Bennett Medary (1874-1929) to design and build a carillon tower. Lee Lawrie (1877-1963), a noted sculptor from New York, designed the elaborate marble sculpture that adorns the tower. Work was completed in 1928 and on February 1, 1929, President Calvin Coolidge dedicated the Sanctuary. Bok died less than a year later in 1930 and was buried at the foot of the tower. The tower and the carillon housed inside is Bok Tower Gardens' most distinctive feature. The carillon consists of 60 bells, ranging in size from 16 pounds to just under 12 tons. The bells are played like an organ with the keys connected to the clappers of each bell. Bok Tower has had only three regular carillonneurs in its more than 70 years. The Sanctuary's first carillonneur was Anton Brees, serving as the only carillonneur from 1928 until 1967. Milford Myhre has been the resident carillonneur since 1968. William De Turk has been the assistant carillonneur since 1993. De Turk is also the librarian of the Anton Brees Carillon Library, which is reportedly the largest and most comprehensive carillon library in the world. Type Still Image Source Original color digital images by Russell Moore, March 7, 2010: Private Collection of Russell Moore. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/146" target="_blank">Lake Wales Collection</a>, Polk County Collection. RICHES of Central Florida. Coverage Bok Tower Gardens, Lake Wales, Florida Creator Moore, Russell Date Created 2010-03-07 Format image/jpg Extent 1.3 MB 1.62 MB 2.25 MB 1.95 MB 2.11 MB 2.58 MB 2.5 MB 2.47 MB 2.84 MB 2.72 MB 1.74 MB 2.38 MB 2.47 MB 2.23 MB 1.66 MB 2.42 MB Medium 16 color digital images Language eng Mediator History Teacher Geography Teacher Provenance Originally created by Russell Moore. Rights Holder Copyright to this resource is held by Russell Moore and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://boktowergardens.org/" target="_blank">About Bok Tower Gardens</a>." Bok Tower Gardens. http://boktowergardens.org/. "<a href="http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm" target="_blank">Bok Tower Gardens</a>," Floridata, http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/49907961" target="_blank">Bok Tower Gardens</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 1981. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/24131437" target="_blank">The Bok Tower Gardens Newsletter</a>. Lake Wales, FL: The Gardens, 1980. Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank">The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002. Transcript THIS SINGING TOWER WITH ITS ADJACENT SANCTUARY WAS DEDICATED AND PRESENTED FOR VISITATION TO THE AMERICAN PEOPLE BY CALVIN COOLIDGE PRESIDENT OF THE UNITED STATES FEBRUARY THE FIRST NINETEEN HUNDRED AND TWENTY NINE birds Bok Tower Bok Tower Gardens botanical gardens citrus flowers gardens Lake Wales Russell Moore tourism tourist attraction tourist attractions tourists towers trees https://richesmi.cah.ucf.edu/omeka/files/original/fb8ec1d7b3c49901ab35676281327bbb.JPG 4577c5cc1c3342982b66e69797c957d0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lake Wales Collection Alternative Title Lake Wales Collection Subject Lake Wales (Fla.) Description Collection of digital images, documents, and other records depicting the history of Lake Wales, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The land around present-day Lake Wales was first surveyed by Sidney Irving Wailes in 1879. Wailes changed the name of the area's major lake, then called Watts Lake, to Lake Wailes. The area was used by settlers for the turpentine, lumber, grapefruit, and orange industries. Around 1911-1912, the City of Lake Wales was established by the Lake Wales Land Company. The town was officially incorporated in 1917 and the City of Lake Wales was granted a municipal charter in 1921. In 1925, the Atlantic Coast Line (ACL) Railroad Company constructed a railroad line joining Haines City to Everglades City, with a depot located in Lake Wales. Contributor Moore, R. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/48" target="_blank">Polk County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Lake Wales, Florida Bok Tower Gardens, Lake Wales, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www.cityoflakewales.com/" target="_blank">About Lake Wales</a>." City of Lake Wales. http://www.cityoflakewales.com/. Privett, Jan. <a href="http://www.worldcat.org/oclc/639158785" target="_blank">Lake Wales</a>. Charleston, S.C.: Arcadia Pub, 2010. 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title President Calvin Coolidge Dedication Marker at Bok Tower Gardens Alternative Title President Coolidge Dedication at Bok Tower Subject Lake Wales (Fla.) Tourism--Florida Gardens--Florida Presidents--United States Description The dedication marker for a palm tree planted by President Calvin Coolidge (1872-1933) on February 1, 1929, at Bok Tower Gardens, located at 1151 Tower Boulevard in Lake Wales, Florida. These images were taken by Russell Moore in 2010. Edward Bok (1863-1930) retired to the town of Lake Wales, located south of Orlando. Bok set out a plan to establish a natural garden and bird sanctuary where people to visit to quietly enjoy nature. He engaged Frederick Law Olmstead, Jr. (1870-1957) to design the grounds and asked architect Milton Bennett Medary (1874-1929) to design and build a carillon tower. Lee Lawrie (1877-1963), a noted sculptor from New York, designed the elaborate marble sculpture that adorns the tower. Work was completed in 1928 and on February 1, 1929, President Calvin Coolidge dedicated the Sanctuary. Bok died less than a year later in 1930 and was buried at the foot of the tower. The tower and the carillon housed inside is Bok Tower Gardens' most distinctive feature. The carillon consists of 60 bells, ranging in size from 16 pounds to just under 12 tons. The bells are played like an organ with the keys connected to the clappers of each bell. Bok Tower has had only three regular carillonneurs in its more than 70 years. The Sanctuary's first carillonneur was Anton Brees, serving as the only carillonneur from 1928 until 1967. Milford Myhre has been the resident carillonneur since 1968. William De Turk has been the assistant carillonneur since 1993. De Turk is also the librarian of the Anton Brees Carillon Library, which is reportedly the largest and most comprehensive carillon library in the world. Type Still Image Source Original color digital image by Russell Moore, March 7, 2010: Private Collection of Russell Moore. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/146" target="_blank">Lake Wales Collection</a>, Polk County Collection. RICHES of Central Florida. Coverage Bok Tower Gardens, Lake Wales, Florida Creator Moore, Russell Date Created 2010-03-07 Format image/jpg Extent 2.12 MB Medium 1 color digital image Language eng Mediator History Teacher Geography Teacher Provenance Originally created by Russell Moore. Rights Holder Copyright to this resource is held by Russell Moore and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://boktowergardens.org/" target="_blank">About Bok Tower Gardens</a>." Bok Tower Gardens. http://boktowergardens.org/. "<a href="http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm" target="_blank">Bok Tower Gardens</a>," Floridata, http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/49907961" target="_blank">Bok Tower Gardens</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 1981. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/24131437" target="_blank">The Bok Tower Gardens Newsletter</a>. Lake Wales, FL: The Gardens, 1980. Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank">The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002. Transcript THIS PALM WAS PLANTED BY CALVIN COOLIDGE PRESIDENT OF THE UNITED STATES FEBRUARY THE FIRST 1929 Bok Tower Gardens Calvin Coolidge Coolidge, Calvin Coolidge, John Calvin, Jr. dedication dedications John Calvin Coolidge, Jr. Lake Wales Moore, Russell palm tree palm trees president presidents Russell Moore tourism tourist tourist attraction tourist attractions tourists tree trees https://richesmi.cah.ucf.edu/omeka/files/original/acc1202fedc3a8cfda46c081a5f3c716.JPG e572ab6d5794f430ce4bff19c39b7223 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lake Wales Collection Alternative Title Lake Wales Collection Subject Lake Wales (Fla.) Description Collection of digital images, documents, and other records depicting the history of Lake Wales, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The land around present-day Lake Wales was first surveyed by Sidney Irving Wailes in 1879. Wailes changed the name of the area's major lake, then called Watts Lake, to Lake Wailes. The area was used by settlers for the turpentine, lumber, grapefruit, and orange industries. Around 1911-1912, the City of Lake Wales was established by the Lake Wales Land Company. The town was officially incorporated in 1917 and the City of Lake Wales was granted a municipal charter in 1921. In 1925, the Atlantic Coast Line (ACL) Railroad Company constructed a railroad line joining Haines City to Everglades City, with a depot located in Lake Wales. Contributor Moore, R. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/48" target="_blank">Polk County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Lake Wales, Florida Bok Tower Gardens, Lake Wales, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www.cityoflakewales.com/" target="_blank">About Lake Wales</a>." City of Lake Wales. http://www.cityoflakewales.com/. Privett, Jan. <a href="http://www.worldcat.org/oclc/639158785" target="_blank">Lake Wales</a>. Charleston, S.C.: Arcadia Pub, 2010. 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title First Lady Grace Coolidge Dedication Marker at Bok Tower Gardens Alternative Title First Lady Coolidge Dedication at Bok Tower Subject Lake Wales (Fla.) Tourism--Florida Description The dedication marker for a palm tree planted by First Lady Grace Coolidge (1879-1957), the wife of President Calvin Coolidge (1872-1933), on February 1, 1929, at Bok Tower Gardens, located at 1151 Tower Boulevard in Lake Wales, Florida. These images were taken by Russell Moore in 2010. Edward Bok (1863-1930) retired to the town of Lake Wales, located south of Orlando. Bok set out a plan to establish a natural garden and bird sanctuary where people to visit to quietly enjoy nature. He engaged Frederick Law Olmstead, Jr. (1870-1957) to design the grounds and asked architect Milton Bennett Medary (1874-1929) to design and build a carillon tower. Lee Lawrie (1877-1963), a noted sculptor from New York, designed the elaborate marble sculpture that adorns the tower. Work was completed in 1928 and on February 1, 1929, President Calvin Coolidge dedicated the Sanctuary. Bok died less than a year later in 1930 and was buried at the foot of the tower. The tower and the carillon housed inside is Bok Tower Gardens' most distinctive feature. The carillon consists of 60 bells, ranging in size from 16 pounds to just under 12 tons. The bells are played like an organ with the keys connected to the clappers of each bell. Bok Tower has had only three regular carillonneurs in its more than 70 years. The Sanctuary's first carillonneur was Anton Brees, serving as the only carillonneur from 1928 until 1967. Milford Myhre has been the resident carillonneur since 1968. William De Turk has been the assistant carillonneur since 1993. De Turk is also the librarian of the Anton Brees Carillon Library, which is reportedly the largest and most comprehensive carillon library in the world. Type Still Image Source Original color digital image by Russell Moore, March 7, 2010: Private Collection of Russell Moore. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/146" target="_blank">Lake Wales Collection</a>, Polk County Collection. RICHES of Central Florida. Coverage Bok Tower Gardens, Lake Wales, Florida Creator Moore, Russell Date Created 2010-03-07 Format image/jpg Extent 2 MB Medium 1 color digital image Language eng Mediator History Teacher Geography Teacher Provenance Originally created by Russell Moore. Rights Holder Copyright to this resource is held by Russell Moore and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://boktowergardens.org/" target="_blank">About Bok Tower Gardens</a>." Bok Tower Gardens. http://boktowergardens.org/. "<a href="http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm" target="_blank">Bok Tower Gardens</a>," Floridata, http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/49907961" target="_blank">Bok Tower Gardens</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 1981. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/24131437" target="_blank">The Bok Tower Gardens Newsletter</a>. Lake Wales, FL: The Gardens, 1980. Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank">The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002. Transcript THIS PALM WAS PLANTED BY MS. CALVIN COOLIDGE FEBRUARY THE FIRST 1929 Bok Tower Gardens dedications First Lady Grace Anna Goodhue Grace Anna Goodhue Coolidge Grace Coolidge Lake Wales palm trees Russell Moore tourism tourist attraction tourist attractions tourists https://richesmi.cah.ucf.edu/omeka/files/original/4b58e8bad39bc9ab3e49e7a9da5e4913.JPG a596e26488f9288852910cdcee63cf00 https://richesmi.cah.ucf.edu/omeka/files/original/5a5b0e832209b2d0a6c9074ba765084c.JPG 7787d82db9be2681fdc754a8b1c1069e https://richesmi.cah.ucf.edu/omeka/files/original/dc09dc8c31f12e07000d4ad47af30f76.JPG ea0121e0f266deb4158f7558e3ff6af4 https://richesmi.cah.ucf.edu/omeka/files/original/0695572640b31a26817f490fac580c9e.JPG cd11ec86f4ea943f9b3847b27c0537a6 https://richesmi.cah.ucf.edu/omeka/files/original/67ab7abc22c79a0aff75263ff001afe0.JPG f3fd0659d98b385891146e8980be07ac https://richesmi.cah.ucf.edu/omeka/files/original/1305f6ea538aadb494365af4ff06a094.JPG 6ea0bcf06f1b7bbee27bc0cddc485fac https://richesmi.cah.ucf.edu/omeka/files/original/b13023a44dcde45a761fbf675f9e4863.JPG 8ae0e1f5884c3bdca39008bf30bb04c9 https://richesmi.cah.ucf.edu/omeka/files/original/f0b8b199e3172718aa7f6ad719d5d916.JPG cfd8b13cb857a495c04860f7feb7fc44 https://richesmi.cah.ucf.edu/omeka/files/original/c48d46088a4fc460d0ed85f9e0e07306.JPG 737c1f0bbe1c0fed4f09528d819cf22a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lake Wales Collection Alternative Title Lake Wales Collection Subject Lake Wales (Fla.) Description Collection of digital images, documents, and other records depicting the history of Lake Wales, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. The land around present-day Lake Wales was first surveyed by Sidney Irving Wailes in 1879. Wailes changed the name of the area's major lake, then called Watts Lake, to Lake Wailes. The area was used by settlers for the turpentine, lumber, grapefruit, and orange industries. Around 1911-1912, the City of Lake Wales was established by the Lake Wales Land Company. The town was officially incorporated in 1917 and the City of Lake Wales was granted a municipal charter in 1921. In 1925, the Atlantic Coast Line (ACL) Railroad Company constructed a railroad line joining Haines City to Everglades City, with a depot located in Lake Wales. Contributor Moore, R. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/48" target="_blank">Polk County Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Lake Wales, Florida Bok Tower Gardens, Lake Wales, Florida Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://www.cityoflakewales.com/" target="_blank">About Lake Wales</a>." City of Lake Wales. http://www.cityoflakewales.com/. Privett, Jan. <a href="http://www.worldcat.org/oclc/639158785" target="_blank">Lake Wales</a>. Charleston, S.C.: Arcadia Pub, 2010. 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Pinewood Estate at Bok Tower Gardens Alternative Title Pinewood Estate Subject Lake Wales (Fla.) Gardens--United States Tourism--Florida Description The Pinewood Estate at Bok Tower Gardens, located at 1151 Tower Boulevard in Lake Wales, Florida. The Pinewood Estate is a mansion that was constructed for Charles Austin Buck, the vice president of the Bethlehem Steel Corporation. In 1929, William Lyman Phillips, an architect at Frederick Law Olmstead, Jr.'s (1822-1903) firm, began designing the gardens. In 1930, Charles Wait began designing the house in the Mediterranean style of architecture. Originally called "El Retiro," which means "The Retreat" in Spanish, the estate was acquired by Nellie Lee Holt Bok , the daughter of Bok Tower Gardens founder Edward W. Bok (1863-1930), and renamed the "Pinewood Estate" in 1970.These images were taken by Russell Moore in 2010. Type Still Image Source Original color digital images by Russell Moore, March 7, 2010: Private Collection of Russell Moore. Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/146" target="_blank">Lake Wales Collection</a>, Polk County Collection. RICHES of Central Florida. Coverage Pinewood Estate, Bok Tower Gardens, Lake Wales, Florida Creator Moore, Russell Date Created 2010-03-07 Format image/jpg Extent 1.55 MB 2.44 MB 2.78 MB 2.25 MB 2.84 MB 2.19 MB 2.04 MB 1.7 MB 1.96 MB Medium 9 color digital images Language eng Mediator History Teacher Geography Teacher Provenance Originally created by Russell Moore. Rights Holder Copyright to this resource is held by Russell Moore and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Contributing Project <a href="http://riches.cah.ucf.edu/buildingblocks.php" target="_blank">Building Blocks</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository Private Collection of Russell Moore External Reference "<a href="http://boktowergardens.org/" target="_blank">About Bok Tower Gardens</a>." Bok Tower Gardens. http://boktowergardens.org/. "<a href="http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm" target="_blank">Bok Tower Gardens</a>," Floridata, http://www.floridata.com/tracks/GardenGallery/bok/bok1.cfm. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/49907961" target="_blank">Bok Tower Gardens</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 1981. Bok Tower Gardens (Lake Wales, Fla.). <a href="http://www.worldcat.org/oclc/24131437" target="_blank">The Bok Tower Gardens Newsletter</a>. Lake Wales, FL: The Gardens, 1980. Smith, Margaret. <a href="http://www.worldcat.org/oclc/51888803" target="_blank">The Edward Bok Legacy: A History of Bok Tower Gardens: The First Fifty Years</a>. Lake Wales, Fla: Bok Tower Gardens Foundation, 2002. Transcript NATIONAL REGISTER OF HISTORIC PLACES Bok Tower Bok Tower Gardens botanical gardens El Retiro estates flowers Lake Wales mansions Mediterranean architecture Pinewood Estate Russell Moore tourism tourist attractions tourists towers trees https://richesmi.cah.ucf.edu/omeka/files/original/23cee619e48419169ea1f645a27a566f.pdf b7a6d7466583d7bbf2c25d4c15fc488b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title UCF Community Veterans History Project Collection Description As part of RICHES of Central Florida, UCF intends to record, archive, and make accessible oral history interviews of Central Florida veterans. Diversity is a main focus for this project since there are many different subgroups under the group veterans, all with important stories. While the histories will be largely archived and made available through the UCF library, a portion will be contributed to the ongoing Veterans History Project based out of the Library of Congress. 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 Alternative Title CVHP Collection Subject Veterans--Florida United States. Army Army United States. Navy Navy United States. Air Force Air Force United States. Marine Corps Marine Corps Is Part Of <a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Language eng Type Collection Coverage Jacksonville, Florida Orlando, Florida Honolulu, Hawaii Pearl Harbor, Hawaii Great Lakes, Illinois Long Island, New York Newport, Rhode Island Norfolk, Virginia Germany Qaasuitsup, Greenland Keflavik, Southern Peninsula, Iceland Azores Islands, Portugal Mediterranean Sea 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://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/. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Ennis, Marc Interviewee Hazen, Kendra Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Marc Ennis Alternative Title Oral History, Ennis Subject Veterans--Florida Orlando (Fla.) Navy Simulation Description An oral history interview of Marc Ennis, who joined the U.S. Navy in December of 1990 and attended Recruit Training Center Orlando (RTC Orlando) for boot camp at age 17. After boot camp, he attended Electronic Warfare training at Corry Station Naval Technical Training Center in Pensacola, Florida, and reported to his first ship, USS Gunston Hall, at Little Creek, Virginia. After three and a half years, Ennis trained at aircrew school in Pensacola and then Millington, Tennessee, to become an Aviation Warfare Sensor Operator and rescue swimmer for Sikorsky SH-60/MH-60 Seahawk helicopters. He also joined the fleet replacement squadron aircrew for Helicopter Squadron 1 in Jacksonville, and then reported to his first fleet squadron, Helicopter Squadron 5 (HS-5), also in Jacksonville. After completing his service for HS-5, Ennis reported to the helicopter wing as an instructor. After three years instructing, he transferred to Naval Air Facility Atsugi in Yamato and Ayase, Japan, for sea duty with Helicopter Squadron 14. This interview was conducted by Kendra Hazen and includes topics such as Ennis' background and family, RTC Orlando, his Navy life after training, Naval Air Warfare Center Training Systems Division (NAWCTSD), and the simulation industry in Central Florida. Table Of Contents 0:00:00 Introduction 0:02:40 Family service members 0:04:12 Recruit Training Center Orlando (RTC Orlando) 0:08:08 Daily life at RTC 0:13:05 Classes and training 0:19:08 Social life 0:22:14 Co-educational training and Competition Week 0:24:18 Instructors 0:25:57 Marching and proudest moments 0:29:03 The Grinder and the USS Blue Jacket 0:33:54 Graduation 0:36:14 Navy career after RTC Orlando 0:42:49 Assignment with the Naval Air Warfare Center Training Systems Division (NAWCTSD) in Orlando 0:46:29 Simulation at NAWCTSD 0:53:22 Future of the simulation industry in Central Florida 0:56:03 Most valuable lessons learned in Navy 0:58:58 Photographs 1:03:31 Closing remarks Abstract Oral history interview of Marc Ennis Interview conducted by Kendra Hazen on February 22, 2014. Type Moving Image Source <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/273/rec/1" target="_blank">Ennis, Marc</a>. Interviewed by Kendra Hazen, February 22, 2014. Audio/video record available. Item DP0014894, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Has Format Digital transcript of original 1- hour and 47-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/273/rec/1" target="_blank">Ennis, Marc</a>. Interviewed by Kendra Hazen, February 22, 2014. Audio/video record available. Item DP0014894, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Recruit Training Center, Orlando, Florida Corry Station Naval Technical Training Center, Pensacola, Florida Jacksonville, Florida Naval Air Facility Atsugi, Yamato-Ayase, Japan Creator Ennis, Marc Hazen, Kendra Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-02-22 Date Issued 2014-09 Date Copyrighted 2014-02-22 Format application/website application/pdf Extent 55.6 MB 263 KB Medium 1- hour and 47-second Hi8 CD/DVD 30-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Kendra Hazen and Marc Ennis. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/273/rec/1" target="_blank">Oral History of Marc Ennis</a> Transcript Hazen Cool. Ennis Cool. Hazen Alright. I get to be fancy at the beginning. Ennis There you go. Hazen So just so you know. Alright. Today is Wednesday, February 26th, 2014. I am interviewing Marc Ennis, who served in the U.S. Navy. Mr. Ennis attended recruit training at RTC Orlando and after 21 years of service returned to Orlando to work at NAWCTSD [Naval Air Warfare Center Training Systems Division]. My name is Kendra Hazen and I am interviewing Mr. Ennis as a part of the UCF [University of Central Florida] Veterans History Project and as research for the creation of the Lone Sailor Memorial Project. We are recording this interview in Colburn Hall at UCF in Orlando, Florida. Mr. Ennis, will you please start us off by telling us when and where you were born. Ennis I was born in Port Hueneme, California. February 9th, 1973. Hazen And what did your parents do for a living? Ennis Uh, my dad was actually in the Navy, but when we were born he had, uh, just retired. So, uh, my only recollect—recollection of the Navy was, uh, living near it, and, uh, he actually worked for the State of California, uh, for the, uh, gas company, and, uh, my mom was a stay at home mom, uh—didn’t work. I mean, she worked, [laughs] but in the—in the home. Hazen Did you have any brothers and sisters? Ennis I have, uh, three brothers. Uh, I’m a twin. A fraternal twin, right? Hazen Okay. Ennis And, uh, two older brothers, One of which is, uh, still in the Navy up in Jacksonville, and my—the—the oldest brother—he’s in, uh, Pensacola. Hazen What did you do before entering the Navy? Ennis So, uh, I was a student, and, uh, actually I, uh, graduated high school and, uh, joined the Navy, uh, that summer. So… Hazen The summer of what? What year? Ennis Uh, well, I guess it was the summer of [19]89. So I actually graduated, uh, during the summer of my junior year. So I never attended my senior year, and, uh—so I had enough credits, so I just joined the Navy. Hazen Oh, so why did you join the Navy? Ennis Yeah. There was a couple different factors, but I was getting married and had a baby on the way, and, uh, that’s what really started everything off. Hazen And was there a reason why you chose the Navy opposed to any of the other branches of service? Ennis o, I guess it was, uh, because of my father, but for the most part it was, uh—didn’t really think about any of the, uh—the other services. So yeah. Hazen Did, um—besides your dad, was there anyone else in your family who served in the Navy? Ennis Um, yeah. So we, uh—since my dad moved around a bunch before I was born, uh, we didn’t have a lot of family, but my uncle on my mother’s side, he was in the Navy, and then my, um—my wife’s grandfather was, uh, also in the Navy back, um—uh, I mean it was a pretty long time ago. Back in the ‘40s-50s. Uh, but that didn’t really, um, you know, make my decision to join, I guess. Now, as I think about it, and in fact, my mom was in the Navy too which is pretty unique. She was a WAVE [Women's Auxiliary Army Corps], and when they—when my mom and dad first met, uh, they were both in the Navy, right? Hazen What’s a WAVE? Ennis It’s a, um—it’s a Woman Active—I’ll have to look the acronym up, but it’s basically a, uh—um, a woman, uh, sailor that was doing administrative duties, but they were still part of—they were very vital to the war and everything. Uh, but she was yeoman… Hazen Mmhmm. Ennis Which is a clerical type person, and, uh, but she was actually modeled on a three cent stamp—her and three other women. Hazen Hm. Ennis Yeah, that’s uh—I’ll send that to you—the details on that, but that’s pretty cool. Hazen Yeah, thank you. Um, how did your family feel about you joining the Navy? Ennis So, uh—no—no real, uh, heartache, and no real like, “Hey. that’s great.” Just kind of indifferent. Hazen Um, and where did you attend boot camp? Ennis So I attended boot camp here in Orlando, and I was living in Pensacola, Florida, when I joined. Actually it was Gulf Breeze, Florida, but... Hazen It was called Freeze, Florida? Ennis Gulf—Gulf Breeze. Hazen Gulf Breeze. What was called Gulf Breeze? Ennis It was the city. Hazen Oh, okay. Ennis So it wasn’t Pensacola, but—yeah. Hazen Gotcha. Um, and you said you began your training at RTC [Recruit Training Center] Orlando after graduating? Ennis Right. So I, uh—there was a couple of months, uh—so I graduated that summer. I guess it was maybe August-September. You know, I took the final class of summer school, got the paperwork signed off, and then, uh, took maybe a month or two off, and I was, uh, reported to board December 9th of 1990. Hazen Okay, and, um, you were from Florida at that time, but, um, what did you know about specifically the RTC Orlando region before you got here? Ennis Uh, nothing. Yeah. So… Hazen And… Ennis It was kind of a whirlwind, right? You know, you hear about all this stuff, “Hey, you’re going to boot camp here.” But for the most part, you know, it was, uh, get on an airplane, you show up, they bus you here, and then everything was a whole different world, you know? You’re, uh, taken out of the comfort zone, thrown right into, uh, you know, people yelling at ya, right? Hazen Uh huh. Ennis And 20 years ago, you know, it was a little different too, because they—you didn’t have all this, uh, kindler[sic], gentler, you know, no screaming, no cussing. It was—it was pretty hardcore, but it was good, you know? Hazen How long were you at RTC Orlando? Ennis Uh,for approximately six to eight weeks. I’m not sure exactly. I guess I graduated right around February—was it February 7th[, 1991]? It was right near my birthday. So that was kind of cool, ‘cause I turned 18, uh, you know, right when I graduated boot camp. So it was right around that day. I can’t remember the exact day, but yeah. It was pretty unique. Hazen What were your first impressions of the base? Ennis So, uh, the base—uh, we showed up at night, and then during the day, uh, we’d walk down a long, um, kind of sidewalk, and we marched everywhere we went, and, uh, there was[sic] trees. The weather was, uh, really nice. It was December. It wasn’t too cold, and, um, yeah. it was just, um—we saw a very small part of the base. I mean, we—we walked down the same street. We, uh—they had a big, uh, like marching field, right? Looked like a big tarmac—a big airport. Just a big black top, right? And, uh… Hazen Did that area have a name at all? Ennis The Grinder. Hazen Okay. Ennis Yeah, so that’s where you do all your practicing for marching, and, uh—but no. For the most part, it was, um, the same thing every day. So you really didn’t see any part of the, uh—the outside of the base, and all the buildings were very similar. Um, it was—it was, uh, very sanitary, I guess, right? So… Hazen And you’ve started to talk about this a little bit but what were your first days of service like? What were your first days of training like? Ennis Right. So—so, the very first day, you know, when we arrived here, there was a lot of yellin’, and, uh, obviously they were lining a bunch of people up from different parts of the country, and, uh, it was just kind of a shock, and, uh, for the most part it was, uh, Wow. You know? Your eyes are o—opened wide, and from then on, you just stayed busy. I mean your—you didn’t have a lot of time to think, I guess, ‘Cause they were just hitting you with you so many, uh, new things, and you were learning this, learning that. Um, so yeah. It—it wasn’t—there wasn’t really a lot of time to—to think about it, and then as you asked the question now, I guess I really hadn’t thought about it until—‘til now. Hazen Sure. Ennis You know, what I thought. Hazen Um, can you describe for me what daily life was like? Ennis Yeah, so daily life was, uh, pretty good. Very routine. You wake up, uh, I think it was about 4:30, and, uh, you did the, uh, you know—you brushed your teeth, Got all your toiletry stuff done, You lined up, They came in, Inspected, uh, the—the compartment, and then, uh, we normally PTed [physical training], uh—exercised, and then we went to classes, right? And then you’d do some— you’d go to chow—lunch, and like I said, you were marching everywhere you went, so that was a chore in itself, ‘cause we’d never done it, and, um, yeah. So there was a lot of motivation. Uh, they used to call it, um—uh, basically, you’d get punished, right? ‘Cause you didn’t do something right. So they would take you outside on the sidewalk and line everybody up, and they’d start making you do jumping jacks or something like that. But, uh, every day was filled with, um—with something new, as far as what’d you learn and then they’d move you on to the next step, So—but yeah the routine was: you wake up, get the compartment ready for inspection, uh, get inspected, go to class or PT, and um—and that’s the funny thing about the, uh, the exercise. The exercise wasn’t as, uh—we—we had no—no exercise uniform. I mean, you exercised in your daily stuff, Right? So it was kind of unique in that way that, uh—um, everything you did was kind of an exercise and you’re always ready to, uh, do—do jumping jacks or pushups or whatever. So it was kinda—kinda cool, and then, um, yeah. You’d hit noontime lunch, hit some, uh, dinner, and then after dinner, I know we did stuff, but I can’t remember what happened after dinner. Like I said, everything was kind of a blur. It’s kind of hard to go back and to—to think about it now. It’s, uh—you know, as I see the RTC now, I mean, none—none of it looks like what I remember, but then again all the buildings were tore[sic] down. So… Hazen Can you tell me a little bit more about the inspections? What exactly was being inspected? Ennis [sighs]. Hazen What exactly were the standards… Ennis Oh, yeah. Hazen That you were supposed to be meeting? Ennis Yeah, this was… Hazen [inaudible]. Ennis This was some crazy stuff, right? So on your bunks—and—and they were single, uh—very, uh basic bunks that you had. You had a bottom bunk and you had a top bunk. So what they would expect is, uh, the hospital corners, right? So how you folded your sheets and they would go down to the—the biggest detail of how the, uh—the edges of the sheets were, uh—I don’t know if you had that little, uh—I don’t know. You just had to have the sheets the right way, so when it folded over you wouldn’t see that little rough edge. So you always want the smooth edge on top and then the, uh—the hospital corners had to be at a 45 degree—everything had to be… Hazen What’s a hospital corner? Ennis It’s just where you, uh, bring the excess sheet… Hazen Oh. Ennis And bring it at an angle. It’s kind of like wrapping a present, right? And you take the excess and then fold it underneath so you have real, real neat corners. Hazen They call it “hospital corners.” Ennis Hospital corners, right? And the next thing was, uh, how you fold your socks, how you fold you underwear, how—you know, your t-shirts, and then everything else had a place, right? And they’re very detailed on—on—on that stuff. Your shoes had to be shined, and, uh, yeah. So everything… Hazen Belt buckles, maybe? Ennis Oh, belt buckles? Yeah. Attention to detail for all that stuff. So… Hazen Um… Ennis And that—that was every day, right? I mean, you didn’t get a day that went by where you didn’t get inspected, and most the time, you failed the inspection, right? ‘Cause there was always something they would find that wasn’t right, and then, uh, I think there was like 60 of us that started off. So you’d have 60 people in a, uh—in a room, where you slept and you did inspections, and, uh, normally, uh, those never went well, right? So you’re—you’re always getting corrected on somethin’, and that’s kind of unique, ‘cause, uh, as you go along you start getting better, right? And, uh, less, uh—less yellin’ [laughs]. Hazen So in that room of 60 or so, would there be one officer that came through to inspect? Ennis Uh… Hazen How would that… Ennis Yeah, it’d normally—you—you’d… Hazen Would it take a long time? Ennis No, pretty quick. You were assigned two recruit—recruit company commanders, and, uh—so for us, we had two chiefs. I think actually for us, one might have been a senior chief—an E[nlisted Rank] 7 and an E-8. So they’re pretty senior, and, uh, yeah. It’d go pretty quick actually. Maybe, uh—maybe a half hour. But—so the whole session though was, uh, you get inspected, they get mad at ya, they exercised ya, and then you fixed, you know, what the problems were and then you went and, you know, did classes or something like that. yeah. Hazen And then you talked a little bit about classes and tasks and you would do some class and then move onto the next one. Can you give me an idea of examples of… Ennis Yeah. Hazen Classes that you had to go through? Ennis Yeah, so a lot of ‘em were—were talking about firefighting, or different parts of the, uh—the ship. You know, how the ship operates. Um, different, uh—so—so the ship is, you know—they don’t have addresses for the different rooms, right? So you have bulkheads and they start from the beginning of the—of the bow, and that’s, uh, frame zero, and then, uh, as you go further back on the ship, the frames will increment up. So, um, you know, they—but basically the premise is, if you need to get to a compartment that’s, uh, on the first deck, right? It’s gonna be one and then the second number’s gonna be the frame number, right? So you know what—you know what level it’s on, and then the second number is gonna tell you how far from the bow, uh, the room is, and then the third number’ll tell ya how far out, uh—out it is from the center of the ship. Hazen Okay. Ennis So—so, uh, it’s a pretty unique numbering system, but it works on every ship. So… Hazen Sure. Ennis Yeah. Hazen Can you give me any other examples of classes? Ennis Yeah, so, uh, we talked about the firefighting. We talked about the, uh—I guess the, uh—the history. History was a big deal and, uh, that was kind of unique. So the Navy is big on tradition, right? And, uh, a lot of that was, uh—they’d go back and they’d talk about, you know, how the Navy was first, uh conceived, who, uh—the first ship—don’t quiz me on any of this, ‘cause… Hazen [laughs]. Ennis [laughs]. But, uh—yeah. So, uh, let’s see. We had, of course, uniform standards, regulations, you know. You did all the stuff talking about pay, you know. It was just a—anything you wanted to know about the Navy and, uh, that you needed to know, uh, you’d get in those classes. Some of it was basic, um, you know, uh, classes maybe on English or math, and some of these were, you know, to make sure that the, uh—uh, people could—could beat the standards, I guess. The other thing we did was a lot of in-prossing[sic] for your different ratings or jobs. So for me, um, they would take you to the medical—a lot of shots, right? And remember, you had to get uniforms. So yeah. It was a lot of, uh—yeah. Now—now as I start to remember all this—yeah. The first week, I guess, was, you know, picking up your uniform, you’re getting shots, you’re going to medical, and just a lot of in-processing, right? And then maybe the, uh, you know, the—the, uh—I don’t know—second, third, fourth week was a little more, you know, of the classes and stuff like that. So—but yeah. It—it was busy, and then maybe, uh—let’s see. So what was it? Boot camp was about, uh, six weeks, and, uh, in be—right in the middle of it, they had something called, uh, “work week,” right? So what they would do is—so all the facilities on the, uh—on the base—you know, whether it was chow hall, the laundry, the admin—was normally run by the recruits with, uh, some—some other senior sailors, you know, overseeing ‘em, right? So like, uh, for the chow hall, you had your cooks who were pretty senior sailors. They’d been in for four or five, six, years, and then of course, you had your recruits that would do all the, you know, washing the dishes, you know, cleaning everything, you know, running stuff from here to there, and then, uh—so we did that at about the, uh, maybe the third week, and, uh, did that for a whole week, and then, uh, you would fall back into training—training mode. Yeah. Hazen And those kind of tasks were normal tasks? Not like punishment or anything? Ennis No, no. So—so…. Hazen They were expected? Ennis Yeah, yeah. Exactly. That was part of the routines. So you would learn, uh, you know, whatever. Hazen Okay. Ennis Yeah, everything had a purpose. You may not have known what it was when you were doing it. Hazen Sure[?]. Ennis But as—as—as you look back on it, you kind of see that, you know, it was responsibility. It was initiative. It was, uh, all those sorts of things as a young kid you may not have, right? And, uh—so, you know, some people did good[sic] at it and other people—other people needed maybe a little more motivation. Hazen Did the Navy use words kind of like that? As kind of… Ennis Oh, yeah. Hazen Key words to guide? What were some of those key words? Enni Yeah, so, uh—um, “Uniformity will prevail,” right? Hazen Mmhmm. Ennis Um, you know, obviously, looking sharp. “Sharp” is a—is a good one. “Professionalism.” Uh, let’s see. Um, I’m trying to think of some other ones. Uh, Yeah. Basically “teamwork.” You know, that’s—That’s another huge one that you—you’ll see, and then, the, uh—and remember, this was the first co-ed[ucational] boot camp too, so we had women, uh, that were, uh—obviously, we weren’t integrated, per say, but we had a sister company that, um, kind of had the same timeline, right? So, uh—uh, but yeah, but everyone was a shipmate, you know? You weren’t like a—or a sailor. Everything was kind of gender-neutral and, uh—so that was kind of unique, but yeah. They really wanted you to get the teamwork and the, uh—and—and the leadership, and they promoted the idea that, you know, when you’re on a ship, you know, it’s you, right? I mean, You don’t have anyone coming in there to help ya, so If something happens, uh, it’s the crew that’s gonna, uh, take care of the, uh—the issues, whatever they might be. So—and that was the other thing—talk about history—was they used a lot of examples from the past, you know, whether it be, uh, um, back in the John Paul Jones days or the, um, you know—in World War II or—or anything like that. So it was pretty cool. Hazen Thank you. Ennis You’re welcome. Hazen Can you tell me a little bit about the recruits that you went through training with? What was your impression or your relationships like with the different recruits? Ennis Yeah, so, uh, that was pretty cool, and it’s—it’s kind of funny how, um, you know, people that don’t know each other and are from different parts of the country—But everyone has a characteristic or—or a trait, and, uh, I think the—the instructors were very good at picking out, um, you know, people for their different talents, right? Hazen Mmhmm. Ennis And then, Maybe—maybe, uh, they had some insight. but like, uh, we had an older recruit, right? I think he was like 25, and, uh, he immediately kind of, like, took charge. So they made him the, uh, kind of the leader of the group, right? Hazen Yeah. Ennis And then we had some other people that were, uh, you know—I don’t want to stereotype people—but they had one guy with glasses, and I think he was very administrative. So they made him the yeoman. So you pretty much had the same basic tasks or the basic structures like anywhere, right? You have a—a leader. You have a secretary. You have a, you know, master-at-arms, and, um—so yeah. I remember the people that they picked were, uh—I’d kinda go Yeah. That—that’s interesting. You know, and, uh, my claim to fame was, you know, to—to lay low and don’t be noticed. So that worked out pretty well, and, uh, yeah. It was uneventful, and the memories that, you know—from—from boot camp—while—I don’t really keep in touch them. Hazen Okay. Ennis I mean, it’s a—it’s—if you see them, it’s an immediate, uh, bond, because it’s something you got—you know, you’ve been through. Yeah. It was pretty cool. Hazen What kind of social life existed among the recruit—recruits? Ennis Um, yeah. Social life? Really none. Hazen [laughs]. Ennis I mean, you know, the biggest thing was there was maybe—an always kind of an underground, uh, type deal with the—with the recruits. Like if the, uh—the instructor left, then, uh, you know, the recruits would—I mean, we were breaking the rules, but you know they—they would say, “Lights out. Go to sleep.” And the next thing you know, uh, you’d start, you know, maybe talking to your buddy or, um, just kind of, you know, either, uh—just doing what you need to do, write a letter home or—or something like that, right? So I don’t think it was like breaking the rules, but you always kinda had your, uh—uh, your—your little bit of time to yourself, right? And, uh, the funny part was, a lot of people, uh, um, kinda worked out, you know? They—they, uh—‘cause I forget what time the lights went out, but there was, uh—yeah. A lot of people were—were doing pushups and exercisin’ and—yeah. I mean, it wasn’t a lot of people. don’t get me wrong. It wasn’t like they turned the lights off, the place goes crazy. It was just kind of unique, where, you know, certain people had their kind of routines and they kinda kept them. So it was kinda—kinda unique. Hazen Can you tell me a little bit more about the co-ed aspect of training? Ennis Yeah, so the—the co-ed aspect wasn’t a big deal. In fact, it was, uh, you know—I—I don’t know. Maybe—maybe I just didn’t, uh, take a lot of notice to it, but for the most part, they did what they did. Uh, we did what we did. There wasn’t a whole lot of, uh, interaction between the two groups. Uh, you know, we’d pass each other. We, uh, you know—really there wasn’t a whole lot of interaction. Hazen Um, did the women have a woman leader and the—the men have a male leader? Ennis You know, that’s a good question. Um, I think it was, uh, both. I think, uh—I mean we—I had male instructors, but I think some of the females had male instructors and I think some of the, uh, male, uh, groups had female instructors, but I couldn’t tell you for sure. I don’t think they segregated it that much, but, uh, I can’t recall. Hazen Were there any activities that were done together, even like… Ennis Yeah. Hazen eating or anything? Ennis Yeah. In fact, uh, um, we did have a, uh, competition week, right? Maybe not a week. Maybe a day or two, right? And, uh, it was kinda like, uh—what do you call it? Your field day, and, uh, you go out and do sports and everything, and I’m trying to think how we worked that, but I think that was one of the integrated-type deals where, you know, you, uh, um—or was that—I’m trying to think. Uh, Yeah. well, either way, I knew they were out there. I don’t think we competed against ‘em, but, you know, we competed against the different companies, right? So, uh—and I think there’s probably like 10 or 15 companies going on at one time, but I can’t remember. I can’t remember, but I know there was a lot of people. I mean, it was like a football field. Hazen Mmhmm. Ennis And the whole football field—it was probably a couple of football fields—and the whole place was busy, uh, with people doing stuff, right? From tug-of-war to sprints to, you know—I can’t remember all the stuff that was going on, but yeah. so that was pretty cool. Hazen Can you tell me a little bit about your instructors? Who were they and what were they like? Ennis Yeah, so, um, I remember I had a, uh, colored, uh, guy and his name was—he was a DCC[sic], and, uh, I want to say his name was, uh—what was his—Gibson, and Then, uh, I had a, uh— I wanna say an MMC, which was—so a DC [damage controlman] was a damage controlman, who was like a firefighter, right? Basically an equivalent of, and then we had a, uh, MMC, and he could’ve been—either way, it’s not important, and they’re both chiefs and they’re pretty, uh—a little older. You know, maybe 45-50, or it seemed old at that time [laughs], but they were, uh, business. They were business. They were, uh—they were no joke. They were, uh, uh, very strict. They were, uh—didn’t smile a lot. But, um, you—you understood that they were in charge, and, uh, they—they were, uh—they were good leaders, and to this day, I—you know, I enjoyed my time, I guess, if you—you could say that. Because, you know, you get a good leader and it really makes things easy, because there’s not a whole lot of, uh, stuff you have to think about, right? So that—that—that’s pretty good. Hazen What does MMC mean? Ennis Machinist[‘s] mate. They, um—they, uh—they do a lot of the mechanical stuff on the boat. They—they are, uh—they’re kind of like a metal worker type deal. Hazen What was the hardest thing you remember doing at RTC? Ennis Yeah, I guess it was the—I guess it was the marching, you know? I mean, that sounds crazy, but, you know, I can’t dance. You gotta have a lot of rhythm, you know? And, uh, in fact, this is a funny story. Our, uh, recruit, uh, company commander, uh—and that’s the other part. So the recruit company commander is a recruit, just like all of u, but he’s the leader of the group, right? He’s, uh, designated. Uh, you really, uh—I didn’t see too many people volunteer for it. So we went through a couple of guys, right? Hazen Yeah. Ennis Uh, I think at one point, I may have done it for like an hour, you know, till I got fired, right? But the, uh—the guy that stood out in my mind that had been the leader the longest was a—a tall, uh, black man, right? and he was pretty young. He was probably about the same age as most of us—about 20, and, uh—but yeah. he had it. He—he could do the marching. He had no problem calling off the, uh, cadences, and, um, yeah. He—so he—he was—he really, I think, turned our company around, because, um—I mean that was a tough part. I mean, if you can’t march, uh, you can’t get from one place to another, right? And it sounds ridiculous, because you go, What’s the, uh—I mean, Why are we doing it? right? How does this help us run a ship or be in the Navy? But it’s just one of those things where everyone has to do it. Everyone has to do it good[sic], and if you do good[sic] doing it, you look good, right? So, um, yeah. We went from not being able to, uh, um—you know, everyone being in the same step to be, you know, doing a marching band type deal, and, uh, remember: everything’s happening pretty quick[sic], right? So at the end of the, uh, six to eight weeks—whatever it was—uh, we looked pretty sharp. That—that was a pretty big accomplishment, because I think that the day before graduation, we have a little private, uh—not private, I guess—but the families get to come and, you know, we’ll march, uh, up and down, and it’s pretty neat, you know? So good times. Hazen In addition to that, which sounds like that was a—a moment of pride for you, can you tell me another moment that you felt most proud? Ennis Uh, let’s see. Hm. Uh, I mean, boot camp—I guess, uh, everything was just kind of go, go, go. So um, I mean, I guess—I guess pride being the—no. I don’t know. Not—not really. I think the biggest part is just the accomplishments in the little stuff that you do, and nothing’s really major. The only reason that I remember the, uh, marching was because that was—I mean, that was tough for me. I was like Man. Step. Step. What? [laughs] And then, uh—but no. the rest of it was, uh, fairly, um—I mean—I don’t know—easy or—not easy. probably isn’t the word. Maybe it’s just you take each day, day by day. So yeah. Hazen What was the official purpose of the Grinder? And does it have any special significance to you? Ennis Yeah, so—so the Grinder is where you practice most of your marching, and, uh, the Grinder—yeah. It was painful. I mean, you’re just out there forever. You’re, uh, practicing these maneuvers. You’re, uh—um, and one of the key, uh, things that we went through was: you used to have to march with these old M1 [Garand] rifles, right? or maybe they were M14s. but if you can imagine, you know, a 3-4 foot long rifle that weighs 10-15-20 pounds, and you’re holding this thing forever, you know, it gets tiring, and at some point, they decided to do away with it and, uh—right in the middle of our training, and I was thanking whoever made that decision, because that was the worst, right? So things became a little easier by not having to carry that. But, uh, yeah. for the most part, the Grinder was where you spent a lot of your time, just—just kind of learning the, uh—the different marching steps and everything. I—I’m not sure. Have you—have you ever done any marching? Hazen No. Ennis Yeah, I mean, it’s… Hazen Well… Ennis It gives a—it gives a tr—like, to the band people… Hazen Mmhmm. Ennis While they’re playing the music, and you just kinda go, Wow. Hazen Mmhmm. Ennis Those guys are really—I mean, uh—Working hard. ‘Cause it’s—it’s hard. So… Hazen My brothers… Ennis Mmhmm. Hazen Were in marching band. Ennis Yeah. Hazen So I’ve seen the hard work Ennis Yeah. Hazen But I haven’t done it myself. Ennis Yeah, yeah. Well, thank—thank goodness [laughs]. Hazen Um, the decision to march without the rifles, Was that… Ennis I—I have no idea. All—all’s I know is, um—I remember classes before me and classes after me, um, uh, did have ‘em. So I’m not sure what—what the, uh—the issue was with that, but that brings up a good question of—yeah. Why? What was the, uh… Hazen Was it like that week that—that you’re supposed to stop marching with them? Was it something [inaudible]… Ennis No, I mean, most of the time… Hazen [inaudible]. Ennis People kept them the whole time… Hazen Oh. Ennis So I’m not really sure why—why they stopped that, and like I said, I think they brought ‘em back too. Hazen Mmhmm. Ennis So I’m sure it was someone’s, uh, good idea, or maybe someone got hurt, or—who knows? So… Hazen Um, can you tell me about other areas on the base, in addition to the Grinder, that were of particular importance… Ennis Yeah. Hazen To you? Ennis So—so the pool was a big one, right? And, uh, that was a good time and, uh, it really amazed me by how many people couldn’t swim. That was, uh—that kind of blew my mind, right? Hazen Mmhmm. Ennis And, uh—but that— was a lot of fun, and then I remember, uh, Perimeter Room, and I’m not sure if it was called “Perimeter Room,” but it’s where we did our timed, uh, runs to make sure you’re, um—you could pass the, um—the PT, I guess, and then there was the—the gym, you know. So the gym—we worked out in there a few times. You know, I’m trying to—I guess we did have, uh, PT uniforms, but I can’t—I can’t remember putting them on all that much. I think we only did for the, uh—the out-test and the in-test. Either way, um—and let’s see. Oh, you—you had the, uh—we had the, uh, firefighting trainer. The, um—and a lot of this I remember were— ‘cause those were, you know, the—the shooting range, where we’d have to shoot the guns. Um, the chow hall, of course, because we ate there a bunch. That was good times, and then, um—yeah. I just—I just remember this strip, you know, where the barracks were, right? It was kind of like—it almost—it’s a similar lay out of this building, you know? Kind of the long, narrow, um—I forgot how many stories it was, but you would come out of there and we walk down a—a street—marching down a street, and then, uh, based on, you know, kind of left to right, you may have some classes or classrooms, and then, uh, down at the very end, you’d have, a, uh—the chow hall, and the—the Grinder, I guess, was on the far, far right, and I can’t, you know—like I said, I can’t—if you go there now, none of it’s recognizable, and the other thing too is have you heard of the [USS] Blue Jacket? Hazen Mmhmm. Ennis Yeah, so I don’t know where that was in relationship. For us, it was right next to our barracks, but where—where it’s at now is unrecognizable, so it’s pretty unique. Hazen Can you tell me about the Blue Jacket? Ennis All’s I remember is we didn’t go on it and, uh, we took a picture in front of it, and, uh, to tell you the truth, I don’t know why we didn’t go on it. Yeah. It was kinda—kinda strange. I think maybe it was getting a little—a little older, you know? But yeah. Hazen What did it feel like to graduate? Ennis Yeah, so that was pretty—that was pretty cool. ‘Cause, um—I’m trying to think. What—what was the final thing that we did? Uh, let’s see. All’s I know is, uh, at the very end, they, uh—they bring out the flag and they start, uh, playing “America the Beautiful.” Or what was it? “[I’m] Proud to Be an American.” And, uh, yeah. So everyone got real emotional and it was pretty cool. But, uh, that’s what I remember, and, uh, I’m trying to think what—what culminated, uh, before that. You know, what—what lead up to that point, and, uh—hm. That’s—that’s kind of strange. I can’t remember what the, uh—But all’s I remember is when we were done, it—it was pretty awesome. Yeah. So it was pretty cool. Hazen Was there a lot of people there watching? Ennis No, no. In fact, it was just our group. So… Hazen Oh, really? Ennis Yeah, so—so that was, I guess, the, uh—the—the recruit phase kind of ending, right? That’s when, you know, you’re done being a recruit, and the next day you graduated, and that’s when they had, you know, all your friends and loved ones, whoever in the stands and you did the, uh, parade, the marching through and everything, but yeah. as far as a lot of people watching, for what we were doing before—I—I mean, honestly, I can’t—I can’t remember what we were doing. I mean, I can’t remember if it was drills or—hm. Yeah. I guess it’s been a long time. It’s pretty—but I do remember, like I said, when it was done, it was, uh—they bring the flag out and everyone was like “Whoa” It was pretty funny. Not funny, but it’s pretty—pretty, uh, neat to see everyone kinda, ya know… Hazen And you get your hat, right? Ennis You know, we… Hazen [inaudible]. Ennis We didn’t get a hat. It was kinda, uh, yeah. Like I said, there’s no hat. There was, uh—like I said, I just remember a pep talk, the flag, the music, and then, uh, the next day, I think we, uh, graduated. Hazen And that took place on the Grinder, right? Ennis Um, no, what—what you talking about the, uh… Hazen The graduation. Ennis So the graduation took place on the grass, which, um—I’m trying—I can’t really remember where that was at either, but no. the Grinder was—was separate. So yeah. Hazen And then what did you do for the Navy after you left RTC? Ennis Yeah, so after the Navy, Uh—and this is kind of funny, ‘cause when I—before I joined, I was lookin’ at the different jobs, right? ‘Cause they have all kinds of jobs, and I was talking to the recruiter and he handed me a—a couple different, uh, cards, right? That listed the jobs and what they did, and, uh, you know, one of them was like torpedo’s mate, and so I looked at that one, and it says, “Must work in a,” uh, you know, “hot,” uh, “greasy environment,” right? So I was like I don’t want that one, and then I saw one that says—and plus, the school—the A school, which is the—the school that teaches you to do the job, it’s like in— I don’t know—somewhere—somewhere in the United States, and I see this one that says “EW,” which is Electronic Warfare, and, uh, it says, uh “Work in cool,” um, you know, uh, “dark climates,” you know, “in a—in a room with,” uh, you know—I don’t know. Anyways [sic], it sounded cool, right? ‘Cause it had the—It was Combat Information Center, so I didn’t—had no idea what it did, and then the bonus was the, uh, school’s in Pensacola. So, you know, I didn’t—that’s where I joined the Navy at, and that’s where my family was at. So I was like I’ll take that job, right? Had no idea what it did. So, uh—and the other reason I joined the Navy is ‘cause I didn’t want to go to school, right? Which is kind of funny. So the first thing the Navy does—the Navy does after graduation is they send you back to school, right? Which is this Electronic Warfare, and it—you can imagine your—your radar detector in your car, or if, you know—you know the concept—and it picks up the emissions from the cops’, uh, radar gun. this is the same thing that—that the ship does, but it picks up the radars from airplanes, from other ships, from, you know, missiles, from whatever, and those signals are analyzed and you can actually tell what kind of car it is or, you know, what type of ship or airplane. So the whole time in school, they’re teaching you about these radar fundamentals. They’re teaching you about the propagation. Blah, blah, blah, and then they want you to memorize—like a telephone book—of all this parameters, right? And I’m not saying it—I mean, it’s rote memorization. There’s just no way around it, right? So you’d spend your nights trying to figure out how you’re going to memorize all these numbers, so if they popped up, you could, you know, say what it was. So that’s what would happen is, uh, you—you—you’d get with a buddy and figure out these ways to memorize stuff, and, uh—so yeah. We, uh, did that, and then after that, um—I guess that was maybe another eight weeks and then was off to Virginia, uh, for my first ship. Hazen Can you take me from Virginia somewhat quickly to NAWCTSD? Can you walk me through? Ennis Oh, yeah, yeah, yeah. So it’s pretty easy. Hazen How you got from one to the next? Ennis Yeah, so I did three years in, uh, Virginia, and uh, you know, the job was okay, but it was on a ship, and I saw a helicopter flying and I says[sic]. “That looks like a cool job.” I was coming up for reenlistment and I talked to one of my, uh, leading Petty Officers, and said, “Hey. This is, uh—I’d like to look at doing a different job.” He took care of me. He walked, you know—walked me through the whole process. Put a, uh, a package in, got accepted, and then, uh, for AW, which is Aviation Systems Operator—and then I get sent to Pensacola for Air Crew School, and, uh, I had no idea, but then I got sent to Rescue School—Swimmer School, which is in Pensacola, and, uh, I’m not sure if you’ve seen the movie [The] Guardian? With, uh… Hazen No. Ennis Who was it? Anyways[sic], so that’s the Coast Guard. Hazen Oh, yeah, with… Ennis Bruce…<a title="">[1]</a> Hazen Yeah—no. I think you’re right, and… Ennis Yeah, yeah. The, uh, young kid, right? Hazen That kid. Ennis Yeah, right? [laughs] So like… Hazen [Christopher]Ashton Kutcher. Ennis Yeah, yeah. Right. Exactly. Hazen Yeah, seen it. Ennis Yeah. Hazen You did that? Ennis Right. Hazen Oh. Ennis So, uh, yeah, I mean, once again everything—I mean, Hollywood makes everything look like Hollywood, right? But it’s pretty intense. I mean, you know, you’re doing stuff and you get pushed underwater and what not. So I did that then went to my first, um, Aviation Squadron in Jacksonville, and then, um, did five years there. So while—when I was on the ship, I did a six-month cruise, plus all the workups, you know, hit the Med[iterranean Sea], Um, you know—Greece, Spain, um—where else? I mean, uh, Croatia, and then, uh, you know—then I cross-rated. Then I went to my first Aviation Command. We did the same thing. Hopped on a carrier, did our six-month cruise right over to the Med. Uh, we did the [Persian] Gulf. Uh, you know. So that whole Europe and, uh, the rest of the area. Yeah. We just hit different ports in there. Hazen The Gulf? As in the Persian Gulf? Ennis Yeah, the Persian Gulf. Right, and then, uh— and then I did that for five years. Did three cruises, plus all the associative workups. You know, we did Fallon[?] detachments in Nevada, and, um, we did Andros Island, Bahamas, and, um, yeah. It’s terrible duty, but you know, you’re gone a lot, so you take, uh—you take your good points with your bad, and then uh—oh, yeah. Then I went to the wing as an instructor in Jacksonville. So I was still working with the Aviation Commands, except I didn’t have to go on a cruise, and then, uh, after three years there, picked orders to, uh, [Naval Air Facility] Atsugi, Japan, which is right near Tokyo, and, uh, went over there and did four years in Japan on the [USS] Kitty Hawk, and, uh, we hit Hong Kong, Singapore, Australia, um, and, uh, did some work in the Philippines for the, uh—the work on terrorism there. They have a big terrorist cell there that many people don’t know about, and, uh, we did, um— uh, it wasn’t tsunami relief. I guess it was, uh—I guess it was typhoon relief in the Philippines, but after I left, they did do a lot of tsunami relief, ‘because that was the—the area. So, uh—and then, uh, after Japan, came to NAWCTSD, Orlando, and did four years there and retired. Hazen How did that assignment come about? Ennis The Orlando one? Hazen Yes. Ennis So, um, they have a list of assignments that you look up on a computer and, um, I said, Boy, that would be a good one, if I ever plan on getting out, and, uh, at that point, you know, it was pretty stressful. It, you know—I did the instructor duty and then I did the duty in Ja—in Japan, and, uh—so yeah. I was looking kind of for a, uh—a, um—actually, I—I loved the trainers, right? I loved the computers. So I thought that’d be a good fit and, uh, so I applied for it and it was open. So… Hazen And when you got here, what were your first days like at NAWCTSD? Ennis Yeah, it was pretty cool. It was more of an office environment, and, uh, it was very different than, uh—from the Navy buildings. I mean, even though this is a Navy building, it’s predominantly filled by civilians. So the military’s a very small part of that, and, um, but for—for the most part it was, uh—it was nice, because, um, everything was ready for you when you got there. The, uh—all the, um, computers, the—the furniture, everything was very new. Very, uh, kind of, uh, high tech, you know? There—there’s just a lot of resources available for you to do your job, and, uh, back— in the—in the fleet, you know, you may not have that. You may have, you know, one computer for five or six guys, and then, uh, there’s just not a lot of space. So space this size that we’re in, you’d have up to 30 people trying to work out of there. So… Hazen And speaking of your job, what were some of the things that you did? What were some of your primary responsibilities? Ennis So, uh—um, I guess, uh, for the aviation, the air crewman was being a rescue swimmer was the, uh, big one. So no matter when we flew or where we flew, you always had someone that had their—their gear with them, you know? You’re always SAR capable, which is Search and Rescue. So someone had to go in the water, you’d always have someone available. Um, so that was the number one, uh, thing that you did. The other part was, if we’re under way, uh, on the carrier that we were anti-submarine, uh, mission—meaning that we had a, uh, big sonar dome that would drop out of the bottom of the helicopter in a hover and you would stick that, you know— a couple hundred feet down in the water, send out a big sonic pulse, and see if you get any returns from the submarines. Uh, so that was another one, ‘cause that was pretty unique. You do that day or night, and, um, whether a sea state was 10-15-foot and the pilots are trying to stay in a hover, and, uh, so, yeah. that was pretty—pretty interestin’. Hazen That was—was that at NAWCTSD? Ennis No, no. Hazen So that was before? Ennis Yeah, so at NAWCTSD—the good thing about NAWCTSD is the needed the people from the fleet, because they would built the simulators that would act like, uh, you know real helicopters, right? So you’d go in there and you’d give them the subject matter expertise to say “Hey. This looks good,” or “This doesn’t good[sic].” Or you’d just liaison with the fleet and then go from there. So at NAWCTSD, the primary responsibility was program management or, uh, subject matter expert. So you’d kinda—kinda blur those lines a little bit, but, uh, for the most part, we were only there for 3-4 years, and the civilians have been there for a lot longer. So you’d come in and—and kind of assist them. Hazen Um, you might have already answered this a little bit already, but can you tell me about the types of projects that you worked on with NAWCTSD and what they were trying to accomplish? Ennis Yeah, so—so, the funny this is—is, uh, I transferred from Japan, right? And when I first got to, uh, NAWCTSD, I meet my boss, and he’s a civilian guy, and, uh, he’s a UCF graduate—electrical engineering, so he’s a great guy. Hazen Who’s that? Ennis Uh, Jonathan Glass. So—In fact, he’s still my boss right now. He’s probably wondering where I’m at... Hazen [laughs]. Ennis But if I tell him I’m here, he’s good, and then, uh—but yeah. So I get—I get to NAWCTSD, and I just, you know, been probably gone from Japan for maybe 2-3 weeks, ‘cause I took some leave, and they—they go, “Hey. We’re getting ready to deliver a trainer to, uh, to Japan.”" and it happened to be a—a simulator—a desktop simulator of the helicopter, uh, that I just, uh, got done flying it, and, uh, so—so in Japan, they don’t have the resources for new construction and for a, uh, new trainer. So they had this, uh—this desktop, um, simulator that would give you the tactical display and all the button pushin’, and, uh, we—we ended up delivering that right back to Japan, the squadron I’d just left. So it was kind of funny that, uh—which brings up another funny story, ‘cause you got Mount Fuji in there, right? You’ve seen pictures of Mount Fuji? Well, I took my daughters up there. I think they were eight and ten at the time, and it’s pretty—it’s a pretty good climb. It’s volcanic rock, right? So, uh, I didn’t want to be the dad that pushed them and scarred them for life. So I was being positive, but I would kind of let them do what they wanted to do, right? Meaning that, you know, if they couldn’t make, uh—um, I didn’t want to push ‘em too hard. Anyways[sic], we ended up not making the top, and the rumor is, if you don’t make it to the top of Fuji when you’re there, you’ll end up coming back, and yeah. I never believed that, but low and behold, you know, after reporting to NAWCTSD, I end up going back. So isn’t that funny? Hazen [laughs]. That’s fantastic. Ennis Yeah, it is fantastic. So, um, yeah. So basically we delivered a simulator back to Japan and, uh, that—that’s kind of what we do. Whatever, uh—so the ASW—the Anti-Submarine Warfare—Uh, the other part of, uh—I told you about the dome that lowers in the water. the other thing that we’ll do is we’ll drop microphones, and basically, uh—it’s called a sonobouy, but basically that’s what it is—is a microphone that you drop in the water, and you’re able to see the, uh, signature of the sub or whatever you’re listening to, and identify it, and if need, you know—if need be, drop a torpedo on it. Yeah. So… Hazen Can you explain a little bit more about what a desktop simulator looks like and is? Ennis Yeah, so if—if you use your car as an example, and, uh, if—if, uh, uh, all the controls from the gear shift to the steering wheel to the, uh, radio station. So all that we put on to a computer, and, uh, we try to simulate the environment. So for us, it’s the ocean mainly, and, uh, the ocean is, uh, you know—it’s pretty complex, right? And then especially when you throw sound in there, the propagation paths can get really, uh, really difficult. So the claim to fame for us is how much, uh, simulation do you need to do of the ocean to make it realistic for the acoustics? They start talking about fidelity and, uh, you know, then, um, realism and stuff like that, but—but that’s, uh—it’s a big trade off. Because if you have enough money, you can do anything right? Well, of course, we don’t have enough money. So, uh, we—there’s always a tradeoff. So a lot of that’s compromises, right? You make compromise in the visual system, or you may have to compromise in the size of equipment. So we would make our system mobile, put it on laptops, and, uh, the laptops, you know, in it—in itself, would compromise the, um— or maybe not. Yeah. I guess compromise the visual part of it. Meaning that you’re not gonna get real good visuals, but we’re not training the pilot how to fly the aircraft. What we’re trying to do is train the crew to work together, right? So—so each computer would be a different station. You’d have the pilot station, the co-pilot, and then you’d have your sensor operator, and all three of those, uh, computers would be networked together to, um—to talk, you know, back and forth, because in the aircraft, same thing. Uh, You’re able to split duties between a tactical display, um, you know—so if, uh—if I send a contact, via my gear, to the tactical plot, The co-pilot can acknowledge that, and then you’d get a course and speed on the sub based on, you know, uh, different positions and time. So if—if you send a position over—position A— at a certain time, and then you send over position B at a different time and you, you know—you line it up, you know, you’re gonna get a course of speed, right? So the gear would do that for us, but of course there was always some type of, um, uh, error built into the system whether it be, you know, the contact that, um—that you’ve entered in there was maybe a little off, and, uh—so you had to comp—you had to compensate for all that, and, uh, of course, the more context you had, the—the more the error would be averaged out, right? And, uh, so all that’s happenin’ pretty quick, right? And you may have a submarine that’s sending out counter measures, you may have equipment malfunctions, you know, you may have, uh, an inexperienced crew. So—there’s[?] just a lot of different, uh, aspects that go into training. Hey[?], and remember, you know, when the contact, or the sensor, uh, data that you’re looking at is—is just a line on the scope, you know, It—it may be a line that falls at 300 hertz, and then you have to determine what that is or, you know, put a bunch of different pieces of information together. Hazen Um, what, what’s the primary mission of NAWCTSD? Ennis Yeah, so the primary mission of NAWCTSD and, uh—we have a missions statement, I’m tryin’ to, uh—it’s basically to support the fleet in, uh—in simulation, and, um, yeah. That’s probably the easiest thing. Hazen Okay, and what do you think the future holds for simulation training here in Central Florida? Ennis Yeah, so simulation, uh—I mean, we are the, uh, um, center of excellence for modeling and simulation. Uh, we are the Navy’s central resource, when it comes to, uh, modeling and simulation. We have a lot of the, uh, companies around the area that support the, uh—the industry, and that bring a lot of capability to the, uh—to the training, and, um, the, uh—the future, I think, is, uh—is pretty good. Just because, as new technology brings better, uh, fidelity and higher realism, you know, you’re able to kinda blur the—the concept between real and fiction, or—I don’t know how you say that. So, If I can, uh—I mean, we’re getting to the point now where you put on the—the virtual, um, reality headset, and you’re now, as you turn and look—I mean, the—the—the screen is moving with you. So in this room, I could put on a virtual headset, and, um, it would give me the same, uh, dimensions, but of course, I could put a fire in the corner, right? And then I could react to that fire, based on, uh, where it’s at. So it’s getting really, uh, really good now. Hazen In what ways would you say that the simulation projects at NAWCTSD have impacted other branches of the military? Ennis Yeah, so I think the, uh—the impacts, uh—and I can’t say, you know, how we’ve maybe impacted, but I think the synergy of all the different components of the services working together, and the lessons learned from each of the components all kind of being centralized in this area. There’s really no, um—uh, no other place where that happens. I mean here you have the Marines, the Air Force, the Coast Guard, the Navy, uh, all working together, and in fact, uh, we’re now starting to include some, uh, state, uh, local, and other government, uh, organizations that can take advantage of, uh, the, uh—the training and the products that we’ve, uh, built here, and, um, so yeah. That[?]—I really can’t say. It—it’s really just the synergistic effect of everyone being together and the ability to, um, learn from each other. Hazen Thank you. Um, what would you say is one of the most valuable lessons you’ve learned from your time with the Navy? Ennis Yeah, so it’s going to be teamwork. You know, No matter what you do in the Navy, no matter what you do in life, uh, normally it’s, uh—it’s not just one person that makes something happen, and, uh, the other good quote that I learned was to be a good leader, you must be a good follower, right? And, uh, I can’t—I can’t, uh, say enough of that quote, because somebody always thinks, uh, that the leader has it easy, right? Well, guess what? that leader has a leader, that leader has a, you know—so it goes—it goes, uh—someone always has to answer to somebody. So—and that’s probably the one thing that the Navy’s taught me is I used to always say, I can’t wait till I’m in that guy’s position, and then I’m in that guy’s position, and go Man, that’s a—that’s a lot of work. So—but it’s good stuff. Yeah, and—and the other thing I learned to is, uh, if, um, there’s something that you want, you know, normally, you’ll have people that’ll help you out. They just need to know that’s what you want to do. So the people aren’t mind readers. You need to talk to them. You need to let them know what your, uh—what it is that you wanna do, and, uh, for the most part, I’ve never had a—a bad command or a, uh—a bad boss. I mean I’ve had some I’ve liked more than others, but for the most part, everyone have their certain characteristics that you’ll either agree with or disagree with, but as long as they’re—what they’re doing is honorable, then, uh—then yeah. That’s—that’s easy to, you know—person to follow. I tell ya, for the most part, I haven’t seen a, uh—a bad person in the Navy, you know? And, uh, it’s too bad when you hear a lot of the stuff that goes on, because they’re—for now, or in today’s Navy, the Navy is almost zero defect, right? And, uh, back in the day—yeah. You—you did stuff that—that maybe wasn’t, uh—you didn’t want your mom to know about, you know? But, uh, the fact is is that, um—uh, how do I say this? You were, you know—you’re doing some pretty tough stuff, right? And that doesn’t give you a pass for—for—for being, uh, bad, but what it—what it did mean was that you could, uh—you could definitely have a good time, right? And be a little rowdy, but what it didn’t mean was you couldn’t be disrespectful, and—and definitely, uh, some of the changes we made are pretty good, but some of the changes are getting a little to, uh, you know, PC, right? Too much politically correct. Hazen We’ve got about two or so minutes left. is there anything else you’d like to share about your Navy experience. Maybe… Ennis Yeah [laughs]. Hazen Photos for the last two? Alright. Ennis So… Hazen [inaudible] And move it towards you. Ennis Alright. So the cool thing about the Navy is all the different experiences that you get to, uh—places you get to visit, things you get to do. In fact, uh, when I, uh— I guess it was my second cruise when I was with the helicopters. We went to Cannes, France, and they were doing the Cannes [International] Film Festival, right? Hazen Mmhmm. Ennis Well, of course, we don’t get to go inside, but we get to see everyone that walks in, so that was pretty cool, and we saw Henry [Franklin] Winkler. You know who he is? The Fonz. So we yelled to him and—and we were like, “Hey, Mr. Winkler!” And he gave us a—real, real good pep talk, but that was kind of cool, uh, but this is my buddy, and, uh, I’m actually the one taking the picture of this, and we took a—a we were in Australia, and we took the Australian, uh, Special Forces, and we were taking them up to, uh, Fasthrow[?]—and a couple of guys to go parachuting. So, this just happens to be, uh, one of the dogs they take with them and we actually, uh, lowered the dog down, and, uh—but yeah. He went flying with us so, and—and He looks to be having a good time, right [clicks touchpad]. So the, uh—the next picture—this is, um—so—sounds pretty exciting everything I’ve told you, right? Flying in the helicopters, huntin’ the submarines, uh, doing the rescue swimming, and all that, but a lot of it is—just imagine driving in your car or around the block, you know, like a hundred times. Because with the, uh—the systems we have in place now on the airplanes, they’re really safe, and, uh, mishaps, uh happen very rarely. So we would fly in what we’d call “Starboard[?] Delta” for up to three hours at a time and doing circles, right? And this is one of those times where, uh, we’re just kinda sitting at the back and it’s a good view and everything, but we’re just, uh, doing circles around the boat. Just waiting for something to happen so—but, you know, the whole time you’re talking, you’re training. It—it—it—but it does get a little monotonous. Hazen Can you share the one of you guys coming out of the water? Ennis Oh, yeah, yeah. So this one’s in Japan, and, uh, we’re just doing training, and, uh, once again, it’s—it’s pretty fun when you do that. But, uh, that’s—that’s a yearly quall. So we don’t get to do it all the time, but when it—when it does, um—and—and o this was, uh, maybe six years ago. The kid I’m coming up with, uh, he’s a 20 year old and, uh, pretty new to the Navy, and, uh, the cool thing about that is—is, uh, kids that join the military now—I mean, they’re expected to do some pretty awesome stuff. You know, either jump out of a helicopter, you know, patrol Afghanistan, and, uh, it really is amazing the quality of people that we have, uh, in the services today. So I—it’s—it’s—makes proud thinking of people, uh, you know, joining [clicks touchpad], and then so—here, uh—me and my Navy buddy Harold, uh, Lavine[?]. He’s, uh, retired Navy, works at Publix, I think, in Ocoee, or somewhere around there, but we’re just trying to promote the, uh—promote the Lone Sailor Memorial, and, uh—and pass the word. So that was that. Hazen Great. Ennis [clicks touchpad] Oh [laughs]. So this—this is on the, uh—the—I think the [USS] John C. Stennis, when we were crossing the, uh—the Equator, and when you cross the Equator, you—you do—you do something that’s called a “shellback ceremony.” And if—if—if you’re not a shellback, you’re a wog, right? So this is one of the traditions in the Navy that’s maybe got a bad rap, because, uh, we’re out at sea and, uh, you know, we—we, uh—you know, they make you walk like ducks, they spray you with fire hoses. It—it’s really, uh, kinda hazing, but it’s a—it’s a mariner’s—a sailor’s tradition, right? So you get to dress up and, uh, just have a good time and, uh—but you know. Uh, Yeah. So anyway, that—that’s a shellback ceremony. So That’s where we get to dress up and do all that and that—that’s why we look the way we do [laughs]. Let’s see. Yeah. I think that’s it. Hazen Mmhmm. Ennis Yep. Hazen Great. Thank you. Ennis So… Hazen Any last comments? Ennis No, I, uh, appreciate the opportunity, and, uh, you know, I think today’s Navy is—is a better Navy than when I went through, and, uh, I just—I just hope that it continues to, uh, you know—people understand that the Navy is—is the people, right? You know, you can have the best ships, the best aircraft, but the—the people—the men and women in the services, uh, need, you know, our support, right? And as long as we remember history and remember, you know, what’s, uh—what happens, uh, I think we’ll—we’ll be good, but that’s it. Hazen Great. Ennis Yeah, well, thank you. Hazen Thank you. Ennis Yeah. <div> <div> <a title="">[1]</a> Correction: Kevin Michael Costner. </div> </div> Afghanistan Air Crew School Anti-Submarine Warfare Arthur Fonzaerlli ASW Australia Australian Special Forces Aviation Systems Operator Aviation Warfare Sensor Operator AW Ayase, Japan Cannes International Film Festival Cannes, France co-ed co-educational Community Veterans History Project Competition Week Corry Station Naval Technical Training Center Corry Station NTTC CVHP desk-top simulators dogs education Electronic Warfare enlistment Equator EW fleet replacement squadron aircrews Fonzie Gibson Glass, Jonathan Global War on Terror graduations Gulf Breeze GWOT Harold Lavine Helicopter Squadron 1 Helicopter Squadron 14 Helicopter Squadron 5 helicopters Henry Franklin Winkler Henry Winkler HS-1 HS-14 HS-5 humanitarian aid inspections instructors Jonathan Glass Jones, John Paul Kendra Hazen Little Creek, Virginia Lone Sailor Memorial Project LSMP Marc Ennis marching memorials Millington, Tennessee Mount Fuji NAS Atsugi Naval Air Facility Atsugi Naval Air Warfare Center Training Systems Division naval training NAWCTSD Operation Enduring Freedom orlando Pensacola Philippines pools Port Hueneme, California radars recruit training Recruit Training Center Orlando rescue swimmers RTC Orland SAR Search and Rescuer shellback ceremonies shellback ceremony Sikorsky SH-60/MH-60 Seahawk simulations Starboard Delta swimming terrorism The Fonz The Grinder The Guardian training typhoon reliefs U.S. Coast Guard U.S. Navy USS Blue Jacket USS Gunston Hall USS John C. Stennis veterans War in Afghanistan WAVES woman women Women Accepted for Volunteer Emergency Service Yamato, Japan https://richesmi.cah.ucf.edu/omeka/files/original/215158d1b22ce578f3eea62eb6612695.pdf d1fd24fc12b62f5a10c38f2dbcff6115 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title UCF Community Veterans History Project Collection Description As part of RICHES of Central Florida, UCF intends to record, archive, and make accessible oral history interviews of Central Florida veterans. Diversity is a main focus for this project since there are many different subgroups under the group veterans, all with important stories. While the histories will be largely archived and made available through the UCF library, a portion will be contributed to the ongoing Veterans History Project based out of the Library of Congress. 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 Alternative Title CVHP Collection Subject Veterans--Florida United States. Army Army United States. Navy Navy United States. Air Force Air Force United States. Marine Corps Marine Corps Is Part Of <a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Language eng Type Collection Coverage Jacksonville, Florida Orlando, Florida Honolulu, Hawaii Pearl Harbor, Hawaii Great Lakes, Illinois Long Island, New York Newport, Rhode Island Norfolk, Virginia Germany Qaasuitsup, Greenland Keflavik, Southern Peninsula, Iceland Azores Islands, Portugal Mediterranean Sea 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://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/. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project, RICHES of Central Florida. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer Grossi, Jared Interviewee Holtz, Alan R. Dublin Core The Dublin Core 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 Alan R. Holtz Alternative Title Oral History, Holtz Subject Veterans--Florida Navy Vietnam War, 1961-1975 Operation Desert Shield, 1990-1991 Operation Desert Storm, 1991 Persian Gulf War, 1991 Iraq War Description An oral history interview of Alan R. Holtz, who served in the U.S. Navy, during the Vietnam War, Operation Desert Shield, and Operation Desert Storm. Born in the Brooklyn borough of New York City, New York, Holtz enlisted in the Navy during the Vietnam War. He later joined the U.S. Naval Reserve and helped mobilize Reservists during the Persian Gulf War in 1991. This oral history interview was conducted by Jared Grossi on November 13, 2014. Interview topics include enlistment, boot camp, the USS Hancock, the Vietnam War, the Naval Reserves, Operation Desert Shield, and Operation Desert Storm. Table Of Contents 0:00:00 Introduction 0:00:33 Background 0:01:45 Enlistment 0:02:50 Boot camp and USS Hancock 0:05:55 Vietnam War 0:09:22 Naval Reserves and going back to school 0:10:23 Liberty and awards 0:12:48 Operation Desert Shield and Operation Desert Storm 0:14:43 Off-duty activities 0:16:07 Keeping in contact with other sailors, injuries, and September 11th 0:17:31 Civilian life 0:18:55 Lessons learned from the Navy 0:19:20 Closing remarks Abstract Oral history interview of Alan R. Holtz. Interview conducted by Jared Grossi in Orlando, Florida, on November 13, 2014. Type Moving Image Source <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/502/rec/1" target="_blank">Holtz, Alan R.</a>. Interviewed by Jared Grossi, November 13, 2014. Audio/video record available. Item DP0016189, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Has Format 13-page digital transcript of original 21-minute and 27-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/502/rec/1" target="_blank">Holtz, Alan R.</a>. Interviewed by Jared Grossi, November 13, 2014. Audio/video record available. Item DP0016189, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Brooklyn, New York City, New York Vietnam Philippines Creator Holtz, Alan R. Grossi, Jared Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-11-13 Date Issued 2015-02 Date Copyrighted 2014-11-13 Format application/website application/pdf Extent 432 MB 164 KB Medium 21-minute and 27-second Digital (DAT) audio/video recording 13-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Jared Grossi and Alan R. Holtz. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference Herring, George C. <a href="http://www.worldcat.org/oclc/5126110" target="_blank">America's Longest War: The United States and Vietnam, 1950-1975</a>. New York: Wiley, 1979. Matthews, Eamonn, Ben Loeterman, and Will Lyman. <a href="http://www.worldcat.org/oclc/34145115" target="_blank">The Gulf War</a>. Alexandria, VA: PBS Video, 1996. Anderson, Michael G. <a href="/www.worldcat.org/oclc/27694401" target="_blank">The Air Force Rapid Response Process: Streamlined Acquisition During Operations Desert Shield and Desert Storm: Project Air Force Analysis of the Air War in the Gulf</a>. Santa Monica, CA: Rand Corp, 1992. Click to View (Movie, Podcast, or Website) <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/502/rec/1" target="_blank">Holtz, Alan R.</a> Transcript Holtz Three. Grossi Today, it is November 11th, 2014. I am interviewing Alan [R.] Holtz, who served in the Navy. He served in Vietnam [War] and helped mobilize Naval Reservists during Operation Devert[sic]—Desert Shield, and Operation Desert Storm. He completed his service as an E[nlisted]-6 rank. My name is Jared Grossi. We are interviewing Mr. Holtz as part of the UCF Community Veterans History Project. We are recording this interview at—in Orlando, Florida. Grossi Alright. So Mr. Holtz… Holtz Yes? Grossi Where were you born? Holtz I was born in Brooklyn[, New York City], New York. Grossi Okay. What was your childhood like? Holtz My childhood? It was very good. I, uh—my parents were very, very good. I had three brothers. We had a great time. I really had a good childhood. I liked it. Grossi You, uh—are you the oldest of the brothers? Holtz No, I’m the second. I have one older brother and the rest are younger than me. Grossi Okay. Um, what did your parents do for a living? Holtz Uh, my father was in the Army during World War II, but then he was—but then he, uh—he worked for a packaging company, I believe, in—in Brooklyn. Grossi Okay. Holtz And my mom, uh, stayed home and raised us four kids. I don’t think she worked outside though. Grossi Alright. Um, did—Other than your father, did anyone else enlist before you? Holtz Uh, my father I had a couple of uncles that were in during World War II, and that’s it. My brother tried to enlist in the Air Force, and I think his vision wasn’t good, so he didn’t—he didn’t make it. Grossi Okay. Um, what type of education did receive before your service? Holtz Uh, right—right out of high school, I enlisted. Grossi How old were you when you enlisted? I mean, you said it was after high school. Holtz Yeah, 18. Grossi Okay. Um, what caused you to enlist? Holtz Uh, it’s kind of a long story. They had the draft at that time, and people were being drafted into the Vietnam War, and it was, uh, sort of a lottery system, where would they tell you your number and you had a better chance of getting drafted, so I had a pretty good chance that I was going to be drafted. So to get a better choice of where you want to go, I enlisted. Grossi Okay. What did your family think of your enlistment? Holtz Uh, they—they were happy about it. Like I said, my uncle was in the Navy and said it was the best one of the services, even though my father was in the Army. So they were happy about it. Grossi Okay. Uh, what was, uh, boot camp like in the Navy? Holtz Boot camp—it was—it was very tough for me, because it was the first time I was like away from home, alone there, and not, you know—scared what was going happen, but I ended up doing good[sic], ‘cause I had, uh—I was in pretty good shape. So the physical stuff wasn’t that hard for me, so I—I did good[sic]. Grossi Alright. Um, where were you stationed after completing your training? Holtz Uh, after—after boot camp, I went to training in San Diego, California, and the first place I was stationed was onboard an aircraft carrier, U—USS Hancock Grossi Okay. Uh, what was your experience when you first arrived where you were stationed? Holtz When I first arrived, it was—it was just very different than anything that I had seen before. Nev—I’d never been on a ship, and it was really big. Um, lot of people. You have to live in, uh—sleeping on a little bunk in a room with a lot of other people. So it was—it was hard to get used to. Grossi Um, what was your instructor like? Holtz In—in boot camp, you mean? Grossi Uh, yes. Holtz Uh, he, eh—He was good. You—first you get there, and you’re scared, and you’re—hate them and everything, but you get used to it. Then once you graduate, you appreciate what he did, you know, what he taught you, and everything. Grossi So you mentioned living on the carrier. What was, uh, the Navy life like? Holtz Well, I—I liked it. Once you get out of boot camp, you realize it’s more like a job and it’s not all going to be like you were—like it was in boot camp. So you, uh—you get used to it pretty fast. It was good. It was fun. Some of it. Grossi Alright. Um, was there any—what was not fun about it? Holtz What was not fun was the hours. You work a lot of hours, a lot of hard work, and, uh, the thing I got trained for was, uh, personnel, which is human resources. So when you work in human resources and in an office, they—the other people on the ship don’t think you’re doing anything, ‘cause you’re not out there manning the guns, or steering the ship, or anything important. Your, uh—you know, according to them. So you get volun—you get volunteered to do other work to help other departments. So it’s—it’s a lot of work, a lot of hours. Grossi Alright. So what were some of your other duties then? Holtz Uh, I worked in the—in the laundry, pressing uniforms and stuff, and, um, just, uh, security watches and stuff, go—security. Guard duty is called “watches” in the Navy. Grossi Um, what were the watches like? Holtz Uh, you get different hours, like you’d have f—a four-hour period, where you just, you know, stand guard over something or, you know, security of the ship. Grossi Alright. Uh, what was your assignment during the Vietnam War? Holtz Uh, I was in the personnel office on the aircraft carrier, and I was, uh, in support of an air squadron, where they—the, uh, pilots would fly off the carrier and do whatever they had to do over there, and just their support, like their—make sure their pay, their paper work got done, you know, transfers, retirements, whatever they had to do. All the office work. Grossi Okay. Um, tell me about your, um, Western Pacific [Ocean] and your Mediterranean [Sea] cruise? Holtz That, uh—well, the Western Pacific was while I was on the aircraft carrier, and where they would go off the coast of Vietnam for a while, and then after that, they would go into different ports. So I got to see a lot of the world over there. It was—it was really good. The Philippines was my favorite place. Grossi Oh, what made it your favorite place? Holtz Uh, just that the people are very—they’re very friendly. They’re very nice. They—they support, you know—they supported the military. Met a lot of nice people there, and also the, uh, beaches, mountains, everything—just a beautiful place to relax, after being out at sea for a long time. Grossi Okay. What was the typical day like during this period? Holtz A typical day? Uh, like I said, there’s—there’s[sic] long hours, and your—Besides the regular office hours, which is—they try to make it eight to five, but then you’re on call and other things come up, so you end up staying there a lot longer or being called in the middle of the night, and then, if you had one of those, uh, watches or some other duties you had to do that—they don’t take the hours away from your regular office work. You still have to be there. So some days you’d be working without any sleep. Grossi What was the food like? Holtz The food was—was actually good. I know people complain about it, but it was—it was good. You had a lot of choices. You got—you don’t have that much time to eat sometimes, but the—the food was really good. They did a—they did a good job. Grossi Um, what would you do to entertain yourself at times? Holtz Uh, they had different activities, and s—you know, sports. ‘cause we would like—‘cause when I’m on an aircraft carrier that has a big flight deck, so during the times that they’re not, uh, landing and taking off aircraft, they’re—use it for sports, games, and they had movies, and they—we would get our mail stuff, and they didn’t have the Internet back then, but… Grossi [laughs]. Holtz We could make phone calls and send messages. Grossi Okay. Did the Navy change after the Vietnam War? Holtz Uh, it cha—Yeah. It changed a lot. A lot of things changed. Grossi Could you tell me about some of the changes? Holtz Uh, well, see, it seemed during the war, they were more relaxed about, you know, haircuts, uniforms, A lot of things. Uh, even—even drug use was pretty prevalent during the Vietnam War, and they didn’t—seemed like they really cared that much, and it went from that to the zero tolerance policy pretty quickly. You know, I guess they realized it was getting quite out of hand [laughs]. Grossi [laughs] Um, tell me about the Naval Reserves. Holtz They—well, after— after my first four years, I got out for a few months. was going back to school, but then I decided to go back in and I went into the—it was called Training and Administration of the Reserves program, Where I’d work at Reserve centers and air stations, just training—training Reserves, and supporting them, doing there paper work, and keeping records and things. Grossi Alright. You said you went back to school. Um, what’d you go back to school for? Holtz Uh, I—I went back to get an AA [Associate of Arts] degree, which I did, you know, start. When I got out, I started going full-time, but then I went back in the military and went just part-time ‘til I finished then. Grossi Alright, and then you said you wound up going back in? Um… Holtz Yeah. Grossi Why’d you decide to do that? Holtz Well, I got married, and then I was going to have a kid. So I thought that would be—I thought that would be a good, uh—good career to have, since I liked it a lot for the first four years. So I decided to go back in and make a career out of it. Grossi Okay. Um, what was your job in the Reserves? Holtz Um, tt was still office work. It was, um, personnel, but, uh, helping with the training of Reserves. Like the Reserves that would come in one weekend a month, and they’d get trained. The—the person—the administrative ones—I would help train them, and also keep all there records and everything for all the Reserves. You know, transfers, retirements, promotions. Everything they do. Grossi Okay. Um, how did moving up through the ranks change your responsibilities? Holtz Uh, it changed a lot. You get a lot more responsibility pretty quick[sic] from when you first go in and just—I made it all the way up to E6, which is, uh, supervisor. So it’s a lot of responsibility, because you have a lot of other people to worry about and make sure there doing their job as well. Grossi Okay. Uh, what was one of your most memoral[sic]—memorable days throughout your service in your career—in the serving career? Holtz Uh, most memorable days? Uh, I guess, uh, being on a ship and traveling. You know, any one of those days, when you’re—you know, you work hard, but then when you finally get into a port, they give you a lot of time off to do what you want and relax, and I like that part of traveling. Seeing new places. Grossi Traveling must have been fun. Um, what were some of the things you do when you um, would dock at ports? Holtz Uh, they would have—they would have tours available, you know, they’re trying to encourage you not to just go out to bars, like some people did. Um, so I didn’t do too much of that. I went on a lot of the bus tours and they had events scheduled for us. Like you could go help, uh, different charity events, go help, like—I remember one time, we painted a church or helped this, uh, shelter for people. A lot of things like that, where you can help the community too. They didn’t want us to just go out there and have fun and leave [laughs]. Grossi [laughs] Um, did your receive any awards? Holtz Yeah, I’ve got a lot of—a lot of different medals and awards for different things. I don’t even remember them all. Grossi How did you help exactly in Operation Desert Storm and [Operation Desert] Shield? Holtz Uh, well, that—at that time, I was at a Reserve center, and they mobilized some of the Reserve units to send them over there to—to, uh, well, fight, or set up things, whatever, and so we were—when you’re in the Reserves, they have these drills all the time about mobilizing the Reserves and calling them into active duty, and you think it’s never going to really happen, but that was the real thing. We had to mobilize them—and I think it was about three hundred people from our Reserve units—and get them ready, get them there orders, paper work and everything, and travel arrangements, and send them over there. Grossi Alright. You said there was[sic], uh, drills and you actually wound up having to do them. Um, did the drills you feel help? Or was the actual event… Holtz Uh, the actual event’s a lot different than—it—it helped—it—the drills helped you prepare for it, but then when it actually happens, they—there isn’t time to actually to do it—there wasn’t time to actually do it step-by-step the way you plan. You know, Set up the incoming—set up the tables, set up the—what forms they’re going to need. So it—it worked out a lot different than you planned, but you still got it done. Grossi Okay. Um, did your experience in Desert Storm and Shield differ from Vietnam? Holtz Uh, yeah. It was a lot different, ‘cause I was just at the Reserve center, and—and preparing these other people to go where I—I—In Vietnam War, I was actually on the ship, right off the coast there, and even though I was working the office, I was more, you know—closer to the action that was going on, supporting the people, but, uh, for that for that—for that operation, I was just at the Reserve center, and getting them ready to go there. So it seemed like it was further from the actual thing. Grossi Okay. Um, what kind of activities did you do while off duty? Um, I know you mentioned you—you’d go on tour and stuff… Holtz Yeah. Grossi During the dockings. Um, was it just—I mean, uh—I guess when you’re off duty, what did you do? Holtz Oh, just—well, if I’m in a different—At the Reserve center or at the… Grossi Uh, I—just In general Holtz Well, if you’re… Grossi When you were off duty. Holtz Well, when it—when it—it’s different when you’re off duty overseas. I would just, you know, travel, see, you know—See what I could find, enjoy the scenery and new places, but once I was at Reserves center, Reserves center is in the—in that program, I was back home. So I was married and had kids. So I was just doing normal, you know—normal daily life, and it was more like a regular job, than when you’re on a ship. Grossi Did you visit back home often? Holtz Yeah, I would. Yeah, my parents were still in New York most of that time, so I would—I would fly home whenever I could. Get vacation. They gave you a lot of time off in the military, when—when they can. Grossi Um, when you were back home, what did you do for work or just entertainment then? Holtz Oh, spend time with my parents and my brothers, and visiting, mostly. Grossi Um, did you still keep in contact with any of your friends you made in the Navy? Holtz Uh, I did for a while, but it was hard to do that, ‘cause so many people get transferred, and you don’t see them again, and—So I lost track of a lot of them, but there was a few that I—that I still kept in contract[sic] —contact with. Grossi Okay. Um, could you tell me about some of the injuries you received? Holtz Well, first injury—first injury I got—when I was working on that aircraft carrier, I worked in the laundry, and pressed my hand down on… Grossi Oh. Holtz On the steam press. So that’s how I got that injury. So I call it my “Vietnam War injury,” but not really. It was on the aircraft carrier, working in the laundry, and got—got that hand burned, and some other things: I just hurt my back while I was there, so— but nothing too serious. I’m still able to work. Grossi Okay. How did, uh, the events of 9/11<a title="">[1]</a> affect you? Holtz How did it affect me? I was—I remember being very angry when it—when it happened, and wishing I was back in the military, so I could go do something about it, you know? Help fight whoever was doing it. Grossi How was the transition from the Navy life into the civilian life? Holtz Uh, it was very hard, at first, to—when you’re looking for a job, and you try to relate what you did in the military to civilian job. So you work in an office and, you know, you find out that all you’re qualified to do is be a secretary, or something like that. So actually, I was, uh, a medical services secretary, when I first got out. That was the first job they had at, uh, Humana[, Inc.] health care. Grossi Okay. Um, how—how has the civilian life affected you? Holtz Oh, well—well, I got used to it pretty quickly, and I had other jobs since then, and then finally found UCF [University of Central Florida], which I like. Grossi Okay. How have the—the way the civilians treated you over the years—how has that been? Holtz It’s—it’s been good, mostly. Most people—most people, you know, they appreciate what you did. they—there’s, you know, this preference for veterans, and a lot of jobs that you go for, you know—to at least get you the interview to see if you’re qualified to get the job, but, uh, most people treat you—treat you good[sic]. I never had anybody who didn’t. Grossi What lessons, from your time in the Navy, do you consider valuable? Holtz Uh, I think I learned a lot about working, do, uh—doing the best job that you can, getting it—trying to get everything done, so you can enjoy your time off, and, uh, doing a good job working with other people—Team work. A lot—a lot of things you learn there, you know, still relates to whatever job you have outside. Grossi Do you have any, uh, unusual or funny stories in your time of the service? Holtz Um, no, not really [laughs]—not really that I can think of. I’m sure there were some. Grossi Um… Holtz Well, now, there’s some unusual things when I was working at the Reserve centers. There sometimes—sometimes, they’re the only military in the area. So they’ve let you—make you volunteer for a lot of different things, like security and different things that you don’t need security for. They just wanted the local military to be there, and doing funerals, and things that I didn’t like to do. Grossi Okay. Um, is there anything else we missed or you would like to talk about? Holtz Um, no, not—not really. Not that I can think of. Grossi Alright. Uh, do you have any messages or lessons you’d like to pass on to the young—the young people? Holtz Oh, about the military? Just that it—it is a good career. Uh, the benefits are great, now that I’m retired. I did—I did, you know, 20 years. Now that I’m retired, it’s really worth it to, uh—the benefit you get, through retirement, the medical care, everything. So it’s worth it. Grossi Alright. Uh, questions? Unidentified [inaudible]. Grossi Okay. Um, well, I’d like to thank you, Mr. Holtz, for your time. I and the UCF community really appreciate you coming out today and telling your story, Um, in the—in the short time in the interview [laughs]. Thank you. Holtz Okay. Unidentified [inaudible]. Holtz Thank you. <div> <div> <a title="">[1]</a> September 11th, 2001. </div> </div> 1st Gulf War 1st Iraq War 9/11 aircraft carrier aircraft carriers Alan R. Holtz basic training boot camp boot camps Brooklyn, New York City, New York Community Veterans History Project conscription CVHP Democratic Republic of Vietnam Desert Shield Desert Storm drafts E-6 education Enlisted Rank 6 enlistment First Gulf War First Iraq War Gulf War Hancock instructors Iraq War Jared Grossi Kuwait War liberties liberty military education military training naval instructors North Vietnam Operation Desert Shield Operation Desert Storm Persian Gulf War Philippines Republic of the Philippines Republic of Vietnam San Diego, California selective service September 11th Socialist Republic of Vietnam South Vietnam TAR terrorism terrorists training Training and Administration of the Reserve U.S. Naval Reserve U.S. Navy USS Hancock veterans Vietnam Vietnam War watch watches https://richesmi.cah.ucf.edu/omeka/files/original/c65c2937c8b431b9f072c42016c0f815.pdf e901832282467dfc3568e3bddb15ba8d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lone Sailor Navy Memorial History Project Collection Alternative Title Lone Sailor Collection Subject Veterans--Florida Orlando (Fla.) United States. Navy Navy Sailors--United States Description Collection of digital images and oral histories related to the former Recruit Training Center Orlando (RTC Orlando) for the United States Navy. The training center transformed raw recruits into highly effective sailors. This process took place over an intensive eight-week training period, commonly referred to as "boot camp." RTC Orlando occupied roughly one half of the former Naval Training Center Orlando (NTC Orlando), which was located at present day Baldwin Park, Orlando, Florida. Between 1968 and 1994, over 650,000 men and women graduated from RTC Orlando. Contributor <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Naval Training Center, Orlando, Florida Contributing Project <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Robert Matthews Alternative Title Oral History, Rob Matthews Subject Veterans--Florida Navy Orlando (Fla.) Description An oral history interview of Robert Matthews (b. 1957), who served in the U.S. Navy during the Cold War era. Matthews was born in Lake Wales, Florida, on May 23, 1957. He enlisted in the Navy in February of 1977 and was discharged in July of 1984. During his service, Matthews was stationed at Recruit Training Center Orlando (RTC Orlando), Naval Air Station Memphis (NAS Memphis), and Naval Air Maintenance Training Detachment (NAMTRADET) at Naval Air Station Jacksonville (NAS Jacksonville). He also served in Attack Squadron 174 (VA-174) and VA-87. Matthews was a Master Training Specialist and received an Expeditionary Medal. This interview was conducted by Mark Miller on March 28, 2014. Interview topics include Matthews' background, enlistment, training at RTC Orlando, the USS Blue Jacket, the Base Realignment and Closure Commission (BRAC), Matthews' naval career, NAWCTSD, and the Lone Sailor Memorial Project. Table Of Contents 0:00:00 Introduction 0:01:39 Enlistment 0:03:05 Attending boot camp at Recruit Training Center Orlando 0:05:53 First impressions of and days at Naval Training Center Orlando 0:08:13 Recruits, instructors, and military leave 0:14:37 Primary responsibilities at RTC Orlando 0:16:24 USS Blue Jacket 0:18:32 Memories and proudest moment 0:20:40 The Grinder, marching, and physical fitness 0:24:30 Selecting a boot camp 0:26:34 Military leave and the Orlando area 0:28:02 Base Realignment and Closure Commission 0:32:56 Career in the Navy and the Naval Reserves 0:37:01 Naval Air Warfare Center Training Systems Division 0:43:55 Lone Sailor Memorial Project Abstract Oral history interview of Robert Matthews Interview conducted by Mark Miller at the Naval Air Warfare Center Training Systems Division in Orlando, Florida, on March 28, 2014. Type Moving Image Source <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/279/rec/1" target="_blank">Matthews, Robert</a>. Interviewed by Mark Miller, March 28, 2014. Audio/video record available. Item DP0014900, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format 21-page digital transcript of original 47-minute and 23-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/279/rec/1" target="_blank">Matthews, Robert</a>. Interviewed by Mark Miller, March 28, 2014. Audio/video record available. Item DP0014900, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Lake Wales, Florida Recruit Training Center, Naval Training Center Orlando, Orlando, Florida Naval Air Station Memphis, Millington, Tennessee Naval Air Warfare Center Training Systems Division, Naval Training Center Orlando, Orlando, Florida Naval Air Warfare Center Training Systems Division, Naval Support Activity, Orlando, Florida Naval Air Station Cecil Field, Duvall County, Florida Naval Air Station Jacksonville, Jacksonville, Florida Creator Matthews, Robert Miller, Mark Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-03-28 Date Issued 2014-09 Date Copyrighted 2014-03-28 Format application/website application/pdf Extent 41.3 MB 215 KB Medium 47-minute and 23-second Hi8/MP4 audio/video recording 21-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Mark Miller and Robert Matthews. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/279/rec/1" target="_blank">Matthews, Robert</a> Transcript Miller Okay, okay. This is an oral history of Rob[ert] Matthews, an RTC [Recruit Training Center Orlando] graduate and naval veteran. The interview is conducted by Mark Miller, graduate student from UCF [University of Central Florida], working in conjunction with the Lone Sailor Navy Memorial [Project] committee. Uh, it is March 28th, 2014, and we are in Mr. Matthew’s offices at NAWCTSD [Naval Air Warfare Center Training Systems Division], um, in[sic] the [12201] Science Drive—Orlando. Okay. Um, some of our first questions are background questions. Um. So whe—when and where were you born? Matthews I was born in a little town not far from here—a little town called Lake Wales. I was born in[sic], uh, May 23rd, 1957. Miller Okay. What do[sic] your parents do for a living? Matthews Uh, my father was in construction, um, and my mother was in the medical field, working as an office manager. Miller Do you have any brothers or sisters? Matthews I have four sister—four sisters. They were, um, all born in Lake Wales, as well, and two of them still live in Florida, and two live elsewhere. Miller Um, growing up, where did you go to school? Matthews Um… Miller [clears throat]. Matthews The elementary school is there in Lake Wales. A little school called Spook Hill Elementary [School]. Uh, and junior high and high was Lake Wales Junior High [School] and Lake Wales High School. So it was a small town about 8,500 people. Miller Oh, so you were home-grown [laughs]. Matthews Homegrown. Miller Okay. Uh, what did you do before entering the Navy? Matthews Well, I went to college for a little bit. Um, worked locally in the town there, right at the high school, and, um, after about a year of that, I decided I wanted to go in the Navy. Miller Okay. So you joined a year after high school, and, uh, why did you join the Navy? Matthews Well, [clears throat] I guess I came from a Navy family. My, uh—in a sense—my father was a in the Navy during World War II for a short period of time. My uncle was—also served in World War II in the Navy. I had a cousin that went to the naval academy. I had an uncle that flew for the Navy, as well. Uh, and I had a brother-in-law that went to the Navy, prior to me going in the Navy. He actually went through RTC Orlando, as well. Miller Oh, wow. So one of our questions was why the Navy over other branches, and I think[?]… Matthews I think I explained that [laughs]. Miller [laughs] Yes, I think I can easily see that. Yes. Navy family. Alright. Um, so how did your family feel about you joining? Matthews Uh, mixed emotions, I guess. A little bit. Uh, I think they were glad to see me join such a great organization. Uh, I think, uh, my mother would have liked me to have waited and get a commission instead of being enlisted, but I was a little impatient, so I decided to go for it and do it anyway. Miller So where did you attend boot camp? Matthews RTC Orlando. Miller Okay, and what were you trained to do in your career in the Navy? Matthews Uh, I was a, uh—excuse me—an aviation Electronics Technician, uh, while I was in the Navy, which allowed me to work on the electronics on both the [Ling-Temco-Vought] A-7 [Corsair II] and [Lockheed] P-3 [Orion] aircraft. Miller So, uh, wha—what was your experience like at RTC? Matthews It was different. Um, probably the best council I got from, uh, my brother-in-law prior to going over there was: just remember to treat, uh—to treat it as somewhat of a game, and that, uh—don’t take the things that you’re being told too serious, um, and what he meant by that was—not that the training wasn’t important—it was critical for my own safety, as well as, uh, helping the country, but some of the things that you have to go through in boot camp—those stereotypical things that we have to do to make sure that we’re instilling discipline in our—in our young troops. He told me not to take that too serious, and that was probably the best council I got, uh, as I went through boot camp—was just remember that they’re sending me through certain experiences so I learn from it and that’s not really the way things are. Miller Well, what were some of those experiences? Matthews Well, um, back in those days, uh, it was important to, uh, get young people’s attention, and the way you did that was you physically exhaust them every opportunity you have, and you try to mentally change the way they see the world. So we would—we would do endless bouts of inspections, and calisthenics, and things of that nature, and it really was to try to, uh, instill discipline that maybe not all of us had when we went there. So we did some pretty silly things over—as I look back now, um, seemed awfully important to me at that point, but now, it’s— I’m not sure that having a spit shine on my shoes and my gig line lined up perfectly was, uh, the most necessary thing, but I understand the purpose of it. The purpose of it was: I learned to take, uh, great care and attention to detail, uh, to understand discipline and the meaning of it. So, uh, it seems silly, but I understand why they did it. Miller So what was your first impression of the base? Matthews Uh, it was a little confusing, uh, you know, I lived in Lake Wales, uh, which was—it’s only 60 miles from Orlando. So when I joined the Navy, uh, my first, uh, impression of being part of, uh, the Navy or [U.S.] DOD [Department of Defense] or U.S. Government was to get from Lake Wales to Orlando, I needed to go via Coral Gables and Miami. So I left Lake Wales, instead of heading, uh, northeast to Orlando, I went west to Tampa to catch an airplane to fly south to Coral Gables, to being docked there, stuck on a bus, driven back north, and I think we got on base probably about 11-11:30 at night and it was dark. Um, probably a little bit frightened, um, because, just like you see in the movies, as soon as we got off the bus people were yelling at us [laughs]. So, uh, by the time I hit the base, I was pretty tired and I was pretty scared, so [laughs] it was a good experience to start with [laughs]. Miller [laughs]So what were your first days of service like? Matthews Well, it was, uh, a lot of confusion. A lot of being told exactly where to go, and the best thing to do was just listen. Uh, we were put in lines, um, wherever we went. We were—got our haircuts, our uniforms, a place to stay, were told what to do what not to do, when to do it. Uh, we were led around for the first few days. It was a good thing, because it was—it was a real culture shock for—for most of us. Um, but I—I would say that probably that—that, um—that rigor that they sent us through the first few days was probably the best way to get over that culture shock. So I didn’t have to do a lot of thinking at first. Just reacting to what they did to us, and they really did start forming us as a team. I was in a group of folks. There—there were 80 of us in our training unit, as we called them back then. Didn’t know, uh—79 brand new people I didn’t know before. Now I get to spend the next eight weeks with them and they became very close in many ways. Miller Mmhmm. Matthews [laughs]. Miller Now—yes. You’ve mentioned to us quite a few times—I was wondering what some of the fellow recruits were like? I mean, were they from all over and… Matthews They were. They were from all over the country. Um, and it—it was kind of interesting, ‘cause I was thinking about this: these were people that, um, like myself—that maybe grew up in a small town. Um, that came from a fairly stable, uh, family life, to, uh, folks that didn’t have that benefit. They may have come from middle of, uh, a city—broken family. Uh, and they brought the issues with that, um, and they tossed us all together, um, from all—from all over the country. People from Florida, Texas, New York. Uh, you could almost—although there probably wasn’t somebody from every single state in my group of 80—but a lot of the states were represented. Um, and, uh, I laughingly say there was[sic], you know, 80 people with probably 90 personalities in—in that group of folks. Um, [clears throat] some of the people handled it very well, and some of the people didn’t, and we started with 80. We didn’t end with 80. Although back in those days, Navy boot camp was not seen as one to the more rigorous—we certainly weren’t Marines. Uh, but There were people that just could not handle the, uh—the stress that we were put through, and you wouldn’t have guessed it, uh, from the first day. I think you’d have a very difficult time—maybe experienced person wouldn’t[?]—but you’d have a hard time looking around your group of folks that you’re—you first get your haircut with and first get your uniforms with, thinking, This person’s going to make it. That person’s not. Because we were consistently surprised by the people that did drop out. We thought they were the strong folks, but it turned out maybe they weren’t. So it was an interesting experiment to go through and kind of watch it. Once more, I’ll go back to what my brother-in–law said. I kept in my mind, when this guy’s yelling at me, it’s not because he doesn’t like me. It’s just part of what’s going on. So I never like[?] let that get to me. So I was able to observe other people a little bit better, because I wasn’t too worried about my own self, I guess. So it was—it was quite an experience. Miller Do you keep in touch with some of these people? Matthews No, no. Miller Oh. Matthews Um, I can remember—of those 80 people, I can remember one guy’s name. Um, and I saw him a couple times—two or three years after boot camp, and that’s it. I remember another gentleman’s first name and that’s it. Uh, and that’s all I can remember, but the one person I can remember very clearly was our Recruit Training Commander. Senior Chief Soaper, and that was in the days that the Navy allowed beards, and Senior Chief Soaper, um, was a tall thin man, dark hair, with a goatee and devil’s eyes [laughs]. Miller [laughs]. Matthews And I remember him clearly to this day. Miller Mmm. Matthews 30 or 40 years later, or so. Miller He’d probably be very proud that you said that about him. Matthews [laughs]. Miller [laughs]. Matthews He did a lot of good things for a lot of us. We didn’t think so at the time, but [laughs]… Miller Yeah, yeah. Um, you said that there were 80 people in—in your training group, but that was really quite a large facility. Uh, you were involved probably with other groups also, right? Matthews To—to some extent. Um, [clears throat] Being it was 80, it was well orchestrated, so that we saw a lot of the other units as were marching by each other. We see them in the chow hall, but you stay together as a unit. Um, when we went to the chow hall, we sat together, we ate together, and we left together. We didn’t mix, um, and not that we weren’t interested—because this was—this the first years of having, uh, females in the Navy, and—but at that time it was still segregated—that the boot camps did not mix these training units with male and female. so we were there and I—I—hopefully, someone knows the numbers of the—of training units and the training groups that they had—power cells—training units, at that time, but if I had to guess, there was 20 or 30 units going on at a time, easy, of which maybe two were female. So, um, [clears throat]—and even that was separated. So the chow hall had two sides, and I was in the side that was—it was all males. So we never even saw any females the whole time we were there, just about. Once in a while we’d pass them, but the groups didn’t mix at all so I—I couldn’t even—I probably wouldn’t even recognize one of those people that were in a different unit, because there so separated. You go to classes together, in your training unit, um, and occasionally there may be a training event where they’d mix two units, uh, but not very often. So you really didn’t—really didn’t mix too much at all. Miller Um, you must have done some mixing off-base though? Matthews [sniffs] There was no-off base. Um, when you start boot camp [clears throat], um, you start day one, you’re in boot camp ‘til you graduate, with two exceptions: the last week, they allowed us to—they’d load us up in buses and they took us to SeaWorld [Orlando] for the day. We’re there in our whites. Uh, we’ve been given the, uh, strong instructions of how we will operate while we’re at SeaWorld, because we represent the Navy for the first time in our uniform. So we, um—we—it was very stunted, if you will, what we could do at SeaWorld. So that was one day, and then the only other time that, uh, we had any outside access to the base was the day we graduated. We didn’t actually transfer ‘til the following day. That night we had a couple hours of military leave or liberty that we were allowed to go out of town[?], once we were in a very controlled environment. So other than that, no. when I transferred out of Orlando, I was gone. Uh, so my time at boot camp—the eight weeks I was there—one day in SeaWorld and one night on liberty, and I actually spent that with my family, because they came up, uh, and I spent a couple hours with them. So that was it. Miller [laughs]. Matthews You didn’t get off base. Miller Hm. So what were your primary responsibilities, uh, when you were RTC? Matthews Um, surviving was my primary, uh, responsibility. I— was not in a leadership position at, um—at boot camp at all. Um, [clears throat] what I was supposed to do was: I was supposed to learn how to become a sailor. Uh, I was a recruit up until they told me I was a sailor, which means I had to learn all the, um—I had to learn Navy history. I had to learn Navy protocol, uh, brinks, uh, customs, the culture, etc. I had to learn firefighting, how to fix a—I had to learn flooding. Any type of ship damage they try to expose us to. Uh, gas masks, you know—how to use a gas mask, what happens if your gas mask is not working. Uh, so they just try to give us the basics of, um, shipboard life, and especially, in case of emergency. So there was signaling, there was[sic] all the basics of becoming a sailor that they taught us, How to operate a weapon, if necessary. Uh, we did a little bit of shooting. So, uh—uh, how to wear a uniform, how to maintain a uniform, and the different uniforms that go with it, um, and they’ve got a lot of basic human, uh, nature things that you—that you think you—that most people would know, but recognize once more, these people are coming from all over the United States, from many different home lifes[sic], etc. so they’re teaching you hygiene—everything. So it’s—they take a raw person off the street and they turn him into a sailor that can function on his own as necessary when he leaves. Uh, and those—that’s what my primary responsibility was—to learn these things that they’re trying to teach us. Miller Um, obviously, we’re land-locked in Orlando and—and you’re in the Navy facility, how did you learn onboard training and things? Matthews Well, I learned them on the USS Blue Jacket. Miller What was that? Matthews That was the, uh—that was the—my first ship in the Navy, and it, uh—It was located right there, where Baldwin Park is now. Uh, it was a plywood mockup of a ship, um, and it had hatches and doorways and it looked like—it looked like a ship. You marched up to it. There wasn’t a pier associated with it. There was a little bit of a gangway. Went in there and we did watch standing. Um, it—it truly was the first time that I was on board, uh, or used a Navy simulator. It was called, um—it was the USS Blue Jacket. Blue Jacket was our training manual. All sailors—that’s the—their Bible, if you will. Um, [clears throat] and we spent, uh, many hours, uh, retrieving lines, casting lines, getting underway, uh, practicing damage control drills, things of that nature aboard the ship, and this was a culmination of many, many hours and days of classroom training, where they broke down the different aspects of the things we need to do aboard the ship into smaller chunks, if you will, so we could learn those objectives for that, and they sent us to firefighting trainers. Uh, they sent us to gas mask, uh—the gas mask room, where we went to a room with our gas masks on, and they let off the tear gas, and then they had us remove the mask, so we had some prospective of what that’s—what that’s like. Uh, did some flooding training—things of that nature—repairs. Just so that when we finally did leave boot camp, we went to further training and eventually did wind up on a ship, we would be an asset to the ship and not a—not a hindrance. By no means, a fully functioning trained sailor, but, uh, far, far, uh, greater value to the Navy after the eight weeks that we showed up and needed haircuts and uniforms. Miller So what was the hardest thing you remember doing at RTC? Matthews The hardest thing was, um, [clears throat]—well, physically, the hardest thing was: we’re in Florida. Um, and fortunately I started in February, so by the time I was done, we hadn’t got to the summer. So we had a couple hot days on the Grinder. Lots of marching, where we weren’t quite up to snuff, so we spent an awful lot of time learning how to march in the—on the asphalt in the sun. Um, and we spent quite a bit of time at either attention or parade riffs in the sun, trying not to pass out from your knees being locked. Um, that was—that was a hard part of it. Um, I think sometimes that, uh, even though, as I said earlier, I tried to keep in my mind, This is just a game, there was some lonely times, you know? Where you’re dead tired, and you see your chief and other folks have been yelling at you all day long, and you still got to shine your shoes one more time, and you’re just dead tired, and you’re thinking, Boy, is this really the—do I want to spend my life doing this? and I would—I would say, as hard as the physical part of it was, keeping that positive mental attitude that this too shall pass was kind of difficult sometimes at night. So it was probably that. Miller And on the flip side, at what moment did you feel most proud? Matthews That would be my graduation, when, um—when they played the—the patriotic music. We get to march, looking sharp as we do. Uh, we know our families’ in the stands, and we know that we’ve accomplished something. We’ve accomplished something that many people before us have accomplished and many people since, but internally, it’s—it’s something that we’ve been able to do, you know? We’ve been able to, as sailors, recognize that we do have the discipline to do the things that need to be done, and that was probably my proudest moment was—was the graduation, and seeing my folks in the stands [sniffs]. Miller So was[sic] there other purposes for the Grinder than graduation or marching? Matthews If there was, I never uncovered them [laughs]. Miller [laughs]. Matthews So[?] that—that’s where we did our, um—that’s where we did our marching, and, um, [clears throat], you know, [clears throat] sailors don’t march. That’s what the other services tell us, but we sure—we sure faked it a lot [phone rings] Matthews Um, we spent an awful lot of time trying to stay lined up with each other. Try to—uh, and really marching is just trying to operate as a team—trying to teach folks to operate as a team. You can take the attention to detail, and you can look as good as you are and you can be perfect, but if your teammate’s not, then you gotta start all over. So marching wasn’t to learn how to march. Um, I think after I left boot camp I marched, oh, for another six months when I went to school, because they’d march us back and forth to school, but once I left school, I never marched again. Um… Unidentified [inaudible] you want to take his[?] call? Matthews So, um, I—I, um, [clears throat]—the marching was, once more, one of the teaching points. Um, you have the discipline to do it. It seems silly, but it has a greater purpose. Do you have the attention to detail to do it correctly? Uh, and do you have the patience? That’s the key: do you have the patience to do this a long time? So I’m going to say that’s probably what I remember most about the—about the Grinder [laughs]. Miller Yeah, a lot of vet[eran]s mention the Grinder. That’s for sure. Along with the Blue Jacket also. Matthews We did a lot of running on the Grinder. We—they—we spent a lot of time on physical fitness, and—and part of that is, um—part of the physical fitness aspects are, um—we need to be in shape obviously, but the same time, when they teach us things, they have to be able to stress us, so that when we—in a real situation, and there’s stress involved, we make the right decision. Part of the physical fitness is wearing you down to a point where you are stressed. So they would—they would send us through running exercises and physical fitness, and then they’d get us into a classroom environment, and we’d have to start making decisions based on that, and—and that was critical to our training—to be able to say, you know what? I’m dog tired, like I said a few minutes ago, I’m tired, but I still got to shine my shoes. I still have to do this action, I still have to clean up my—my area. My rack still needs to be made perfectly, even though I’m tired and I don’t want to do it, and the only way you can get people to do that is to repeat it, repeat it, over and over again, the same thing over and over again, and even when they do it completely right, have them do it over. So it was part of, you know—all the services have a long, long history of boot camps and what they’re trying to teach, but if you don’t understand that concept going in—this is what they’re trying to do—it can be pretty hard. You can think, What difference does it really make that the corners on my rack are folded just perfectly? You know, Come on. You’re being silly, and the people that have the hardest time is [sic] the people that push back on that. Um, Like my brother–in-law—he made sure I knew before I went in. just do it, play the game, move on, and from that, even though I was [inaudible] playing the game, I learned the importance of that, and I learned the discipline that comes with it, which allowed me I think, later on in my short Navy career, to function at a higher level [laughs]. Miller Now, after graduation, did you immediately leave? Matthews No, I, um—I—I left Orlando, um, and then I—I went to [Naval Air Station] Memphis[, Millington, Tennessee] for about a year of school. Um, So I can’t remember if I took any leave between boot camp and Memphis, but if I did, I didn’t take very much, um, which is one of the reasons I was in Orlando, because, um, when I was joining the Navy—working with a recruiter—at that time, the Navy had three boot camps. They had Orlando, which 60 miles from my home, [Naval Training Center] San Diego, California, or [Naval Station] Great Lakes, uh, up in Illinois—Chicago, and I said, “Do I get a choice?” He goes, “You can always ask for—request a particular boot camp.” I said, “Great.” you know, “I want to go San Diego. I don’t want to go to Orlando. Great Lakes is to cold. Send me to San Diego.” and he said, “Alright. I can do that.” he said, “I’ll put that down. Probably a good chance of getting it.” and I’m thinking, Woohoo. I’m on my way to California for boot camp. He said, “What you need to understand is, after boot camp, you’ll get one to two weeks leave.” I said, “Okay.” he goes, “Before you go to your next station, you’ll get,” you know, “two weeks leave.” I said, “Okay.” He said, “And if you want to go home you, you can go home.” I said, “Great.” He goes, “but the Navy’s going pay you to go from San Diego to Memphis. If you want to go from San Diego to Lake Wales and back to Memphis, you’re going to pay the difference,” and, um, you know, I was—I was pulling down that huge E[nlisted Rank]-1 pay. That’s when I decided that, it was just boot camp. I’ll go to Orlando [laughs]. So long—long answer to your question is: yeah. I did take some leave. I took two weeks afterwards, went home, um, tried to forget everything I learned. It didn’t work, and then I reported to Memphis, um, in the summer of [19]77. Miller Did other recruits go to the NTC? Matthews I believe some did. Yes, I believe some stayed there. I—I can’t recall for sure, uh, but I believe some stayed there. Yes. Miller [inaudible]… Matthews Just the sheer numbers, there must have been some that did. Miller Well, when you were on leave, uh, did, uh, a lot of the sailors to hang out in the area or stay in Orlando for a while? We have stories of them hanging out at [Orlando] Fashion [Square] Mall and, you know… Matthews Um, well, my guess is—now, in my case, when—when I was released, I could, you know—my family was right outside the gate. I hopped in the car and drove back to Lake Wales. Other folks had transportation to wait for, um, so they may have spent time at the, you know—that weekend at the mall. They may have transferred. I—I do know that, you know—obviously we know that NTC was also a training command for other boot camp. So there was[sic] probably sailors hanging out there. and I’m supposing here, that the rules were the same as when I went—first went to Memphis, and that was: when you’re that young a sailor, if you’re going on liberty, you’re going in uniform, because we want to be able to identify you as such, because we don’t completely trust you yet. You’ve been locked up for eight weeks [laughs]. Um, there might be a tendency for you to get in trouble, so we want to be able to quickly identify you just in case, and we also want to remind you that you are part of the Navy now, and if you’re wearing a uniform, maybe that will be a subtle reminder that you need to represent the Navy proudly. Uh, didn’t always work that way, but, uh, it was a thought. Miller Well, we’re going to go a few years in the future and, um—and, uh—do you know anything about BRAC [Base Realignment and Closure Commission] and—and—in regards to, uh, the RTC? Matthews Yes. Miller Oh. Matthews Yes, I do know. Miller Um, can you share some of your experience? Matthews I’ll share what I know, because, um—what happened was: I, uh—I spent seven years in the Navy, and I, um [clears throat] —when I got out of the Navy, I went to work at the [John F. Kennedy] Space Center for about a year and a half. Then I was fortunate enough to get a job at this organization.<a title="">[1]</a> This organization was not here in this building<a title="">[2]</a> at that point. It was back on NTC Orlando. So after ‘bout eight years, I’m back on base again. Uh, I’m not on the recruit side. I’m on NTC side. and we’re in—we’re in a bunch of different buildings, um, spread around the base, and these are—some of these buildings are so old, they were built by World War II POWs [Prisoners of War] —German POWs. Um, I—I guess we captured some POWs in submarines off the coast of Florida when they were—Operation Drumbeat. I think it was that what was going on. Anyway, they captured these guys and these guys built these buildings. So here, I’m checking in 1985 and I’m going in a building that was built 40 years ago, and they’re spread all over the base, and, um, [clears throat] unbeknownst to me at that particular time, there’s a move afoot by UCF and, back at that time, Congressman [Clarence William “Bill”] Nelson [II] —now Senator Nelson—to—to emphasize modern simulation in this brand new [Central Florida] Research Park that were in now, and so—so he was able to get 40 acres donated to the Navy. Congressman Nelson—Senator Nelson now—was able to get the building, BUILDCON built, and we moved out here, um, in ‘88. Um, my command—the command I’m in now NAWCTSD. The rest of NTC/RTC Orlando stayed, uh, on base. Very fortunate move for us, because as, you know, history shows, in 1995, the 1995 BRAC decided that the Navy only needed one boot camp, uh, and they decided that boot camp was going be at the Great Lakes, Illinois. So San Diego boot camp was closed. The, uh, Orlando boot camp was closed, and the rest of the training command—because it wasn’t just boot camp. It was our Nuclear Power Schools, as well as some other schools—all on base—were all BRAC and were told to move elsewhere. Um, and so BRAC doesn’t happen overnight. It takes a series of years to get all the moves made [clears throat], and I often laugh, because when I—when I think about the buildings that I was in—as I said, built in World War II—we watched the BRAC process work on base, and we watched government contracting at its finest, and the NTC Orlando was a—was a very important base for the Navy. So important they invested a lot of money in infrastructure. So what they ended up having to do is they had to contractually finish these brand new buildings, so that they could then tear them down, because of the BRAC. So, um, for those who saw the—the BRAC process, they completely leveled the base. All the buildings that were there, with a couple exceptions like the VA [Veterans Affairs] hospital and one or two other buildings. Uh, and some of the buildings they leveled were brand new buildings. I mean, they had never been occupied, but they had to wait ‘til the contract was over and completed, and then they were torn down, and, uh, I don’t know if you were around there or not, but they literally created mountains of rubble in destroying this base. Um, [clears throat] was it a good move? I don’t know, you know? I don’t know the, uh—the financial aspects of it. I do know that, uh, boot camp at Great Lakes has turned into a wonderful facility. I was just there a few weeks ago. Um, and the way we’re tr—training our recruits now is so much better than when we were training, when I was a sailor. Um, so from that aspect of it, it has been very positive today for the Navy. Um, Could that same thing have happened to Orlando, San Diego, and Great Lakes? Possibly, but I do know the Navy has improved their recruit training dramatically, and it just happens to be located in Great Lakes, and, uh [clears throat]—so I watched the BRAC process, uh, go through. Uh, I know not—I know that the decisions made were not popular by many, but in the end, uh, I think it turned out okay. Miller Okay. Uh, so went to Memphis… Matthews Mmhmm. Miller For your training, and what—you trained for… Matthews Aviation Electronics Technician. Miller And then what happened? Matthews So after that, I was stationed at NAS [Naval Air Station] Cecil Field, which is near Jacksonville. Uh, and I was working on, um, A-7 aircraft. um, and I was there for three years, and I had a pretty good, uh—I was fairly fortunate that, in my three year tour in the A-7 outfit, I was able to work both organizational level maintenance and intermediately level maintenance, which means when I first got there, uh, [clears throat] I had some training, and then we deployed[?] aboard the ship, and I got to work on the flight deck, uh, and, I [clears throat] uh, really enjoyed it, uh—working the flight deck at night, uh, Because I was a 21 year old kid [laughs]. Uh, and I—you know, just the danger involved, the excitement involved, what you’re doing is just so, so wildly important that I just—it’s hardest—it’s the hardest I’ve ever worked in my life, But probably the most enjoyment I’ve ever had in my life—working on the flight deck for the first cruise. The second cruise I worked in mid-level[?], which gave me a different, you know—I was more of an Electronics Technician at that particular point, because now I’m working inside the electronic boxes—trouble-shooting, not working the flight deck anymore, but I was able to do that, um, for the second cruise. So I got kind of the best of both worlds when it comes to A-7’s, and after three years, uh—at that time, the rotation for the Navy was three years, uh, sea duty, three years shore duty. So I finished my sea duty, made two cruises, um, and then I went to shore duty over at NAS Jax.<a title="">[3]</a> Um, and that was working on P-3s, and I was an instructor for Maintenance Technician and I taught them how to work on the different systems of P, and that was pretty much the summary of my career, because after that second tour, I had been in the Navy for seven years, four months, and ten days. Not that I was counting. Um, I got out and, uh, I went to work at the Space Center, and then I ended up here eventually. So is that what you’re looking for? [laughs]. Miller Your career. Did you, um, eh—did—were you involved in operations? Or, I mean, um, did you see combat or… Matthews No. Miller Anything happen? Matthews No, and when—when we went aboard ship, uh, we made two cruises, and, um, it was during the period of time in our history where there wasn’t active combat going on. Um, this was—my cruises were from, uh, ’78 to ’81. Um, had a couple of incidences. The, um, Lebanon missile crisis that occurred when we were coming home one time. We had to take a detour and hang out in Libya for a while. Our pilots certainly flew in dangerous environments, especially over Libya, but I myself was never exposed, to my knowledge [laughs], to a combat situation. Miller Any other experiences that you have—your time in the Navy? Matthews I did go in the [Naval] Reserves for about four years. Uh, My P-3 background allowed me to, uh, join the Reserves. So I would go to Jacksonville once month, er—excuse me—one weekend a month, and then I would spend two weeks every year in Bermuda, which was pretty tough duty. So then, when they decided that the Navy looked at different things and decided that they were going to close their operations in NAS Bermuda, I figured it was probably a good time to get out of the Reserves. So, um, other than that, the rest of my time—other than a little bit of time working for the Space Center—has been working for the Navy here, um, at NAWCTSD. Miller So the Navy was your connection into, uh, NAWCTSD and everything of that sort? Matthews I think so. Yes. I shouldn’t say, “I think so,” because yes. It was. Because, um, although I was in the Navy for a short period of time, I got out for reasons. Um, I love the Navy, you know? I loved it then. I love it now. Um, when I went in the Reserves, I met someone that worked here, um, told him my background—the fact that I was an instructor for the Navy, had a degree in education, and all that stuff. He felt that there would be a good fit here at NAWCTSD. So he told me about this place and, up until then, I didn’t even know it existed. Um, so he was probably—well, not probably—it was because of my connection with him in the Reserves that I found out about this place, and he told me how to apply for a job, so that’s how I was able to get back here. I couldn’t have been happier. I don’t know that there’s a better place that I could have worked. This fits my personality, this fits my background, and—and it’s something that I really enjoy doing, so pretty fortunate that way, I guess. Miller Well, what are some of your responsibilities? Matthews Here? Um, well, um, my responsibilities now are, um, we have a command of about a thousand people—about 40 military, and this command is responsible for buying the training systems for the Navy. So, um, any sailor—whether that’s an enlisted sailor or officer sailor—that has to do something in the Navy [sniffs], is probably trained on a system that came out of here and the people that support it. So whether it’s a pilot, uh, flying aircraft, or it’s a Maintenance Technician that’s working on a training system—working on a trainer of their aircraft—doesn’t matter. They’ve gone through this. Even in boot camp, right now, when folks have to go to boot camp, they’re working—using training systems that came from this place. Um, my responsibility to that is: I’m responsible for all the program managers that—that manage the programs that deliver those training systems. I also have, uh, duties as the, uh, deputy to the senior civilians, so that anything to do with the command, if you will, involving the civilians, I have a, uh, leadership role in making sure that the environment the folks have here is the best, um, environment they can have to produce great results for our Navy. So it’s—it’s two hats: responsible for the program management and also responsible for the total work force, uh—one of the folks responsible here at the—at the center. Miller Uh, you said that the command has a thousand people. That’s pretty large. Um, what do you think the impact is to this area? Matthews Uh, lots of studies been done on that [laughs]. Uh, and I’ve been fortunate to watch that impact grow. Uh, I mentioned that I was on base and then we moved out here. When we moved out here, um, [clears throat] to the building, it was mostly trees, not buildings like we have here now. Our building’s here. There’s two other buildings. University Boulevard was a two-lane road. Uh, the only close restaurant to go to was the Olive Garden on—on [Florida State Road] 50—Colonial [Drive], um, and pretty much everything you see around here has come since then, and it’s because of, not just the Navy, but our partners the Army, and the Marine Corps—and the Air Force, to some extent—all have centered their training system acquisition here. Um, we’ve been able to do that, because of our good partners, UCF. and the industry, as well as the City of Orlando, the County of Orange county, and the State of Florida have all invested in this, because they’ve seen what an engine modeling simulation really is. So [clears throat] I would say 12-15 years ago, we were pretty busy, and we were doing—just the Navy—doing 2-3 hundred million dollars in business. Now we do about a billion every year. Uh, The Army does two to three times that every year, um, and that’s new acquisitions going out every year. Our total portfolio for the Navy is about four or 5 billion dollars’ worth of acquisitions we’re managing at one time. Because not only are we responsible for putting those training systems out there, the Navy has changed their business model in the last 20 years. In that these training systems that are out in the field for our sailors to train on, are maintained by civilians—by contractors. So were responsible for putting those contractors out there to maintain those—those, uh, devices that train. As I said—I love to say over and over again, every sailor that—in the Navy has touched one of our products. Has—has benefited from one of our products. So that’s something I’m very proud of—to be a small part of this big organization that provides that for the—for our Navy. Miller So the other Armed Forces are very involved? Matthews Yes, yes. Miller You don’t see that too often. Matthews Yeah, [clears throat] we like to brag. Ourselves and the, uh—the way this organization—this organization, NAWCTSD—whatever it was called back then—actually started in the World War II era in a little Chevrolet—use to be a Chevrolet dealership up in the [Washington,] D.C. area, [sniffs] um, [clears throat] then moved to New York, and when it moved to New York, the Army said, “Hey. We like what you guys are doing.” So in 1950, the Army and the Navy signed a memorandum of agreement that said were going work together on this modern simulation training stuff, and when we moved from New York, the Army moved with us down to Orlando, and that MOA [memorandum of agreement] that we signed in 1950 still stands unaltered, and we believe it’s the longest standing MOA between the Army and the Navy ever. So 65—almost 65 years, we’ve had an MOA that’s been unaltered, and if you’re familiar the way the Army and the Navy sometimes play together, that’s a pretty amazing fact. So we—we’re proud of that. So yes. We’re strong partners with both the Army and our Marine friends, and the Air Force as well. Miller And, um, just some closing questions about the [Lone Sailor] Memorial [Project] itself. Um, what—what do you think of the memorial and, you know, memorializing Baldwin Park and, you know, the Grinder? Matthews I think it’s a great idea. I—I—I think it’s a great idea, and I got to tell you Mike Philips s my hero, because, um, I can’t even remember how many—how many years ago it was. Oh, there. It’s up there. So 2005-2006 time frame, I was president of Central Florida Navy League here, and Mike Philips came to me and says, “Hey. I’ve got this idea. I want to put the Lone S—Sailor Memorial up in Baldwin Park, and I think it’s a great idea.” I said, “I think it’s a great idea too.” and then I—he said that it’s going to cost this amount of money, and I looked at Mike and I just—I almost laughed at him, because, like, “Mike, oh, my gosh. With[?] that kind of money, I just can’t ever see that happening. As—as great as the Navy was to this place, I just can’t ever see that happening,” and dag gummit, I’m so happy that I was wrong and Mike was right. So I’m really excited about—no—no bones about it. Mike Philips is the driving force behind this. A lot of folks have—have pitched in, and [inaudible], but Mike was the visionary that said, “This is what we need to do.” and his dream and our dream is coming true. It’s just the neatest thing that I could think of. Miller Have you talked to other graduates who—about this? Matthews I’ve talked to my brother-in-law. Miller Mmm. Matthews And he’s kind of excited about it. Um, both him and I want to do the, uh, paver bricks for, um, our— time there. Um, so—but that’s probably, you know, it—it’s—we work with a lot of people here in the building. Uh, and quite a few probably have gone through boot camp, but they’re in Orlando, but we don’t compare that much. I mean, you know, in the Navy, when you start telling sea stories, it’s about, “I was on this ship,” or “I was on this cruise,” or “Let me tell you about this liberty port.” no one ever really says, “And I went to boot camp at…” [laughs]. So that’s just not, you know, because quite—I shouldn’t say this, but quite frankly, when you show up for boot camp, the first day and you leave the last day, it didn’t really matter whether you were in Orlando, San Diego, or Great Lakes. It was all the same to you. It was marching behind the guy in front of you, classes, late nights, you know—so that stuff. So there’s probably that—that connection that sailors have with their first ship and maybe their first base, as there is with boot camp. doesn’t mean it’s not important, um, but that’s probably why folks don’t—I mean, I know there’s[sic] guys—I work with a lot of retired guys—ex-Navy guys. I couldn’t tell you how many of them went to Orlando, to be honest, you may want to cut this part out [laughs]. Miller [laughs] No, no. All the stories are valuable—but great. Thank you very much. Matthews Well, thank you. Miller [inaudible]. Matthews It was a pleasant being asked these questions again and give me a chance to travel down memory lane. Miller Okay. Matthews When we started, I told you I didn’t have much that I remembered, but you’re right once. You start, it just starts to flow. Miller Good memories. You have a nice smile too. Matthews Yes, thanks for the opportunity. Miller Well, thank you. Matthews Sure. Alright, and I need to sign some forms for ya? <div> <div> <a title="">[1]</a> Naval Air Warfare Center Training Systems Division [NAWCTSD]. </div> <div> <a title="">[2]</a> Naval Support Activity (NSA) Orlando, located at 12201 Science Drive. </div> <div> <a title="">[3]</a> Jacksonville. </div> </div> A-7 Attack Squadron 174 aviation electronics technicians Baldwin Park Base Realignment and Closure Commission basic training Bill Nelson boot camps BRAC BUILDCON Central Florida Navy League Central Florida Research Park Clarence William Nelson II co-educational cold war Community Veterans History Project CVHP demolitions E-1 education Enlisted Rank 1 enlistment Expeditionary Medal gender segregation graduations Grinder Jacksonville Lake Wales High School Lake Wales Junior High School Ling-Temco-Vought A-7 Corsair II Lockheed P-3 Orion Lone Sailor Memorial Project LSMP Maintenance Technician marching Mark Miller Master Training Specialist memorials Memphis, Tennessee Mike Philips military education military instructors military leave military training Millington, Tennessee NAMTRADET NAS Jacksonville NAS Memphis Naval Air Maintenance Training Detachment Naval Air Station Cecil Field Naval Air Station Jacksonville Naval Air Station Memphis Naval Air Systems Command, the Naval Air Warfare Center Training Systems Division Naval Air Warfare Center Training Systems Division Naval Reserve Navy League NAWCTSD orlando P-3 POW prisoner-of-war Recruit Training Center Orlando Research Park Rob Matthews Robert Matthews RTC Orlando sailors Science Drive segregation simulations simulators Soaper Spook Hill Elementary School training training systems U.S. Naval Reserves U.S. Representatives U.S. Senators University Boulevard USS Blue Jacket VA-174 VA-87 veterans World War II WWII https://richesmi.cah.ucf.edu/omeka/files/original/017149c91b62c7a4b14385f0171aea84.pdf 5e0b59b50bd857278237fec9d293f9c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lone Sailor Navy Memorial History Project Collection Alternative Title Lone Sailor Collection Subject Veterans--Florida Orlando (Fla.) United States. Navy Navy Sailors--United States Description Collection of digital images and oral histories related to the former Recruit Training Center Orlando (RTC Orlando) for the United States Navy. The training center transformed raw recruits into highly effective sailors. This process took place over an intensive eight-week training period, commonly referred to as "boot camp." RTC Orlando occupied roughly one half of the former Naval Training Center Orlando (NTC Orlando), which was located at present day Baldwin Park, Orlando, Florida. Between 1968 and 1994, over 650,000 men and women graduated from RTC Orlando. Contributor <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Naval Training Center, Orlando, Florida Contributing Project <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Gordon Pierce and Trina Cothrin Alternative Title Oral History, Pierce and Cothrin Subject Veterans--Florida Navy Orlando (Fla.) Vietnam War, 1961-1975 Afghan War, 2001- Global War on Terror, 2001-2009 Description An oral history interview of Gordon Pierce (b. 1930) and Trina Cothrin, who both served in the U.S. Navy. Pierce was born in Buffalo, New York, on September 16, 1930. He enlisted in the Navy in 1948 and served until September of 1977, during the Cold War era and the Vietnam War. During his service, Pierce was station on the USS Wasp, the USS Coral Sea, the USS Franklin D. Roosevelt, and the USS John F. Kennedy. He achieved the rank of Master Chief Petty Officer and earned a Navy Commendation Medal and a Navy Achievement Medal. Pierce's daughter, Trina Cothrin (b. 1958), was born in Jacksonville, Florida, on October 13, 1958. Cothrin enlisted in the Navy in October of 1979 and served until October of 1982, when her son was born. She was then in the U.S. Naval Reserve until 1993, when she joined the U.S. Army. She left the military in 2009, after serving in Operation Enduring Freedom during the War in Afghanistan. Throughout her service, Cothrin was stationed at Naval Air Station Miramar (NAS Miramar) in California, Naval Air Station Jacksonville (NAS Jacksonville), U.S. Central Command (USCENTCOM) in Qatar, and MacDill Air Force Base (MacDill AFB) in Tampa. She ultimately achieved the rank of Chief Yeoman. This oral history interview was conducted by Roger Jordan Sims on March 12, 2014. Interview topics include enlistment, boot camp, Naval Training Center Orlando (NTC Orlando), the Vietnam War, Operation Enduring Freedom and the War in Afghanistan, life after leaving the Navy, how Central Florida has changed over time, the legacy of NTC Orlando, and the Lone Sailor Memorial Project. Table Of Contents 0:00:00 Introduction 0:01:48 Background 0:02:23 Enlistment and boot camp 0:03:57 Naval Training Center Orlando 0:07:45 Social life and relationships on base 0:12:47 Hardest part of NTC Orlando, proudest moment, and unforgettable memories 0:15:16 USS Blue Jacket and the Grinder 0:20:46 Vietnam War and the War in Afghanistan 0:23:10 Leaving the Navy and post-naval life 0:27:23 How Central Florida has changed over time 0:29:36 Legacy of NTC Orlando and the Lone Sailor Memorial Project 0:32:44 Closing remarks Abstract Oral history interview of Gordon Pierce and Trina Pierce Cothrin Interview conducted by Roger Jordan Sims at Central Florida Research Park in Orlando, Florida, on March 12, 2014. Type Moving Image Source <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/292/rec/1" target="_blank">Pierce, Gordon</a>. Interviewed by Roger Jordan Sims, March 12, 2014. UCF Community Veterans History Project, DP0014915. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/291/rec/2" target="_blank">Cothrin, Trina</a>. Interviewed by Roger Jordan Sims. UCF Community Veterans History Project, DP0014914. March 12, 2014. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a>. <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format Digital transcript of original 35-minute and 10-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/292/rec/1" target="_blank">Pierce, Gordon</a>. Interviewed by Roger Jordan Sims, March 12, 2014. UCF Community Veterans History Project, DP0014915. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Digital transcript of original 35-minute and 10-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/291/rec/2" target="_blank">Cothrin, Trina</a>. Interviewed by Roger Jordan Sims. UCF Community Veterans History Project, DP0014914. March 12, 2014. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Naval Station Great Lakes, Great Lakes, Illinois Jacksonville, Florida Vietnam Naval Air Station Sanford, Sanford, Florida Naval Air Station Key West, Key West, Florida Naval Training Center Orlando, Orlando, Florida Naval Air Station Miramar, Miramar, San Diego, California Pensacola, Florida Afghanistan Qatar Creator Pierce, Gordon Cothrin, Trina Sims, Roger Jordan Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-03-12 Date Issued 2014-09 Date Copyrighted 2014-03-12 Format application/website application/pdf Extent 301 MB 195 KB Medium 35-minute and 10-second Digital (DAT) DVD audio/video recording 21-page digital transcript 199 KB Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Roger Jordan Sims, Gordon Pierce, and Trina Cothrin. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/292/rec/1" target="_blank">Pierce, Gordon</a> <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/291/rec/2" target="_blank">Cothrin, Trina</a> Transcript Sims Okay. Today is March 12th, 2014. I am interviewing Gordon Pierce and Ms. Trina [Pierce] Cothrin, uh, who served in the United States Navy. Uh, Mr. Pierce was an aviation metalsmith. Uh, Ms. Cothrin was an aviation maintenance administrator and yeoman. My name is [Roger] Jordan Sims. We are interviewing Mr., and, uh—Mr. Pierce and Ms. Cothrin as part of the UCF [University of Central Florida] Community Veterans History Project and as research for the creation of the Lone Sailor Memorial Project. We are recording this interview at the [Central Florida] Research Parkway in Orlando, Florida. Uh, Mr. Pierce, Ms. Cothrin, will you please start by telling us when and where you were born? Pierce I was born in Buffalo, New York, in 1930. Cothrin And I was born in Jacksonville, Florida, in 1958. Sims What did your parents do for a living? Pierce My parents worked for the State of New York. My father was, uh, in charge of the warehouse for all the supplies for a mental hospital, and my mother was a nurse. Cothrin And my father was, uh, a Master Chief Petty Officer in the United States Navy—Navy, and my mother was a full-time, uh, mom. Sims Uh, do you have any brothers and sisters? Cothrin I do. I have, uh, three brothers and one sister. Uh, my oldest brother, uh, Tommy Foreman—he was actually stationed at, uh, McCoy Air Force Base, Uh, when it was an Air Force base, and then, uh, my younger brother Bruce [Pierce] joined the Navy. He and I joined the Navy together on the same day. Uh, He was in boot camp before I did, but we, uh—our paths crossed while we were in boot—boot camp together, and then later, Uh, when I was stationed in San Diego[, California], he came to San Diego for school. Uh, and then, Uh, when my husband and I were stationed in Pensacola, he also was subsequently stationed in Pensa—Pensacola. Then I have a sister named Tina [Pierce] and a younger brother, James [Pierce]. I don’t think I said my brother’s name, who enlisted with me, and that’s Bruce. Sims Okay. Um, when did you both decide to join the Navy? Cothrin My brother and I? Sims Both you… Cothrin Okay. Sims And Mr. Pierce Pierce I joined the Navy in 1948, after I graduated from high school. Cothrin And, uh, my brother and I, uh, decided to join the Navy in October of 1979. Uh, uh, you know, he, uh—he had just finished high school, uh, the previous summer, and, uh, we both just decided to do it together. Um, I mean, I—I dunno what—is that enough? Sims Oh, yeah. Absolutely. Cothrin Okay. Good [laughs]. I don’t know how in depth you want me to go. Sims No, I just… Cothrin Okay. Sims Whatever—Whatever you’d like to tell us. Pierce [clears throat]. Sims Um, where did you both attend boot camp? Pierce I attended boot camp in [Naval Station] Great Lakes, Illinois. Cothrin And I—here in Orlando, Florida. Sims What were you trained for, uh—for your career in the Navy? Pierce I was trained as an aviation metalsmith in Memphis, Tennessee, and I spent, uh, um, about three or four months there, waiting to go to school. then I went to nine weeks of school to be an aviation structural mechanic or aviation metalsmith. Cothrin And I, uh, was an aviation maintenance administrator. I went to school in, uh, Meridian, Mississippi,<a title="">[1]</a> uh, and that was a six-week self-paced course that I finished in a month. Sims Uh, when did you both begin your time at the Naval Training Center Orlando and how did that come about? Pierce I can’t remember. Cothrin Okay. I’ll talk to mine Sims Okay. Cothrin And then I’ll help him with his. Uh, I went—started boot camp in December of 1979 and I finished up in, I believe, it was March—February-March timeframe—of 1980, and subsequently went to San Diego, California, for a month, and then, uh, went to Meridian, Mississippi, and back to San Diego. My father, uh, was stationed in, uh, NAS [Naval Air Station] Key West, and in 1970—’74, we—we moved to the Orlando area for a twilight tour. My fa—grandfather had passed away and, uh, we moved up here to, you know, be with my grandmother, right? Pierce Pretty much. Cothrin Okay. Sims Uh, what did you know about the region, uh, militarily or otherwise, before coming to Orlando? Pierce We learned quite a bit about it, because I had been stationed in Sanford, at the, uh, Naval Air Station [Sanford] there, for a number of years, and then I went down to Key West for shore duty, from that sea duty drill, and we came back up here, because we liked Central Florida. Cothrin I—yeah, I lived here. So [laughs]… Sims [laughs]. Cothrin I knew the area. Sims Um, how long did you both spend at the Naval Training Center? Cothrin I only did the, uh—spent the time there during boot camp, and my father was there for—from ’70… Pierce [19]75 to ‘77. Cothrin Was it ’75? or ‘74? Pierce I think it was ‘75. Cothrin Okay. Sims Uh, when you first arrived, what were your first impressions of the area? Pierce Same old place [laughs]. Cothrin [laughs] I was in high school, uh, so—I mean, it was okay [laughs]. Sims What were your first days at the Naval Training Center like? Pierce They were spent primarily training out to become a Company Commander at the Recruit Training Center [Orlando], and, uh, we went to school I think for six weeks, and we learned how to give lectures, and how to march sailors around, and so on and so forth. Cothrin Well, for me, it was, you know [laughs]—that first day, you know, you’re getting all your gear and, uh, you’re learning how to be a sailor, and, uh—so it was interesting [laughs]. Sims Uh, what were your primary responsibilities while at the Naval Training Center? Pierce I was the Correctional and Instructional Standards Division Officer, and we were, more or less, like a quality control unit. We would visit the various classrooms, and make sure the instructor was following the lesson plan, and completing all the things he had to do to get the point of the lesson across to the students. Cothrin And, for me, I was a recruit. I was there to learn. Sims Um, what was your overall impressions of the recruits and their training during your time at the base? Pierce I was impressed with the quality of all the young men and women that were brought into the Navy, and I thought the recruiters were doing a heck of a good job. There were very few people that[sic], uh, fell out, during my time as a Company Commander, and, uh, it was a great experience. I really enjoyed it. Cothrin Um, I, uh—you know, once you get past that first initial shock, you know, and you—you get into your training group, I think everything went well. I, you know—I, uh, ultimately enjoyed the time I spent there. Um… Sims What kind of social life existed among the recruits? How often were you allowed to go off base, and what places did you visit locally? Cothrin Uh, I don’t think we were allowed to go off base until our training was completed. Uh… Pierce Well, in the middle, wasn’t there a two-day weekend? Cothrin Uh, no, I think the only thing we got to do was go to the visitors’ center and y’all were allowed to come visit us. That’s where the parents and families come—came, at the time that I was there. I do believe. Pierce Okay, yeah. I remember that. Cothrin Okay, and, uh… Pierce That was about right. Cothrin Right, because we were—Bruce—Bruce went into basic training in November, and then I went in in December. So over the Thanksgiving holiday, he was there, and then, over the Christmas holidays, we were both there, and that’s where that one picture came from, where we’re all four there on those picnic—at those picnic benches. Pierce Okay. Cothrin Yeah. Sims How did your training experiences shape your relationships with the other recruits in your class? Cothrin It was a team-building experience. It—it, you know—it drew you together. Um, you know, taught you how to work together, uh, to accomplish goals. Pierce The—the whole criteria for the Recruit Training Com—Command, As far as recruits and Company Commanders were concern—concerned, was to build them into a team, and it was 180 people on a team. Cothrin It was a lot. Pierce Something like that, and, uh, that was the—the goal was drill into them that they had to work as a team. They would clean the barracks, they would march, and they would do all things together, you know, as a team, and it—it was a rewarding experience to see them develop. Sims Who did you both interact with on a daily basis? Pierce Uh, there were people who were, um—hey would come around and they would take the—the recruit Company Commander would take the recruits out on the Grinder, and he—there were observers, and they would mark them—see how the training was going, as far as marching and things like that were concerned, and they would come back and open ranks, and do an inspection, and—and it was all very, very formal and, uh—what else do you want? Cothrin Okay. So, uh, my daily interaction was, uh, with our, uh—our, uh—what do you call them? Our, uh… Pierce Company Commander. Cothrin Our Company Commanders, and our, you know—our CPO [Chief Petty Officer] and then our—of course, our, uh,—the other recruits, and then you also interacted with, uh, other instructors, depending on where you were at. Whether you were in weapons training, or some other safety training, or—but for the most part you were with your Company Commanders, you were learning how to fold your clothes, put away your clothes, um, and… Pierce Make your rack. Cothrin Make your bed a certain way. Uh, you were always having inspections. Uh, you know, how to wear your uniform, uh—let’s see. We went through firefighter training, and, you know, gas mask training—those kinds of things. They put you through your paces. You had your swim test, you know, uh, [inaudible], you had to float in the water for five minutes, uh, you know, you had to be able to, uh, swim from one end of the pool and back, you know? But, uh—so I don’t—I honestly don’t remember everything that we do. I do—I do remember the weapons training, the swim test, the marching, the folding of the clothes, the, you know—the bed inspections. You know, you’re getting up every day at 5 o’clock in the morning. Uh, you know, going to breakfast, lunch, and dinner. You march there, you march back. You know, they always had somebody up there, you know, letting you know the instructions. You had 20 minutes and 20 minutes only to, you know, get through the line, and eat your meal, and back to wherever it was we met to, you know, march back to wherever we were going next. Sims Uh, what do you remember about the instructors at the base? And what were your impressions of them? Cothrin [inaudible]. Pierce I remember them all as being very professional, and they were t—their goal was to set an example for the recruits, [inaudible] in dress and... Cothrin Mannerisms. Pierce Mannerisms, and conformity to the rules and regulations. Look sharp, you know? Haircuts, and so on and so forth. Cothrin I would agree with him. Uh, the two, uh, Company Commanders that I had were, you know—they were there to set the example, as well as enforce the rules, and, you know, guide us—guide us through the process, and, you know, test us more, test us less, you know, push us harder where we needed to be pushed. Pierce And answer all the questions [laughs]. Cothrin Yes [laughs]. Sims What was the hardest thing you remember doing at the Naval Training Center? Cothrin Um… Pierce For me, it was learning how to stand in front of a class of 180 people and teach them how to do something, you know? And, uh, I wasn’t really a formal instructor. I was a hands-on aircraft mechanic, you know, and I was taken from that environment and put in front of all these people, and, uh, it was a very different environment for me, so it was kind of a struggle at the beginning, but I worked my way into it, and I ended up liking it very much. Cothrin I would say for me, uh—not necessarily the hardest thing, but, you know—you get there and you don’t know what to expect, and so then it’s learning to, uh, achieve the things you need to achieve in the time you have to do it, and So, you’re learning at a very rapid pace, uh, and, you know, uh—eh, so as—I don’t remember anything being [sighs] so terribly difficult. it was just a matter of learning it. Sims Uh, what was the moment you felt most proud at the Naval Training Center? Pierce Graduation. Cothrin I would agree. Pierce When your company pass and review, in front of the reviewing officers and the assembled guests and so on and so forth, it was kind of a proud moment. Cothrin It marked the end of the training cycle also [laughs]. You were done [laughs]. Sims Can you tell me a story of a time at the Naval Training Center that you will never forget? Pierce Not really [laughs]. Sims Not really [laughs]. Cothrin [laughs] Well, I remember the swim test part. Just floating there, and the sky’s blue, and you’re watching airplanes, and they, uh—and their, uh—whatever you call the smoke thing that goes by, and, you know, that’s what I was doing. Sitting there, you know—floating there, thinking about—I was like, Okay, as they ticked off the minutes, you know, to complete the test, but, uh—I mean, other than that, um, uh, I, you know—the comradery that, you know—that you had. I mean, once we graduated, we all dispersed, you know, a hundred different ways. Um, I think only one person that I went through boot camp with, uh, went to San Diego—I mean, he went to [Naval Air Station] North Island. So, um… Sims How would you describe to USS Blue Jacket, and what was its function? Pierce It was used to familiarize the, uh, recruits with, uh, how confined the living spaces were aboard ship and various aspects of shipboard living, and, uh, it was very helpful. It was a—it was a very, very, very large training aid that was very useful in getting your point across. Cothrin Didn’t we do battle station drills and those kinds of things on it, as well? I… Pierce I didn’t. Cothrin I, uh—yeah. I, you know—I don’t—don’t really remember. I—I think we did some sort of drills on the ship. Uh, It wasn’t, eh—it was more than just familiarization with a ship. They took us on board. We did things on it. I just don’t remember what. Sims Uh, what was the official purpose of the Grinder and what was its significance to you and the recruits? Pierce The Grinder was a very large piece of ground, where as many as nine different companies could get out there and march around, and not—not get involved with one another, if the Company Commander was paying attention [laughs]. Cothrin [laughs]. Pierce But it was a big area, and, uh, it was very hot in the summertime and kind of cool in the winter time, but, um, it worked very well. Cothrin Cold and wet. I—I mean, because we were out their marching in the cold and it was raining usually, but, uh, it was—it was all about marching out there. I think we did PT [physical training] out there. Pierce It was also used as a—if somebody was goofing off within the company, you’d tell them to run around the—the Grinder a couple of times as a—it worked off their exuberance, you know? Cothrin [laughs]. Sims Uh, what other types of training went on at the base? Cothrin The—the [Naval] Nuclear Power Training Command was there. Uh… Pierce You mean other facilities? Or other things that we taught? Sims Well, you have the basic boot camp recruit training. Pierce Right. Sims And then what other types of training would also go on, like the Nuclear [Power] School? Cothrin Like the NTC part of it? Do you remember what else was out there, other than nuclear training? Pierce No. Cothrin I don’t know. It wasn’t… Pierce But there was instructor training… Cothrin Yeah[?]. Pierce And peripheral things like that, to where—to support the Recruit Training Command. Sims Uh, what were other areas on the base that were of particular importance to you or the recruits, and why were these places important? Pierce Well, there was the Firefighting School, which was very important, because, uh, firefighting aboard ship is a[sic] immediate thing that has to be done and done well, and quickly, and thoroughly. I—I was always impressed with that, and there was the gunnery range. Cothrin [inaudible]. We went somewhere. Pierce They had a… Cothrin Yeah. Pierce As I remember here, it was indoors, but in Great Lakes, where I went through boot camp, it was outside. Cothrin I believe it was indoors. I agree with you there. Pierce Yeah. Cothrin Yeah, I mean, I agree with him. The firefighting, you know—you go through the firefighting, uh, class, and one of the films they, of course, show you is the fire on the [USS] Forrestal, and that’s something that I think is, you know—they carry though. They still—I think they probably still use that as a training aid today. Uh… Pierce Probably. Cothrin Yeah, I remember the—what’s the oxygen—the liquid oxygen. I remember, Uh—I mean, that was pretty gross, and they showed you a film, uh, with regards to liquid oxygen and what can happen to you if, you know… Pierce If it spills on you. Cothrin Yeah. Pierce It will freeze you. Cothrin Right. Pierce Very cold. Cothrin So, uh—okay [laughs]. Sims Uh, what was graduation like? Cothrin Um, for me, it was, you know, uh, the marching, and the passing in review, and you know, the, uh—the end of boot camp, and then the beginning of the next, uh, stage of my career in the Navy. Uh, so it, you know—it was being excited and being sad that you’re leaving, you know, the people that you got to know, and then excited to move on to the next thing, and Pride, you know, that you passed. That you got through it. Pierce For me, it was saying “Hello” to a lot of different people, where every recruit wanted to introduce you to their parents, to their loved ones, or whatever, and it was, uh, an emotional day. Sims Uh, what did you do for the Navy upon leaving Naval Training Center Orlando? Did you receive specialized training after your time at Naval Training Center Orlando? And if so, where did that take place? Cothrin Um, I did not go to A School upon graduation of boot camp. I went directly to a squadron. I went to VC-7 [Tallyhoers] at, uh, NAS Miramar[, San Diego], California. It was an [Douglas] A-4 [Skyhawk] training squadron. Uh, and when that squadron decommissioned, I think the, uh—not even—less than a year—maybe ten months later, I then went to A School in Meridian, Mississippi, and then, uh, went back to, uh, VF-124 [Fighter Squadron 124] an [Grumman] F-14 [Tomcat] squadron at, uh, NAS Miramar, and... Sims Were either of you ever in active warzone? Pierce What? Cothrin An active warzone. Have you ever been in an active warzone? Pierce I was over in Vietnam on the line for about three years. Sims Um, can you tell me about arriving in the warzone, and what impact that experience had on you? Pierce Well, you work 12 hours on duty and 12 hours off duty, and that just went on continuously. There were no weekends. There were nothing—you spent 30 days on the line, and then you’d go for a week in Olongapo[, Zambales] in the Philippines for liberty, and, um, it was pretty arduous and, uh emotional at times, because you’d lose airplanes and so on and so forth. Sims Uh, did you receive any medals or citations during that time? Pierce I received, um—what’s the orange and green one? Cothrin It’s a Navy Commendation Medal. Pierce Yeah, and now, the green and white one is… Cothrin Navy Achievement. Pierce Navy Achievement Medal. Cothrin Okay. Pierce Yeah, I received both of those and a whole bunch of service awards from various places of—of the world: Korea, Vietnam, Mediterranean Occupation Medal. Cothrin North Atlantic? [inaudible]. Not—I don’t know if it was North Atlantic, but you were up there too. Pierce And I crossed the Arctic Circle a number of times, but I didn’t—they didn’t give a ribbon for that. Crossed the Equator two or three times—maybe four, to get back [laughs]. Cothrin For me, I was mobilized, uh, in support of Operation Enduring Freedom. Uh, spent two years at CENTCOM [United States Central Command]. Um, after that, eight months, uh, I spent in Qatar. Uh, it was a, uh, very interesting and rewarding experience, the two years that I spent, uh, mobilized. Uh, it was interesting to go to Qatar. Uh, I—that’s the second country I had ever been to, outside the United States. The first was Mexico [laughs]—Tijuana[, Baja California, Mexico]. So, uh, it—it was interesting seeing the culture, uh, seeing the area, and then, uh, you know, like my dad said, it was, uh, generally a 15-16-hour workday, but, uh, it was a good experience. Sims Uh, do you both recall the day your service ended? and what was that like? Cothrin Uh, I —yes. So I got out of the Navy, uh, October 1, 1982—‘82 or ’81 [laughs]. Okay. ’82, because my son was born in November of ‘82. So, uh, it was a sad experience for me. I wasn’t ready to get out of the Navy. So, uh, once my husband and I transferred to Pensacola, it took six months, and then I found a billet in a [U.S. Naval] Reserve unit, and then I spent the rest of my career, uh, in Reserve units. Starting out in aviation units, and into intel[ligence] units. Um, you know, and through the course of my, uh, 29 years in the—in the Reserve, you know—active and Reserve program, uh, you know, did my two years mobilization at CENTCOM, and I, uh, had worked at, uh, Joint Task Force Forge[?] [inaudible]. I did [inaudible], uh—active duty down there with them, when we were stationed down there. So, I mean, I had a very full and interesting career. So, for you, Dad, you retired in, uh, 1977. Pierce Right. I think it was September 1st, and, uh—just another day, to me. No ceremony. I didn’t have a ceremony or anything like that. Sims Uh, what did you do after you left the Navy? Pierce I got a job in, uh, Sanford with a machine shop company, and they made, Uh, what’s called a “fax machine” now, but this was the very beginning, and it was a thing that went around in circles, and it printed letters, and so on and so forth. There was no vocal, but it was all—you could transmit a—a letter on this circular thing, and it went through the air somehow, and got there and… Cothrin Was that QWIP [Technologies]? Pierce Yeah, QWIP. Cothrin QWIP, and it was a company that… Pierce Went through the telephone. You had to call up, get ahold of the machine, and then you put the thing in there, and then you turn the machine on, and it would transmit the piece of paper. Very archaic, really. Cothrin [laughs]. Pierce Compared to today. Cothrin And, for me, um, I worked two jobs. So I had my Reserve career and then I had—I worked for the Army since 1993. Uh, and that’s when I started working full-time again. Sims Have either of you kept in touch with anyone from the Naval Training Center? Pierce I haven’t. Cothrin No, I—me neither. No. Sims What values or characteristics of the Navy do you believe made an impression on your life? Pierce The discipline, the organization, and the orientation of doing your—having to plan out everything and having to work your way through it. It was an organizational—a very strict class in organizational responsibilities, and —get ‘er done. Cothrin Right. Uh, you know, I would have to say—I would have to go to, you know, uh, something similar. Uh… Pierce [clears throat]. Cothrin And say, I mean, the caliber of people that were there that you worked with, uh, the things that you did. Uh, I mean, it was just a—it was a great experience. Um, I mean, I, you know, would recommend it to other people. to young folks that—if they don’t really, you know, have it figured out—what it is that they want to do, uh—spend four years in the Navy and—or any service—and, uh, see the world a little bit, and, uh, meet people from all walks of life. It’s a big melting pot. You learn a lot. Pierce You grow up in a hurry. Sims How has, uh, Central Florida changed since the time you spent here? Cothrin A lot [laughs]. A lot. Pierce Probably expanded three- or four-fold, population-wise. We—we retired in ‘77. Cothrin You retired in ‘77. Yes. Pierce So we were transferred here in ’75, I think, from Key West, Florida, and, uh, from the day I retired ‘til today, the place has—has really grown, and the population has… Cothrin Probably [inaudible]. Pierce Doubled—tripled, probably Cothrin Quadrupled, probably. Pierce Yeah. Cothrin I think they can remember when, you know—I can remember my mom and dad talking about when [Florida State Road] 436 was a dirt road. Pierce Right. Cothrin Okay[?]. Pierce Yeah. Cothrin Uh… Pierce It only went part way down to the airport and then it was a dirt road. Cothrin My grandparents—I don’t know when my grandparents moved here. Was it in the ‘50s or the ‘60s that they retired down here? Pierce I think in the late ‘50s. Cothrin The late 50s. They came down, um, from New York. So as kids, you know, we were coming—wherever we lived—because I grew up here in Florida, Uh, there was only one period of time when he was stationed outside of Florida, from the time I was born. So we’ve lived—I was born in Jacksonville. We’ve lived in Pensacola, Key West, and Central Florida. So we’ve done the gambit. So Florida—I’m a Floridian [laughs]. Pierce The squadron I was in was stationed in Sanford, but it deployed on a carrier that was home-ported in San Diego. So it would take three days to airlift the squadron out, and then three days to bring us back. When you got home finally, it was—it was, uh—I can’t think of the word I want to say. You had to move a lot of gear around to get your job done when, uh—when you were aboard ship. Cothrin It was a logistics, uh, exercise. Pierce Yes. Sims What do you think is the lasting legacy of the Naval Training Center and the Navy in general in the Central Florida region? Pierce I really don’t know. I’m sure it has a[sic] historical impact, but other than that, I really don’t know. Cothrin As far as today, the impact of the base, because it—it closed in the ‘80s? ‘90s? I don’t remember when it closed. Uh, But I mean—I think it had, uh, an impact while it was here. Uh, and it—and it had an impact for some time after it closed. Um, certainly, you know, you go there and look at Baldwin Park, you know, there’s no real sign that the Naval Training Center or Recruit Training Command, uh, ever existed. I mean, there’s little, little things, and I think that’s the purpose of the whole, uh, Lone Sailor, uh, Memorial [Project]—is—is to try to bring back something here in the Orlando area to remind folks that, hey, at one point in time, there was this, uh, Naval Training Center here and Recruit Training Command, and bring back some of that heritage. Pierce One of the things that I remember is: on Friday, up over the weekends, maybe half a dozen companies would get liberty and the seet[sic]—and the streets were just lined with sailors, and it would—it was just amazing, and then all of a sudden, they were gone, you know? And that—that was a visual impact I’m sure for a lot of these civilians around here. Sims What do you think former naval personnel would like to see or be reminded of when they visit the site of the base and the Lone Sailor Memorial? Pierce They would probably like to take their parents or guests around and point out various things that were helpful in their training, and, uh, show the Grinder and so on and so forth, where we marched, and the various [inaudible] buildings where they went to school. Cothrin Well[?], they’re not there anymore though [laughs]. Pierce Well, that’s true. Cothrin Yeah, I mean, I guess part of the Grinder is still there. They use it as a—there—there’s[sic], uh, park-like areas in part of it. , uh, I mean, the Blue Jacket is gone. It would have been nice if something like that had stayed, but it didn’t. Uh, and it—and I’m sure it had to do with upkeep, as well. Um, you know… Pierce The Blue Jacket was a model ship, right? Cothrin Yes. Pierce Okay. It was just—it wasn’t very big. It was about half as big as a destroyer, maybe a little bit smaller, but it, uh—it served as a good training aid. It was a good visual thing for the recruits to see their first ship or something like that [clears throat]. Sims Is there anything you would like to share about your naval experience? Pierce I would recommend it for everybody. It was a wonderful experience, as far as I’m concerned. You can’t imagine how precise everything is—the way they start flying in the morning and end up in the evening, after dark generally. Sometimes they flying around the clock, but an aircraft carrier is one of the busiest places in the world, but every hour—hour and a half—you’re launching or recovering airplanes. That goes on all day long. Sometimes 24 hours a day, depending on what kind of a mission or training exercise you’re in. There’s always—around the carrier, there’s usually a cruiser and at least [coughs] five or six destroyers, and the destroyers act as plane guards, in case one of the planes goes into the water. They rescue the pilot, if they get there before the helicopter and so on and so forth, but, uh, before the helicopter, they were primarily the—the guy that pulled the man out of the water that was in there, but, uh, I wouldn’t trade it. Cothrin What was the question again? [laughs]. Sims [laughs]. Pierce [coughs]. Sims If there was just anything else you’d like to share about your experience in the Navy. Cothrin Uh… Pierce [coughs]. Cothrin Again, like my father said, I would recommend it. Uh, certainly for, you know—it’s just a broadening experience for anybody. Uh, and there’s no better way to have a job, travel, and kind of—you’re taken care of. Uh, So I had an incredible career for, uh, nearly 30 years. I retired in, uh, 2009. I went into the Navy in 1979. So, um, I loved it, um, like[?] my dad. Sims Well, thank you for talking with me today and for sharing, uh, your experiences with me. Pierce Thank you. Cothrin Thank you. Pierce [clears throat]. <div> <div> <a title="">[1]</a> Naval Air Station Meridian. </div> </div> A School A-4 Afghanistan aircraft carriers airplanes Arctic Ocean aviation maintenance administrators aviation metalsmiths aviation structural mechanics Baldwin Park basic training boot camps Bruce Pierce Buffalo, New York CENTCOM Chief Yeoman cold war Community Veterans History Project Company Commander Correctional and Instructional Standards Division Officer CVHP Douglas A-4 Skyhawk education Enduring Freedom enlistment F-14 facsimile fax Fighter Squadron 124 firefighting Firefighting School fires Fleet Logistics Support Squadron 58 Florida State Road 436 Global War on Terror Gordon Pierce graduations Great Lakes, Illinois Grinder Grumman F-14 Tomcat GWOT instructors Islamic Republic of Afghanistan Jacksonville James Pierce Key West liquid oxygen Lone Sailor Memorial Project LSMP MacDill AFB MacDill Air Force Base Master Chief Petty Officer memorials Memphis, Tennessee Meridian, Mississippi military education military training Miramar, San Diego, California NAS Jacksonville NAS Key West NAS Meridian NAS Miramar NAS Sanford Naval Air Station Jacksonville Naval Air Station Key West Naval Air Station Meridian Naval Air Station Miramar Naval Air Station Sanford Naval Nuclear Power Training Command Naval Station Great Lakes Naval Training Center Orlando NAVSTA Great Lakes Navy Achievement Medal Navy Commendation Medal NS Great Lakes NTC Orlando Nuclear Power School OEF Olongapo, Philippines Operation Enduring Freedom orlando Pensacola Philippines planes Qatar QWIP Technologies recruit training Recruit Training Center Orlando Recruit Training Command recruits Republic of the Philippines Roger Jordan Sims RTC Orlando sailors Sanford Sims, Roger Jordan Skyhawk SR-436 State of Qatar swimming Tampa terrorism terrorists Tomcat Tommy Foreman Trina Cothrin Trina Pierce U.S. Army U.S. Naval Reserve U.S. Navy United States Central Command USCENTCOM USS Blue Jacket USS Coral Sea USS Forrestal USS Franklin D. Roosevelt USS John F. Kennedy USS Wasp VA-72 VC-7 Tallyhoers veterans VF-11 Thunderbolt VF-124 VF-171 Vietnam War VR-58 War in Afghanistan War on Terror https://richesmi.cah.ucf.edu/omeka/files/original/efd5049d910182e50916c3c85f53df44.pdf b46eaec4a1988206e0a961500df2e88d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title UCF Community Veterans History Project Collection Description As part of RICHES of Central Florida, UCF intends to record, archive, and make accessible oral history interviews of Central Florida veterans. Diversity is a main focus for this project since there are many different subgroups under the group veterans, all with important stories. While the histories will be largely archived and made available through the UCF library, a portion will be contributed to the ongoing Veterans History Project based out of the Library of Congress. 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 Alternative Title CVHP Collection Subject Veterans--Florida United States. Army Army United States. Navy Navy United States. Air Force Air Force United States. Marine Corps Marine Corps Is Part Of <a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>. Language eng Type Collection Coverage Jacksonville, Florida Orlando, Florida Honolulu, Hawaii Pearl Harbor, Hawaii Great Lakes, Illinois Long Island, New York Newport, Rhode Island Norfolk, Virginia Germany Qaasuitsup, Greenland Keflavik, Southern Peninsula, Iceland Azores Islands, Portugal Mediterranean Sea 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://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/. Has Part <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project, 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 Philip Rogers Alternative Title Oral History, Rogers Subject Veterans--Florida Navy Orlando (Fla.) Description An oral history interview of Philip Rogers (b. 1953), who served in the U.S. Navy from 1978 to 1998. Rogers was born in the Bronx borough of New York City, New York, in 1953. He attended Lehman College for undergraduate school and Indiana University for graduate school. In May of 1978, Rogers was commissioned as an officer and assigned to teach engineering at the Nuclear Power School at Naval Training Center Orlando (NTC Orlando). After four and a half years, he became an Engineering Duty Office in Pearl Harbor, Hawaii. This interview was conducted by Killian Hiltz in Orlando on November 14, 2014. Interview topics include Rogers' background, becoming a commissioned officer, teaching at the Nuclear Power School at NTC Orlando, serving as an Engineering Duty Officer in Pearl Harbor, serving in the Naval Reserves, advanced training, the USS Nathan Hale, the Cold War, the University of Central Florida (UCF), his wife and family, and the terrorist attacks on September 11th, 2001. Table Of Contents 0:00:00 Introduction 0:00:31 Background 0:03:05 Becoming a commissioned officer 0:09:02 Pearl Harbor, Hawaii 0:10:41 Naval Reserves 0:11:36 Advanced training and the USS Nathan Hale 0:15:24 Hawaii 0:17:26 Making suggestions and dry docking 0:18:37 Transition from active duty to Reserve 0:20:03 Naval mentors 0:22:09 Ronald Reagan, the Berlin Wall, the Cuban Missile Crises, and Bill Clinton 0:24:39 Final years in the Reserves and civilian life 0:25:54 Civilian attitudes towards the military 0:26:48 University of Central Florida and wife 0:29:06 Terrorist attacks on September 11th, 2001 0:30:08 Lessons learned from the Navy and benefits of joining 0:32:48 Migrating to Orlando and working at UCF 0:34:29 Closing remarks Abstract Oral history interview of Philip Rogers. Interview conducted by Killian Hiltz in Orlando, Florida, November 14, 2014. Type Moving Image Source <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/503/rec/1" target="_blank">Rogers, Philip</a>. Interviewed by Killian Hiltz, November 14, 2014. Audio/video record available. Item DP0016191, UCF Community Veterans History Project, Naval Training Center Orlando, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Naval Training Center Orlando, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Has Format 20-page digital transcript of original 35-minute and 37-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/503/rec/1" target="_blank">Rogers, Philip</a>. Interviewed by Killian Hiltz, November 14, 2014. Audio/video record available. Item DP0016191, UCF Community Veterans History Project, Naval Training Center Orlando, 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 Bronx, New York City, New York Washington, D.C. Naval Training Center Orlando, Orlando, Florida Pearl Harbor, Hawaii Jensen Beach, Florida University of Central Florida, Orlando, Florida Creator Rogers, Philip Hiltz, Killian Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-11-14 Date Issued 2015-02 Date Copyrighted 2014-11-14 Format application/website application/pdf Extent 306 MB 196 KB Medium 35-minute and 37-second Digital (DAT) audio/video recording 20-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Killian Hiltz and Philip Rogers. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/503/rec/1" target="_blank">Rogers, Philip</a> Transcript Hiltz Today is, um—it is November 14th, 2014. I am interviewing Mr. Phil—Philip Rogers, um, who served in the Navy from 1978 through—to 1998. Mr. Rogers served as an instructor at the Naval [Nuclear] Power School. Uh, he retired as a Commander. My name is Killian Hiltz, I am interviewing, uh, Mr. Rogers as part of the UCF [University of Central Florida] Veterans Community History Project. We are recording this interview, uh, at Orlando, Florida. Um, thank you, Mr. Rogers. Um, uh, where and when were you born? Rogers I was born in the Bronx[, New York City], New York, uh, in 1953. Hiltz Uh, what was your childhood like? Rogers Uh, grew up in a modest, you know, tenant apartment. Went to public schools, um, two years of private schools, went—and then Lehman College, which is a ci—city school. Did that, uh—did that for, you know—through—and then I worked a little bit. Um, and probably when I was like 22, I went off to graduate school in Indiana. Hiltz Um, what was the private school like? Rogers It was good. It was a little more disciplined. The schools I was[sic] in was[sic] a little rough, so my parents took me out to a more, you know—less chance of getting hurt [laughs]—school. Um… Hiltz Um, what was, um—what was college like, for you? Rogers I liked it. I was a commuter. I went back and forth on the train, uh, eh, because we didn’t have a car. So we—I travelled on the train to high school and to college for eight years. Uphill both ways—just joking [laughs]. Um, uh, so I traveled that way, uh, and did my four years there, and I got a degree in chemistry from, eh, um, Lehman College. Hiltz Uh, you mentioned that you went to graduate school, as well. Rogers Yes. Hiltz Uh, what was your gra—what was your grad… Rogers Uh, I got a Master’s degree in chemistry, entomology, from Indiana University. I was in the PhD<a title="">[1]</a> program, but when the Navy came looking for people, I kinda said, Well, I wanna do that. so I kinda left with a Master’s degree and went on to, uh, um—the, um—took the Master’s and then went on to the Navy. Hiltz Um, what did your parents do for a living? Rogers My father was a laborer, worked in a baker[sic], and my mother was just stay-at-home—stay-at-home mom. Hiltz Did you have any siblings? Rogers Brother. Still have a brother. Actually, he lives in Orlando. So… Hiltz Uh, did, uh—your brother also join the service? Rogers No, no. He never did. No. Hiltz Um, did, uh—did anyone in your family before you, uh, serve as enlisted or commissioned? Rogers Yes, my father was—was, um, enlisted in, uh, World—World War II. Um, and my grandfather was in World War I. Hiltz Uh, what branches did they serve? Rogers Army. Both of them, Army. Hiltz Uh, did they see combat? Rogers Uh, yes. Both of them did. Uh, my—In fact, my grandfather had a Purple Heart, and, uh, my father didn’t get a medal, but he had—he had some kind of foot injury or something, but—yeah. So… Hiltz Uh, uh, what caused you to become a commissioned officer? Rogers Well, it was a—it’s a long story. It was like, um— let’s see. Indiana University—it’s kind of cold up there—Bloomington, Indiana. It was like six degrees below zero [sniffs], and, uh, the Navy had a little brochure says—saying, “Would you like to fly to Orlando on the Navy this weekend?” Free. Orlando, Florida. So I said, “Sure.” I had no intention to go into the military—zero. So I went, “Okay. Fine.” so I signed up, and then I had to go take some tests, you know—you know, academic tests and physical tests, and, uh—and then they said,”Well, You know, Admiral [Hyman George] Rickover,” who is the Father of the Nuclear Navy, “would like to interview you in Washington D.C.,” you know, “Would —you—would you like to go?” So they sent me to—first, let’s go back up. Before I went there, they—they told me I was going for an interview. So they showed me the school—so they sent me down here as promised for the trip down here, so I went to the trip in Orlando, and it was great. [Walt] Disney World—they took us to Disney World and showed us—the Nuclear Power School, by the way, was in Orlando, at that time, okay? Just up the road here, by Bennett Drive. Um, so they showed me the school, and it was like 80 degrees. It was really nice. They hooked me in, so I’m like, I’d like to go there. It was—it was an academic job, because, you know, I liked teaching, and it was an academic job, and, you know, I would get paid a lot more there as a graduate student, than as a graduate student. So, uh—so I said, “Okay. It sounds good to me.” So then I went to Washington D.C., uh, for an interview, and, uh, one thing you got to understand that in that the nuclear—in the nuclear program, it’s kind of a select program, and that the admiral that is in charge—the four-star admiral is about as high as you can go in the Navy. He interviews all the applicants, you know, that—that—that come into the program, and so you go there for a day of tests. Take a bunch of written tests, oral exams. They ask all kinds of physical questions, and—and then they ask how to explain things and they do that, and at the end, you go see Admiral Rickover—Hyman Rickover. So I go into this guy’s office, and he’s a four-star admiral, and he’s sitting in a chair. Very little man, probably 5’5”, uh, white grey hair, he was about 78, at the time, and, uh, he—so I sat down. I had long hair, I was a graduate student, I had no inkling of military at all in me. So I sat down, and, uh, the Admiral says to me, I had an American Chemical Society pin on me and the Admiral says to me— um, I had an American Chemical Society pin on me, right? So the Admiral says to me, “Wha—what’s that? What’s that pin on your, uh, lapel there?” So I took it off and I said, “Well, um, this means I’m a member of the American Chemical Society.” And he jumped at me, and he says to me like this—he says, “Let me see that blicity pin.” ‘Kay? I don’t want to put any expletives on this tape, but he—but, uh, he said, uh, um, “Let me see that pin.” so I put it in his hand, and—and he said—looked at me in the eye—and he goes, “How do you know I know more chemistry than you do? Maybe I should keep this pin.” And I said, “Admiral, if that’s the case, then you can get your own pin.” Then he threw is back at me, and then he says, uh, “Did any of the girls tell you that you were good-looking?” I said, “Sure. All the time.” He says, “That’s a proposition. You don’t even know the facts of life. Get out of my office.” So this was my interview with a four-star admiral. So I said, Well, I dunno. I guess I didn’t get that job. So I Walked down the hall, and this captain, that[sic] went in there with me, said, “Congratulations. The Admiral selected you to be an instructor at Nuclear Power School.” So I said, “Great.” so I signed up, finished my—my dissertation for my Master’s degree, and then I, uh—I came down to Orlando. Went—went to some school—uh, Officer School—Officer Indoctrination School, and then I came to Orlando in 1978. I was commissioned in March of 1978, I believe, and, um, —then I, Um, uh, came to or—Orlando in May. Went—went to some—in the school—I went to the school in between then about six weeks. So I—I arrived down here in like May of 1978—in Orlando, and I spent the next four and a half years here. Hiltz Uh, what was your officer, uh, training like? Rogers It wasn’t the standard training that—that you’d normally get. It’s kind of like training—‘cause we weren’t expected to stay in the Navy. We were expected to go in for our four, you know—our—our—our four-year promise, and then leave, Right? So it was very watered down, so to speak. It was not very rigorous as some—some. It was like the same training lawyers get, the doctors get, and—and nurses, the—the professional, you know—the training the professionals gets. It’s [inaudible] how do you—how you act like an officer, and—and, you know—so nothing—nothing too, uh, exotic. Hiltz Uh, what was your family and friends; reaction to you becoming a commissioned officer? Rogers Well, that was funny, because my father was enlisted and he—he had some grumbling about officers. He goes, “I remember—I remember this officer made me salute him.” He goes, “He was a big jerk. I hope you’re not like that.” So [laughs]—so he was a little—he was proud, but yet, he was saying, you know, you gotta be a little humble, you know, when you’re doing this stuff too. So—But I think he was proud that—that I went in there, you know, and—and did it. So, like I said, I had no— I just did it, because hey, it was great. I wanted to go teach and the Navy’s got this job to go teach, you know? I said, I’m not staying in. I said, Honest, no way I’m staying, you know? So then I did my four years. I taught thermodynamics, I taught nuclear physics, you know, regular classical physics, I taught chemistry, radiological—all the stuff, and the thing about that Nuclear Power School: they—they teach you how to teach a class, you know? They teach you how to talk to people, how to make eye contact, how to go back and forth and relate information. I still carry that—that talent to this day, with how they taught me how to do that. So, it was really—it was really good. So I really had—it was the best job of my life. I mean, it was, you know, basically, a day job. No deployment—nothing. It was great for four years. You know, unfortunately, you know, after four years, they want you to leave, ‘cause in the Navy, you get to move up or you move out. So—so that’s what happened. Hiltz ‘Kay. So, uh… Rogers [sniffs]. Hiltz What happened after those four years? Rogers Well, after four years, normally, you get out, right? And this was right at the height of the Cold War, ‘round 19—it was around 1982, and they needed people with engineering background—not necessarily ship driving experience, but with some engineering background, and some knowledge of chemistry, physics—To work on shipyards, to help when the ships—Submarines come in [sniffs]. They help the submarines get ready for sea, and—and fix them, and things like that—to oversee that. So they asked if, you know, I would like to go do that, and I said, “Eh, I’ll think about it,” and then they said, “Would you like to go to Pearl Harbor, Hawaii, and do it?” [laughs]. So I said, “Hm. Okay. I’ll—that sounds good to me.” So I did—I went into what is called the “Engineering Duty Officer Program,” so I went in—which is basically engineering. I—I was very restricted, because I’m colorblind. Eh, when I took my physical, I was actually—they determined that I was colorblind, so I could not drive a ship. So I was restricted as to what I could do. So, I mean—but I could do the engineering stuff, so I was—I became a Restricted Line Officer, which means you don’t drive the ships, but you can do a lot of other things naval officers do. So—so I did that. I was—I went to Submarine School after that, I went to Engineering Du—Duty Officer School, and Nuclear Ship Superintendent School, which show you—show you how to manage repairs of a ship. Not that I would do the repairs myself, but I oversee the people doing it, right? And interface with the ship, as a—as a representative from the Navy to get[?] that, and I did that for about—about, uh, three years, right? And then—it was okay, but it wasn’t teaching. I really wanted to teach. Um, so what—what I did after that time is: I—I—I got out of the Navy in 1986, but I stayed in the [Naval] Reserves, uh, as a—as a[sic] Engineering Duty Officer. Oh, also, on that time while I was on active duty, I got my Engineering Duty Officer Dolphins, which is, you know specialized in submarine repair, and then, after that, um, I got out of the Navy and tended my resignation, but I stayed on—I stayed in the Reserves, and then, I came down to, uh—went down to, um, South Florida. I took a job at a nuclear power plant. I was an instructor, right? Teaching down there, and I stayed in the Reserves, and I drilled for the next 12 years. I—I drilled, uh—drilled my—my—from Jensen Beach, which is about 130 miles from here, to Orlando. I drilled every week—once every week—and two weeks a year, and I—I went up through the chain there, [inaudible], and got my rank there, up to—and made Commander in the Reserves in 1994. Hiltz Uh, what, uh—what was your schooling like, when you were going through the Submarine and Engineering [Duty Officer] Schools—Oh, um, when you were still in the active? What was that like? Rogers Oh, that was, uh—it wasn’t—I mean, it was okay. It was a—was a—it was kinda challenging, because, Uh, you had to—you had to go and know—know how to—and they put you in a room, and they start leaking the pipes, and, you know, you gotta, you know, repair the pipe, so you don’t drown and stuff like that, and then, you know that—you learn a little bit about navigation and how to—how to basically, uh, go through it. I was a little bit senior. I was a Lieutenant when I went through, and most of them were ensigns that[sic] went through there, but, Uh, you know, it was basically how to respond to emergencies on submarines, and then, you know, dive the ship up and down. I was able to do that[?]. I did a—I was able to surface the ship and dive the ship. I did that several times on the simulator and—and in real life— in a real submarine. You know, and one thing that I did not—I neglected to mention is that I was on a submarine for two months, as part of my qualification program. So I was on the Nathan Hale, and we went out—and I can’t tell you where we went—but we went out somewhere in the ocean, and we had missiles on the ship. Uh, we—that was a deterrent patrol that I had to go through to get my qualification, you know, to do that. Hiltz Yeah. Rogers So—and then—then that’s [inaudible]. Nuclear Ship Superintendent School is very technical. It was like how to ma—manage radiation. The Navy is very sensitive to—to nuclear safety and the shipyards have to be—everything perfect. So they want people who are going to follow the rules and know what they’re doing. So they send us to special school to—to kinda—to kinda help us understand how to manage this[sic] nuclear, uh, projects at the shipyard. Hiltz Uh, what, uh— was your, uh—the submarine’s class? Do you—do you know? Rogers Yes, it’s a—it’s a—it was an SSBN [Nuclear Power Ballistic Missile Submarines]. It was a ballistic nuclear submarine, uh, it’s since, has been way since decommissioned. It was a pretty old ship, when I was on it Um, so it carried x number of missiles, and, uh, I ‘m not sure if that is classified anymore, but it’s so many missiles, and what we did was just go out there and wait—wait for launch orders, which, thankfully, never came. So I never really fought in hot war, but I was in the Cold War, which kinda was preventing the big war [laughs]. So… Hiltz Um, what was it like—what was life like on the submarine? Rogers Um, it was very, uh, interesting. It was kind of lonely. Uh, Now, I knew I was only going to be on it for like one patrol, so it was okay, you know? It was interesting. Got to do some—some interesting things, but, for the most part, you really eat a lot. They have—they have—you can eat up to four times a day. It’s just like a cruise ship, but you work [laughs], right? So you have breakfast, you have lunch, you have dinner, and then you have MIDRATS [Midnight Rations] at night, depending on your shift. They always got meals going on in a submarine, so you can eat, eat, eat, and I actually gained 15 pounds, you know, on the submarine, you know? So it was a—it was a bit of a weight curve, trying to get the weight off [laughs], but, uh, you know, it was good. I got the up and down—A lot of stuff in the submarine, you don’t know everything, because a lot of it’s classified, like what they targeted—the stuff—I couldn’t see that. So I never knew where we really were at. So it was all a part of, you know—it was kind of a tense time, with the Cold War. We were in secret locations and stuff like that. Hiltz Uh, what was the crew like? Rogers Crew was good. I mean, they were—they knew I was a short-timer, so they—they kidded me around a little bit, and—and—‘cause they knew. They called me the “rider.” You know, and they said, “You’re just in your rack all day. That’s all you do. You don’t do real work.” but they were kinda—they were in a kidding type of way, right? And I was called—they called me the “assistant engineer.” So I—I—I oversee some training lessons and did stuff like that for them, but I stood the watch. You know, on the submarine ship, you stand a watch, you’re—you’re good, because, uh, somebody else doesn’t have to stand the watch for diving officer. I did that. So, uh… Hiltz Uh, what was your time in Hawaii like? Rogers Oh, it was great. It was, uh, beautiful—the most beautiful places on Earth. It’s, uh—nice mountains, and the job was pretty stressful—getting the ships out—because, like I said, this is the height of the Cold War, and the ships came in. they had to get repaired in a certain window, Because there are only so many submarines out there. One comes in, and, uh, they only got coverage for a certain amount. So you gotta get that ship out on time, and if it’s not on time—not out on time, some people up high up don’t get too happy about that. So we gotta make sure that everything’s done timely and safely. So not only—and we just couldn’t—since it’s a nuclear submarine—First of all, nuclear submarines can be hazardous in themselves, and you got reactors on ‘em, and you gotta be extra special careful with respect to nuclear safety, and so sometimes, some things take a little longer than you might anticipate. So, uh, you always have that—you always have that bal—and I was in charge, so if the ship was late, it was on me. You know, I had to answer for it. So... Hiltz Uh, did, uh—did you ever have any incidents happen, during that time? Rogers Well, yeah. Um, I was on one submarine. When—when I was in the shipyard, we occasionally had to go out ride submarines when—after repairing them, and then one of the hydraulic plants went on fire. So it was a submarine underwater, and it was on fire, but the crew is so trained. It was like, “Okay. Fine.” Just like training—t was no different than when we had the training. We went over there, swoosh, they put it out, and then we—we went on to eat for lunch. So it was like okay. They were very seasoned, very seasoned crew. Um, the chiefs in the Navy—they really—I was an officer, but the chiefs in the Navy—they, you know—they run the show. They—they get the people to do the work, and so my admiration is for the chiefs, you know, [inaudible] folks. They’re—they’re the ones that make it happen, you know? We get the credit, most of the time. Sometimes, we get the blame, as the officers, but that’s kind of the way it is, but they’re the ones that—the enlisted guys—they’re the ones that[sic]—that[sic] make it work. So my father kind of sent me a lesson, when he said, “You’re gonna—you’re gonna be this hotshot officer, but you’re going to learn who does the work.” And I did. Hiltz Uh, do you have any, uh, moments that stand out, during your time in, um, Hawaii or Orlando? Rogers Um, well, one day, uh—well, I can say that, at the end, I—I—I made a suggestion to move the repair somewhere where it would be cheaper or a little more cost-effective, and—and still do it safely, and that—they—they actually listened to me and did it. So when I left—I don’t know how that went, but it wa—it did save some money. So that was—that was a good, good part of it, uh—good part of it, but a lot of that—I remember it was a lot of stress on that, but—but that was a good part of it, at—at—at—at the end there. So—and I would still dock ships, you know—dry docked ships that come into the shipyard, and a dry dock is: you—you—you bring a ship in, and to work on the hull of a ship, you can’t—can’t be in the water, right? So you—you put the ship on blocks, you drain the dry dock down, and then you go into the ship, and you do what you gotta do, back—and back up. Then you put the water back in, and then you float the ship out, but Putting the ship on blocks is a—a, you know—a very engineering-involved thing. So, as the docking officer, I had to do the calculations to make sure the ship would sit on the block right and stay there, and do all those calculations and stuff. Hiltz ‘Kay. Um, so, um, coming back now to, uh, your—your—how was your transition from being active duty to Reserve? Rogers Uh, not really—not really, um,—because I never had too many deployments, so I was always with my family. Like I said, I had a[sic] atypical career. I [inaudible] —I had it good, really. Um, so I didn’t have a lot—other than that one deployment, right? So when I went to Reserves, you know, I really was away from home more in the Reserves than when I was active duty, ‘cause I would have to drive to Orlando on—on the weekends, And then the two weeks a year, uh, I mean, again, I was with a lot of engineers. I had in my group, we had like PhDs, we had, you know, professional engineers. All highly, you know—highly educated people that[sic] worked for NASA [National Aeronautics and Space Administration], or worked for the [John F. Kennedy] Space Center, or whatever, and then they did the Reserves stuff, you know, on the side, ‘cause they were—they had this engineering background. So I didn’t find too much of a, uh—uh, a transition. I went from a kind of academic environment, uh, to that. Now, I had a little more experience than a lot of the Reserves, ‘cause I actually was a[sic], uh, active duty—engineering duty officer, and a lot of them just came in the Reserves. So I had a little—a little more experience actually being there. I had the qualifications for the Dolphins and stuff like that. So that helped me a little bit, you know, with getting my advancements, you know, as I—as I, you know, got promoted on. So I also had some good leaders that[sic]—that[sic] showed me the ropes in the Reserves. That—that really helped me. Hiltz Do you remember any of those? Rogers Oh, I do. I, uh—can I say their names? Hiltz Oh, yep. Rogers Or whatever? Hiltz Yeah. Rogers I remember one, uh—one key person that[sic] was a—was a, eh—he was a[sic] Admiral: Rear Admiral Steve Israel. He was, uh, a great mentor to me. Um, when I first came in the Reserves, he kinda took me under his wing, kinda showed me the—the life in the Reserves, and, uh—and we worked together. I worked within several of his units, when he was a—When I met him, he was a Commander, and then, as he went through, he became Captain, and then ultimately, he became—became an Admiral, and I still, you know, am still in contact with him, you know, to this day, but He was very, very—he was a [United States] Naval Academy graduate, very good about dealing with people, and stuff like that, and another person gr—Captain Jim Tully. I worked for him, and I took his Reserve unit when he—when he left that unit to go to another unit, I took over for him in, uh—in—for him, in that—in that capacity. So he always mentored me too, and he’s—he’s actually the Mayor of Titusville. Yeah. So [laughs]—but He’s great—he is one of the—one of the best leaders I’ve ever met, and one of the most, uh—most—talk about people—talk about people with integrity, and people in political office. Well, he’s got political office, and I don’t know anybody with more integrity than that man does have. He’s just amazing. So we still keep in touch. Yeah. So… Hiltz Do you, um—do you have any stories or memories from your—from your time in the—in the Reserves that stand out? Rogers Well, again, going back to the, you know—the enlisted people run the show. Uh, When I got—when I got command of my unit, I—I—I had a chief who was a Mensa [International]—high IQ [intelligence quotient] guy. Much smarter than I would ever be, and I asked his advice, you know, all the time, and that’s why my unit was so successful, and he helped me, give me advice on how to do things, and, you know, it went on from there. So I relied heavily on that. So I never—I never—I only made a couple of mistakes when I was a junior officer, thinking I knew it all, but that didn’t last out. Found out: the more senior I got, the less I thought I knew [laughs]. I knew more I had to rely on people that[sic] working[sic] for me. I mean, that’s the key to success. Um, and, uh—so—so that was very, very helpful. Hiltz Um, during—during the time in the Navy, um, did you, um—Um, what was—what was life like, um, in the [Ronald Wilson] Reagan years?<a title="">[2]</a> Rogers Oh, life was good. Reagan was president—in fact, I saw Reagan come in the airport in Hon—Honolulu[, Hawaii], and, uh, you know, I am a big Reagan fan. Uh, and, uh, ‘cause I, eh—we grew up to kinda get the Cold War—and one of the beautiful things was when I finally got into the Reserves, there—there—the war we were fighting, we really won it, because even though it wasn’t a hot war, the Soviet Union collapsed. We stood up to them and they’re gone. Now, they’re rattling their little sword again, but—but, at—at least at that time, they were—we—we won that. So, I mean, I liked the war. I felt like we had a strength in the nation for—for—for that, due to Reagan and the buildup—the buildup he did. I just kinda make the Russians<a title="">[3]</a>—“Well, we can’t keep up with this.” So… Hiltz Uh, how did the—the—in that case, how did the, uh—the breaking down of the Wall in Berlin[, Germany] make you feel? Rogers I thought it was great. I says[sic], “Wow. This is a great thing.” Because I grew up—when I grew up in the—in the [19]50s, the—the—I mean, I grew up during the Cuban Missile Crisis, and we thought we were going to World War III. I mean, it was right—right around the corner. I mean, my father was shaking and white ashen[?], ‘cause I looked at him—well, and I was only—what? I don’t know. 11—10 years old, or something like that, and—and it’s just like—he’s shaking white. Something—something’s going on here, and—and that was the closest we’ve—we’ve ever come, right? And, um—and there were some things—even during the Cold War, there were some things that happened, which we don’t want to go into, but, you know—but, for the most part, there was peace, right? So when the—when the [Berlin] Wall came down, Reagan said, “Tear down this wall,” and it happened. So that was—that was a good thing, and then, when, uh—I would never had believed it when it happened—they said the Soviet Union collapsed. It was like, Wow. Hiltz Um, in co—and in comparison, how are the [William “Bill” Jefferson] Clinton years in the Navy? Rogers Well, uh, Clinton—I mean, to a—see, Clinton was—he— ‘90s, uh, I got my senior—I think he signed my, uh—uh, my—my, uh—my promotion to Commander, and also he signed my discharge—my—my retirement paper, uh, in ’98, right? So—so I have some good—good, uh, Um, you know—He treated, you know, the military well too, you know? He was a smart, smart guy. Uh… Hiltz Um, how were your, uh, final years in the Navy, eh, eh—in the Navy Reserves? Rogers Good. Um, I mean, it was good. Uh, I was like—I had command of the unit, and then I was traveling so much back and forth, it was like, okay, you know? I was getting up for Captain, and I just decided that was time to, you know—time to—I didn’t make Captain the first pass. So I said, “Okay.” I had another chance, but I decided, you know, to get out. Um, so I decided just to—to go spend more time at my other job. Hiltz What was your other job, at that point? Rogers Oh, I worked at a nuclear power plant, teaching chemistry, physics. The same thing I did in Nuclear Power School, right? So—right. Hiltz So what was life like after the Navy? Rogers Well, it just went from teaching for the Navy and the submarine stuff and still have the resources—so it was really—To me, it wasn’t an abrupt end. It was a, uh, gradual transition over the years, ‘cause I was, uh, in active duty for eight years, Reserves for 12. So it was kind of a long—and then I—well, during the 12 years, I had my civilian job. So I—I kinda worked the two together, you know? Worked the two together. So—and As, you know, eh—as I went through my job, and I got more senior in the Navy, more senior in the Navy, and then got up there. I mean, Commander is pretty high up, I guess. So, you know… Hiltz Um, how did the Americans actually treat you, while you were in the Navy? Rogers The who? Hiltz The Americans. The civilians. Rogers The civilians? Oh, yeah. No problem. We didn’t have that Vietnam Syndrome, where, you know—where they—they spit on me or anything like that. Uh, I think today though—I mean, I think people are more appreciative of the military today, than they were even back when—when I was in there. I did used to do some recruiting for—for, uh, the Nuclear Power School, when I was at Nuclear Power School. I went out to the West Coast, and sometimes, I didn’t get a very friendly reception by the—the people on the campus at Washington University. Over there, they didn’t quite like my presence there. So—But I think today, I—I think the American people are more—are a lot more behind the troops. A lot more than compared to Vietnam [War] and even than when I was in. I think they realize what really they do for them. Hiltz Did you have any dealings with UCF at that time? Rogers I did actually. I, uh—I took a couple of classes here in 1982, when this campus was just a few buildings. So Industrial Chemistry, I took a few courses, because I was living in Orlando, and, you know, I just—I just did that. It didn’t end up in degree—I didn’t end up in a degree. I just have the classes. I think I have like 15 credits. Um, uh, Dr. [Gerald] Mattson—I think I had him, and I think he is still here, in the chemistry department. Um, so, uh—so I had that, and, you know, we were just kinda starting out. My wife was pregnant with our first child, and we—we came to UCF. She had to take an education course and sit in these little seats, you know, she could barely fit into it. It was kinda—we went together. She took a [inaudible] some education courses, and I did the chemistry stuff. So—so yeah. UCF is a little part of my time here. Hiltz Um, you mentioned your wife. Um, did you—you met her while you were in the Navy? Rogers Actually, I met my wife in Orlando, okay? Um, uh, when I was an instructor here, I worked with another instructor, and his wife worked at a school, and she knew somebody. So they set this up on a blind date, and, uh, I mean, that was it. We’re married for 34 years. Hiltz Fantastic. Um, did she go with you to, uh, Hawaii? Rogers Oh, yeah. You bet she did. Now, obviously—and, In fact, we were on the submarine. Um, they did a dependents’ cruise. Now, what a dependents cruise is: you can actually come on a submarine, right? They let the dependents come on the submarine. So she actually came on the submarine with her father, and we did, uh, some op[eration]s for them. We dove the ship, and surfaced the ship, and did all these things, and they got to eat. You know, so she comes in—she comes into the submarine. Now, on a submarine, you gotta understand: there’s a wardroom, just like this, and at the head of the table, there’s the Captain, and that’s the Captain’s chair. Nobody sits in the chair. So what does my wife do? She comes in and plops down right in the Captain’s chair, and I kinda say, “I don’t [inaudible] you need to sit there.” [laughs] So I rise her about that [inaudible], but she is probably one of the few ladies that[sic] were ever on a submarine—a nuclear submarine. Now, Of course, they are getting women into the program, but at that time, you know, she—she thought was kind of fun. So after being at sea for a little bit on the submarine, And then, I—she went off, and then shortly after that, I—I came back home. So that was—that kind of fun. Hiltz That’s fantastic. Um, um, how did the events of 9/11<a title="">[4]</a> effect you? Rogers Uh, I was pissed, right? I was really mad that we couldn’t—that something like that could happen here. Uh, and I don’t know. You can point fingers and blame, but, you know, I, eh—it—it’s just one of those things that we got to make sure it doesn’t happen again. Uh, it’s one of those—it ripped every American apart, you know, and—and including me. Now, I was actually retired already. Um, so I, um, was already done. Uh, I mean, I could have been called to active duty, but they didn’t. I’m too old already, I guess. So—so they didn’t bother, you know, calling me up, but, uh—so yeah. That was kind of… Hiltz Did you still have any, uh—were any of your friends still in the—in active… Roger Yeah, I think Captain Tully, that[sic] I talked to you about. I think he was still in at that time, and, uh, then he retired subsequently after that. So, um, yes. Hiltz Um, what was one of the most important lessons that you learned from the Navy? Rogers Uh, leadership. How to manage people and how to respect people, and just, of course, you just gotta—because you got all the stripes on doesn’t mean you know everything, and, I mean, that was the lesson my father tried to let me know before I went in there, and I did some stupid things. “Oh, I am in charge, because I’m an officer.” You know, I only did that once or twice, and then I remembered that I had better relying on the chiefs more, because they’re really the ones that really kinda know what’s going on [laughs]. So I did that. So a little humility’s a good thing. Hiltz Um, do you have any, uh, messages that you would like to tell the young people of America today? Rogers Uh, yeah, the military’s a great way to go, especially if you got some technological talent. Eh, you—that—that Navy instructor program is a great way to get in, serve your country four years. You don’t have to stay in. You can teach at the Nuclear Power School, you can teach [inaudible] people who are really willing to learn, and they have to be, and they are really good students, and you—you get to teach stuff, and you come away with some great teaching skills that, at the end of it—that you can—that you can use anywhere else, you know? So, you know, To this day, I could teach anybody off the street how—how a steam engine works and so they would understand it. So, I mean, it’s am—an amazing thing. So—so that’s—and don’t overlook that service. I mean, you know, my sons are likely not—not to go into it. I didn’t influence ‘em either way. One’s an engineer and one’s a—one’s a—a [inaudible] MBA [Master of Business Administration]. He’s got his MBA and he is a HR [human resources] manager over at Seaman’s[sp], so my sons are pretty successful, but I never influenced them to go one way or the other, but they’re proud of me that I did it. Like I said, I did not have the career that some of these guys out there. They really put their lives on the line, and I never really had to do that. I was never shot at, okay? Um, but I served my country the best I could, you know? But the guys that really—the guys that went into Iraq and Afghanistan, and it’s just amazing how they—they sacrificed—a lot of them—just so much: their lives, limbs, and everything else. It’s just—and—and—and did it, and they get—they get something—they get like their hand shot off, and they wanna go again, and go back and do it again. It’s just, you know—how do you—how do you instill that in our youth? That—that sense of duty. You know, it’s just a great, great thing. Not that they got hurt, but that they have this, uh—this dedication, and their patriotism for their country, and to do the right thing. Hiltz Um, uh, uh, um, what, um—How did you actually end up at UCF, after, um, your time in the Navy? Rogers [laughs] Well, I, um—a granddaughter comes into that. I was, uh—worked at the nuclear plant for 25 years. I—I retired from the Reserves in ’98, right? And in 2001, I went back to school again, got a Master’s degree—another Master’s degree—online, um, for—for, uh, education—online distance learning. So I did that for about—took me about four years to get it. I got that degree in 2006. Uh, and then finally, uh—Uh, what—what was your question again? Hiltz Oh, how did you end up at UCF? Rogers Oh, yeah. Okay. So I—I graduated—after 25 years, I, you know—I retired from—I retired from FPL [Florida Power & Light Company] and I got bored, okay? So when I got very bored, um, I decided to come back to work. So my granddaughter—we had a new granddaughter that[sic] lives down in, uh, Oviedo[, Florida], here. So they—I saw this job at UCF as a Safety Training Coordinator. When I’m training, it looks good to me. So I applied for that job. I got it, so we moved down here. So my wife’s a—a full-time grandma, babysitter type, you know—help out with the kid, and I—I come here. I like my job, I’m teaching, and I got something to do. I got a sense of purpose, other than sitting at home doing nothing. Hiltz Uh, what year did you guys, uh—did you come here? Rogers Uh, June 2013. So I haven’t been here that long. I’ve only been a UCF employee about a year and a half. Uh, you know, Two years it will be in June. So… Hiltz Well, congratulations. Rogers So… Hiltz [laughs] Um, is there anything else that, uh, we missed that you would like to talk about? Rogers No, I mean, I think you about hit all on the head. I mean, it’s all—in the military, it’s all about—it’s about duty, honor, country, leadership. I mean, everybody should kind of get that experience. Well, not for everybody. It’s not for everybody, and—and I don’t know if I would have gone in, if it weren’t for the nuclear program. I don’t think I would have enrolled to just go, you know, to drive a ship. I couldn’t have anyway, because of my—my color—they wouldn’t—they wouldn’t have accepted me in anyway, but because I had some academic potentials, they used me for that, right? So the Navy kinda used me for what talents I had, and—and so, you know, anybody can do that. Yeah. So it’s a great thing. My thanks is for all the people that[sic] have gone on, and—and help, and, today, that[sic] continue to serve. Hiltz Well, uh, thank you for your time. Uh, and thank you, um, on behalf of UCF and myself, for answering our, um… Rogers Yeah[?]. Hiltz For answering our questions and having this, uh, wonderful interview. Rogers Alright. Well, thank you very much. I appreciate your—your interview. Hiltz Thank you. Rogers Thank you. <div> <div> <a title="">[1]</a> Doctorate degree. </div> <div> <a title="">[2]</a> January 20, 1981 - January 20, 1989. </div> <div> <a title="">[3]</a> Correction: Soviets. </div> <div> <a title="">[4]</a> September 11th, 2001. </div> </div> 9/11 advanced training American Chemical Society Bennett Drive Berlin Wall Berlin, Germany Bill Clinton Bronx, New York City, New York Caribbean Crisis cold war colleges colorblindness Commander commissioned officers Community Veterans History Project Cuba Cuban Missile Crisis CVHP dependents' cruises deterrent patrols dry docks education educators Engineering Duty Officer Engineering Duty Officer Dolphin Program Engineering Duty Officer Dolphins Engineering Duty Officer School Father of the Nuclear Navy firefighting fires Florida Power & Light Company FPL Gerald Mattson Germany Hyman G. Rickover Hyman George Rickover Indiana University instructors Jensen Beach Jim Tully Killian Hiltz Lehman College mayors military education military spouses military training military wife military wives Nathan Hale nuclear power Nuclear Power Ballistic Missile Submarines nuclear power plants Nuclear Power School nuclear safety Nuclear Ship Superintendent School October Crisis Officer Indoctrination School OIS orlando Pearl Harbor, Hawaii Philip Rogers presidents Restricted Line Officer Ronald Reagan Ronald Wilson Reagan Safety Training Coordinator September 11th South Florida Soviet Union Soviets SSBN Steve Israel SU Submarine School submarines subs teachers terrorism terrorists The Missile Scare training U.S. Naval Reserve U.S. Navy UCF Union of Soviet Socialist Republics universities university University of Central Florida USS Nathan Hale USSR veterans Washington, D.C. William Jefferson Blythe III William Jefferson Clinton https://richesmi.cah.ucf.edu/omeka/files/original/9758a30bbef0211d459a0125540b3451.pdf c60e6d25aaa04eb52789bf35b14b4d1f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lone Sailor Navy Memorial History Project Collection Alternative Title Lone Sailor Collection Subject Veterans--Florida Orlando (Fla.) United States. Navy Navy Sailors--United States Description Collection of digital images and oral histories related to the former Recruit Training Center Orlando (RTC Orlando) for the United States Navy. The training center transformed raw recruits into highly effective sailors. This process took place over an intensive eight-week training period, commonly referred to as "boot camp." RTC Orlando occupied roughly one half of the former Naval Training Center Orlando (NTC Orlando), which was located at present day Baldwin Park, Orlando, Florida. Between 1968 and 1994, over 650,000 men and women graduated from RTC Orlando. Contributor <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Naval Training Center, Orlando, Florida Contributing Project <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of Richard Tobias Sloane Alternative Title Oral History, Sloane Subject Veterans--Florida Navy Orlando (Fla.) Vietnam War, 1961-1975 Description An oral history interview of Richard Tobias Sloane (b. 1934), who served in the U.S. Navy from 1964 to 1969, during the Vietnam War. Sloane was born in Queens, New York City, New York, on March 4, 1934. In August of 1964, he was commissioned into the Navy. Sloane served in Vietnam from September of 1967 to September of 1968. He also served on the USS Rockbridge, USS Santa Barbara in River Section 35, the USS Garcia, the USS Wisconsin, and the USS Blue Jacket. Sloane achieved the rank of Captain and earned a Purple Heart, Bronze Star with V Device, Legion of Merit, Combat Action Award, and Navy E Ribbon. This oral history interview was conducted by Carli Van Zandt on March 5, 2014. Interview topics include Sloane's background, joining the Navy, the USS Rockbridge, Officer Candidate School (OCS), the Vietnam War, Naval Training Center (NTC) Orlando, the Grinder, the USS Blue Jacket, airbases in Central Florida, the simulation industry, and the Lone Sailor Memorial Project. Table Of Contents 0:00:00 Introduction 0:02:52 Background 0:01:58 Enlistment and USS Rockbridge 0:05:44 Officer Candidate School 0:08:20 Graduation 0:09:53 Repair Division Officer 0:11:22 Vietnam War 0:18:09 Other assignments 0:21:52 Wife and children 0:24:18 Naval Training Center Orlando 0:27:11 Daily life and training at NTC Orlando 0:32:31 Advanced training at NTC Orlando 0:33:51 Central Florida airbases 0:35:39 Simulation industry 0:37:01 Hardest aspect, proudest moment, and memories from NTC Orlando 0:42:51 Leaving the Navy and keeping in touch with friends 0:45:22 Lessons learned, the lasting legacy of NTC Orlando, and the Lone Sailor Memorial Project Abstract Oral history interview of Richard Tobias Sloane. Interview conducted by Carli Van Zandt at the Education Building, Room 123, of the University of Central Florida in Orlando, Florida, on March 5, 2014. Type Moving Image Source <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/289/rec/1" target="_blank">Sloane, Richard T.</a>. Interviewed by Carli Van Zandt, March 5, 2014. Audio/video record available. Item DP0014912, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format 22-page digital transcript of original 50-minute and 17-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/289/rec/1" target="_blank">Sloane, Richard T.</a>. Interviewed by Carli Van Zandt, March 5, 2014. Audio/video record available. Item DP0014912, UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Queens, New York City, New York Officer Candidate School, Newport, Rhode Island Mekong Delta, Vietnam Naval Training Center Orlando, Orlando, Florida Creator Sloane, Richard Tobias Van Zandt, Carli Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-03-05 Date Issued 2014-09 Date Copyrighted 2014-03-05 Format application/website application/pdf Extent 432 MB 230 KB Medium 50-minute and 17-second DVD aduio/video recording 22-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Geography Teacher Provenance Originally created by Carli Van Zandt and Richard Tobias Sloane. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/289/rec/1" target="_blank">Sloane, Richard T.</a> Transcript Van Zandt Alright. Well, thank you for coming today. I’m so glad that you made it. Sloane My pleasure. Van Zandt Today is March 5th[, 2014] and I’m interviewing Mr. Richard Tobias Sloane, and he served in the United States Navy. Uh, we are doing this history project for the Lone Sailor Memorial [Project]. My name is [Carolyn] Carli Van Zandt, uh, and my cameraperson is Fernando Maldonado. We are interviewing Mr. Sloane as part of, uh, the Community Veteran History Project and Loan Sailor Memorial Project. Uh, recording here today, in the Education Building, Room 123—the conference room—in Orlando, Florida. Mr. Sloane, will you please begin by telling us a little bit about, uh, what branch of service you were in and your rank, uh, which you retired at? Sloane I was in the United States Navy. I retired as a Captain in [20]06 in the United States Navy. Started my service in 1964 at the Officer Candidate School in Newport, Rhode Island. Van Zandt Okay. Thank you. Uh, I’m going to get a little background information here. Can you tell us when you were born? Where you was born? Sloane I was born on March the 4th, 1943. Yesterday was my birthday, so this is very appropriate. I was born in, uh, the Borough of Queens, New York City, in the State of New York. Van Zandt Alright. What did your parents do for a living? Sloane My father was a, uh—a wholesale merchant in dry goods in New York, on the lower eastside of Manhattan. My mother was a homemaker, and later in her life, she was in retail, uh, store sales in New York—in Long Island, actually. Van Zandt Um, do you have brothers, sisters? Sloane I have two older brothers. Uh, my oldest brother was retired Navy Captain also. He attended the United States Naval Academy—Class of 1957, and, uh, the middle brother, um, attended Harvard University, and Harvard, uh, Business School. Van Zandt Alright. Uh, would you tell me a little about how, uh, your family life may have impacted your decision to, uh, enter the Navy? Sloane Well, there was no doubt in my mind that my oldest brother, who’s about seven years, uh, my senior, if you will, uh, attended the Naval Academy when I was young, uh, junior high school, uh, person, and watching him go through that academy for four years and then his, uh—the beginning of his military service definitely had an impact my decision to join the Navy. When I completed my studies at Boston University—and in 1964, the—the draft was still in effect—and the choices were to continue my education, at the time, or to be drafted, or to sign up for the service, uh, of my choice, and at the time, I picked that choice to be in the United States Navy. I didn’t realize, at the time, it would be a career choice, uh, but I enjoyed my early years in the service, such that I decided to stick around. Van Zandt Okay. So tell me more about, um, what impacted your decision to stick around. Sloane Well, I had a great first assignment. I came out of college at about 22 years old, uh—maybe even younger, at the time, and, uh, I was assigned to a ship called the USS Rockbridge—hull number APA-228, and that was a, uh—an amphibious troupe transport from the World War II era. Uh, the mission of the ship was to embark Marines—about 800 Marines—and associated cargo, and land on the shore in amphibious landings, and, uh, the, uh, manning of that ship—the Ward Room—if you will, the “Officer Car”—was made up with a lot of, uh, old timers, uh—warrants, mustangs as department heads. People who had been former enlisted[?], came up in the ranks, and they were sort of like—I don’t want to classify them as grandfatherly types—but they were very, uh, mature in there service, and, uh, the Commanding Officers of the ship when I was there, under which I had three Commanding Officers, were also senior Navy Captains who were on their way to major command and, uh, come[sic] out of aviation, and were going to head to larger ships, if you will. So again, they were very self-confident individuals, very accomplished people, and the younger officers, like myself, were all fresh, wet-behind-the-ears college kids, and so it was a very, very, um, engaging environment, um, a very learning environment, while, obviously, there’s a lot of pressure you to anything you do in that Navy environment. It was such that you—you felt that you was learning, you felt like you were being mentored, uh, and I came away from that tour, uh, very, very, uh, personally fulfilled and—and feeling good about what I was doing. The sense of responsibility, that you got, which has always been, uh, something the Navy has played on for young beginners—that we’re going to give you, uh, tremendous responsibility that your peers, who were out working at Macy’s or selling insurance aren’t going to experience for a long, long time, and I found that to be true, because, uh, they give you things to do, and say, “Here’s a job. Go do it.” And they had enough faith in you to let you do it—to watch you close enough, so they wouldn’t let you mess up too bad. So it was a very, very good experience, as I look back on it over the years. I think that was principally what made me feel comfortable about staying in the Navy. Van Zandt You mentioned that you got this, uh, officer start before you did this first duty assignment through, um, Officer Candidate School, or OCS? Sloane Correct. Van Zandt Could you tell me a little bit about, um, what that experience is like? Sloane Well, talk about the shock of your life. You come out of a university, a—very, uh, loving home, uh, environment, as I grew up. Um, so you leave the university. Again, you’ve had a sense of what service life might be like, because of my brother’s experience, but obviously, you really don’t know exactly what you’re getting into, and I remember, at the time, there was only a ferry that crossed from the main land over to Newport, [inaudible] Island, unless you wanted to go all the way up and around, by Fall River[, Massachusetts] and Providence[, Rhode Island]. Today, they have a bridge, but I remember on that ferry, as I reported for duty to go to OCS, and looking out over the water and said, what have I done? [laughs]. That sort of thing, because I didn’t know what I was headed for, but it was also a very, uh, broadening and lightening experience, because most of my childhood and my college experience, for the most part, was very, um—I forget what the right word is—but very, uh contained. Uh, it wasn’t broadening. It was broadening educationally and, again, growing up in New York, you have a broadened sense of what life could be like, but I had never, uh, been in an environment with people from the South, people from the West, people from all sorts of cultures, uh—that sort of thing, and now you’re thrown into a barracks environment, uh, which is not quite the same as a college dormitory or fraternity house. Um, you’re—you’re being asked to do things in a very regimented way, uh, being held very, very responsible and accountable for the most minute, uh, daily life, uh, activities, and so while it wasn’t a shock, uh, it was certainly different. and it is a crash course, so your—things that, uh, people in NROTC [Naval Reserve Officers Training Corps] programs or Academy programs are getting years and years of time to, uh, uh acculture[sic] to and learn. You’re getting a crash course. It’s not that—it wasn’t that challenging or difficult, but you certainly had pay attention, and again, aside from the academics, the military side, um—it was just an enlightening experience. Mostly, in—in the exposure to people of different cultures, uh, uh, than ever before. Van Zandt Graduation day. Sloane Wow. You know, the funny thing was, uh, I can’t remember exactly—the whole program was about four months, and, uh, at about maybe three weeks before you graduate, uh, you get your orders, and the way you get your orders is, uh, you’re in a company of 30 men—maybe your class had a couple hundred in it, but, um—so you’re in a company of 30 men, and you get a—a message, if you will, to report to the barracks chief or the company chief at the company headquarters, and he’s going to tell you where you’re going, and I’ll never forget, he—he said—he said “Sloane, you’re going to the USS Rockbridge, APA228.” and I said, “Chief, what’s that?” [laughs]. I had no idea, because with all that indoctrination, I don’t think we ever got down into the grass as to ship types, you know? it was mostly here’s how you, uh, get from point A to point B, here’s how you do this, a lot of PT [physical training], uh, this, that, and the other thing, a lot of naval history. Uh, but I—I remember to this day, he told me where I was going, I had no idea what kind of ship it was or anything of that nature. So, uh, that was a little before graduation, but graduation day, you’re filled with pride, you have your ensign stripe[?], uh, and your off on a real, real adventure, you know? You’re glad to be leaving that environment, but you’re full of apprehension, because now, you’re going to be really entering the workforce, sort of to speak. Van Zandt ‘Kay. So you’re trained as a—a new ensign. What was your actual job as a new ensign? Sloane Well, my first job, again, was in the engineering department, and I was the [Repair] Division Officer for the repair division. The Division Officer—you’re in charge of a group of enlisted men and—with a specific function—and their job was metalsmith and woodworking, if you will, on this ship. So, um, they were doing all that type of work. It was a small group. Uh, I was sort of fortunate and respected, instead of being put immediately in charge of a large division, which might’ve been at least 30 men or 40 men. It was small, compact. Again, a lot of good leadership, you know? It’s always the Chief Petty Officer in the Navy who really knows what’s going on and runs the Navy. and especially when you’re brand new, I mean, you—even with what little book-learning you got, you have not a great idea on the technical aspects of what the people are doing, you’re worried about all the different aspects of being able to stand the watch, drive a ship, um, do your daily duties, oversee the people who are working for you—or working with you, uh,—that sort of thing, and again, it was a lot of—I don’t want to use the word “old timers”—but Senior Chief Petty Officers, uh, who had a lot of experience and confidence in their work, um, middle-grade Petty Officers. It was a good bunch. It was the right place for me to go for a start, because I had a lot of support from below. Van Zandt Okay. Um, your early assignments—it sounds like you had a lot of on-the-job training, do you think it is because it was the Vietnam [War] era? Sloane Well, uh, if you’re talking about the first ship, absolutely, you know? I mean, uh, at the time, a lot of people were going over to Vietnam. Uh, my second tour duty was in Vietnam, and by the time I have spent about two and a half years on that ship, I had, uh, changed jobs on the ship. I was, uh, made gunnery officer on that ship, which was—gave me an opportunity to learn another aspect of, uh, ship ward responsibility and duties, and so again, when I, uh, finished up that tour in about two in a half years, uh, I was very confident. I had, uh, been promoted one grade from ensign to Lieutenant Junior grade. Very proud, and, uh, left that ship with a great deal of confidence, I think. Van Zandt Great. Um, can you tell me a little about your Vietnam experience? Sloane I [laughs]… Van Zandt As much as you can. Sloane Well, uh, absolutely. Um, Funny thing is, um: I—I mentioned earlier that I worked with these great people, you know? Uh, uh, as many warrants and LDOs [limited duty officers] who had maturity, a lot of experience, um, and how I got to Vietnam, I always thought was an interesting story. The Navy Bureau of Naval Personnel put out a newsletter about every month that they—a hard copy paper newsletter, and they went to every ship, and it—it really talked about what assignments were available to different people and different grade, what was happening in the personnel management area, um, and they came out with an article that said they were looking for Lieutenants Junior grade to be the Commanding Officers of LSTs, uh— “Landing Ship Tanks” —uh, to serve as mother ships for river patrol boats in Vietnam. So these LSTS would be at the mouths of the river, they would be the mother ship for 10 or 20 small river patrol boats, and they wanted Lieutenant JGs [Junior Grade] to be, uh, XOs. They wanted them to be XOs—Executive Officers, and I read that article, and, uh, my boss, at the time, was a Lieutenant, uh—LDO—an “old salt,” who I greatly admired, and he read that article. They were looking for Lieutenants to be Commanding Officers—Lieutenant JGs was to XOs to these LSTs, and he reads this article, and he says—he says, “Boy, I want to be a CO of a, LST.” And he said, “Rich, come be my XO.” You know, “We’ll go together.” I’ll—he’ll be the CO and I’ll be the XO of this LST. Well, [clears throat] to go from being a Division Officer to an Executive Officer is highly unusual. Uh, but here is an opportunity, because it fit the mold, uh, of what they were looking for in Vietnam. I said, “Absolutely.” and I immediately wrote my detailer—the guy in Washington[, D.C.] who made these assignments—and—and, uh, I said, “I want to go be an XO on an LST, just like you wrote you needed, uh—uh, JGs to be XOs on LST. I want that job.” He wrote back—[clears throat] he said—corresponded back, “You know, you’re a little too junior,” because you’re in the JG billet for a number of years, uh—JG rank. Said, “You’re a little too junior, but we have lots of other jobs available for ya in Vietnam.” I said, “Okay.” I said, “But don’t give me a desk job. I want a job where the action is.” Next thing you know, I had a letters to a river patrol section that drove little plastic boats on the rivers of the Mekong Delta. So that’s how I got there. Van Zandt Wow. Sloane Yeah, I know, and then [laughs]—and then, my boss—I don’t think he ever got the job of CO. He did—he may have gotten an LST, but I don’t know that he had one off of Vietnam. Um, I spent a year. The tour that you got was a year. It was a small outfit—maybe a hundred people, if that. Uh, Most of them were assigned to run the boats, and the others were assigned as maintenance people. Uh, there was[sic], uh, two Lieutenants and three Lieutenants Junior grade, who made the officer structure. Then you had a number of Chief Petty Officers, and a host of, UH, other enlisted personnel, who manned the boats, and we spent a year patrolling the rivers of Vietnam. Van Zandt What impact do you think this experience had on you? Sloane Well, it had a tremendous impact. Um, you know, you sad[sic] in the sense that you were at war. You were certainly, uh, aware of that. Um, I think it was Winston [Leonard Spencer- ]Churchill who said something like, “There is nothing more exhilarating than being shot at and missed.”<a title="">[1]</a> Uh, and I had that experience. Um, uh, we’ve lost a number of people from our section to combat, while I was there, and I respect—I consider myself fortunate that I—that I, uh, um, didn’t have a harrowing[?] experience that—that cost me more than it did, so to speak. Um, uh, it was interesting to be in country, in—in that environment—to meet people of Vietnam, um, in many different, uh, ways, if you will. Um, and that’s about it. Van Zandt Do you think, um, your time through these, uh—the last two assignments that you just described help shape your leadership style? Sloane Uh, yeah, I think to some degree. That’s hard to say, um, how you developed, what—what it was that caused you to develop your leadership. I think more, uh—I don’t know. I only speak for myself, but I think more it was my upbringing than anything else. There’s all sorts of leaders—different people. Some lead in fear, some lead in—in different manners, and I just think it was the way that I was brought up that really, uh, set the foundation for my leadership style. I think a lot of your style is not so much developed in those early years, but further as you go along, you get more responsibility. Certainly there was a lot of responsibility from day one at different levels, and—and very significant responsibility, but my impression was: the further along you got, the more leadership experience you had. You had the opportunity to observe other leaders, you know? The—the common phrase, as well, eh, you know; “I’m not going to do it like he did it when I grow up.” That sort of thing. So, uh, how you developed it is—is a, in my opinion—for me, at least, is a combination of a lot of things: my personal upbringing, the experiences that I had as you climb that ladder can really shape. Van Zandt Thank you. What other, um, duty assignments did you take after your tour in Vietnam and prior to coming to NTC [Naval Training Center] Orlando? Sloane Right. I came back from Vietnam and I was, uh, selected to go what then called the “Navy Destroyers School,”<a title="">[2]</a> which was really a course to prepare you to be a department head on a destroyer-type, um, ship. Um, that was a six-month course in Newport, Rhode Island. I met my wife there, during that time period. I courted her, eh, in—in those years—that time frame. Um, Went to USS Garcia DE-1040. Home-ported out of Newport, Rhode Island, as the Weapons [Systems] Officer. Um, from there, uh, I have to think back. I went to the USS—oh, excuse me. From there, I went to, uh, instructor duty at what was then the beginning of the Navy Surface Warfare Officers School and served as an instructor to ensigns, who were coming from their commissioning source before they were going to surface ships, and, uh, that was about three-year tour in Newport, and then I went to USS Milwaukee AOR-2—I think it was. Homeport in Norfolk, Virginia, a multiproduct ship, uh, stationed out of Norfolk, Virginia. Great tour of duty, great, uh, shipmates there. Again, uh, a tremendous learning experience as a department head for the deck department. Uh, A lot of responsibility, a lot of work there. From Milwaukee, we went to shore duty in Millington, Tennessee—a little bit north of Memphis, where the Navy had its, uh, training headquarters, and, uh, I served on, uh, the staff of, uh, Naval Education and Training [Command] —technical training—in Memphis—Millington. Uh, from there, after a short one year tour, um, I went to Hawaii, uh, to be, uh, Executive Officer on the USS Hassayampa, an oiler in, uh, Pearl Harbor, Hawaii. Another great tour. Uh, I think the, uh, thing that made my career so gratifying was the great shipmates and the leaders that I worked with over the years on these ships. From Hawaii, came back to Norfolk and served on the staff of, uh, Commander Carrier Group 8. Went to sea on aircraft carriers as a Surface Warfare Advisor, if you will—surface op[eration]s officer. Completed that tour, working for a couple of flag officers, and from there, let’s see. Where’d we go? [U.S.] Naval War College, I believe. Tour[?] in Newport, Rhode Island, at the Naval War College. A very int—interesting time, and then went to, um, command the USS Santa Barbara, uh, AE-28, out of Charleston, South Carolina. Was on board there for about two in half years, in command of the Santa Barbara. Went from there to, uh, the Executive Officer of Service Schools[sic] Command. [Naval Station] Great Lakes—very large training activity, uh, up in Great Lakes, Illinois, just north of Chicago[, Illinois], and from there, I came to Orlando, Florida, in command of the Service School Command Activity here at the Naval Training Center Orlando. So it was all in route, but we got there. Van Zandt That’s quite a list Sloane Yeah, I’ll say. Van Zandt Alright. This one’s about your wife. You ready for this one? Sloane I’m sorry? Sure. Van Zandt This one’s about your wife. They say in the military, you great two for one. How did you do with the family, the military, and the traveling? How did she deal[?] with that? Sloane Well, we were very fortunate. I’ve always felt that way. Um, my wife was ready, willing, and able for the adventure. She was a Navy nurse actually, when I met her when she was in college, and she was, uh, attending on a—a little bit of a scholarship at the end of her college tour, where, in exchange for tuition assistance, she went in the Navy as a Navy nurse, and in those days, if you became pregnant, they mustered you out, and so she was in for a little over a year in an half, until she became pregnant without first child, and had to muster out. So she had a little taste of the Navy, besides from the fact of growing up—not going up—but going to school in Newport, Rhode Island, as she did, which is where I met her, uh, she was exposed to all the Navy activity that went on in Newport, Rhode Island, at the time. Um, so we enjoyed the Navy. Nobody enjoys leaving your family for six months at a time and Nowadays, sailors are leaving there families for even longer, but, uh, typical six-month deployment then was not something you looked forward to from a family standpoint-of-view, but she—she understood that and, uh, was a great Navy wife. You know, they say, uh, a Navy wife’s the toughest job in the Navy, and I believe it 110 percent, and our children, uh, my wife, and I always—we moved around a lot, you know? And describing where I went, it was here, there. We came back a couple times, but it was never back to back tours in the same town, and unlike some, who said, “Oh, I don’t want to leave Norfolk,” or “I gotta stay in San Diego[, California].” We were always up for that adventure, and after a year or two went by, the kids were always saying, “Where are we going next?” That sort of thing. Got a little tougher when they got to the junior high/high school age, but up ‘til then, they were always ready, willing, and able to—“Let’s find a new place to go.” And, uh, that was pretty good. I’d always come home, after having spoken with the detailer, getting the word on where we were going. Uh, I’d call home and say, “Honey, Are you sitting down?” And she knew that was the signal [laughs] that we were going somewhere. Yep. Van Zandt Good. Um, well, what did you know about the region of Orlando and the military here? Sloane I’m sorry. Van Zandt What did you know about the region of Orlando? Sloane Well, I didn’t know anything about it expect that they had a mirror of activity of Great Lakes on a smaller scale. Uh, Navy training activity, smaller in numbers, but the mission was basically the same, and I lobbied to get that job of Commanding Officer. I say lobbied. You know, I—you talked to your detailer and say “Hey. I hear there’s a job opening in Orlando. Uh, it seems to fit. I’m training in education subspecialist. I’ve done the tour as Executive Officer here. Um, and I hear the Commanding Officer tour for the Service School Command is open there.” I was fortunate to get that assignment, and again, uh, the only, uh—the biggest impression was if the kids were a little, uh, anxious in moving in that point in time, because they were in junior high [school] and getting little more into socializing. Uh, When I told them that we’d probably have a pool at the house, that settled the deal [laughs]. “Let’s go.” They were ready to pack and move—move down here. So I didn’t know much about it. That was it. Um, that was it. Van Zandt How long were you here at NTC Orlando? Sloane Well, we got here in 1988, and I retired from that job in 1991. So… Van Zandt Okay. Sloane That was the tour. Van Zandt Um, what were your overall impressions of the recruits and their training, during that time down [inaudible] your time at the base? Sloane Oh, I thought it was terrific. You know, I was—really, there were three activities. You had the Recruit Training Center, You had the Nuclear Power School, and you had Service Schools Command. So, uh, while we did have some interaction in between all those activities, um, the sailors that—that I was seeing, uh, who were coming, from the most part, out of boot camp—uh, We did have some coming to advanced schools, uh, from the fleet, but the majority of them are coming right out of boot camp—uh, just top quality, you know? People have said that the quality of our servicemen and women today are—is better than ever, and they have said it for years and years, and I firmly believe it. A lot of people who say, “Ah, it’s not like the old Navy,” and they talk about things like uniforms and discipline, which is always important, but the, uh, quality, the intellect, uh, the upbringing—if you will—uh, of the people that[sic] are coming into the service, I thought was terrific, and I saw that throughout my career. You know, you’re in that moving stream, so you don’t always see the difference, but when you think about it, and you stop and you think, and you say, Look at the quality of the Electronic Technicians School, who are going through Torpedoman [Mate] School—some of these highly technical courses—You have to really, you know, learn some significant stuff or hone their skills. Um, we had top-quality people. Van Zandt Alright. Um, Daily life for your, uh, Navy recruits and your Navy sailors, that[sic] are there training for the schools—what was it like? Sloane Well, again, the people that[sic] were in my school, for the most part, were brand new, coming from out of 8-12 weeks of Recruit Training Center. So you still had to be aware of their conduct more off the base than on the base. Remember, these are young people who been cooped up at recruit training, where they didn’t get any liberty for months on end, if you will. Now, they’ve been cut loose, so to speak. Uh, yes[?], you go to class, but you had your weekends off, sort of thing. I think, on the whole, uh, and really across the board, we had very few discipline problems—things of that nature. Again, in a—in an organization that size, deal with that demographic, there will be individuals who really weren’t suited for the service, or who had a momentary lapse in judgment, shall we say, and so that’s typical in any large organization. I don’t think it—it’s not so visible in civilian—civilian life, you know? If some fella who’s working on the line in General Motors [Company] goes out and gets arrested for DUI [Driving Under the Influence], or something like that, General Motors doesn’t really hold him to task. Well, the military’s a little different on how it, uh, wants its people to represent the organization. Van Zandt Okay. Uh,couple of, uh, questions here, uh, for those who—who don’t know. Could you explain to us what the Grinder was? Sloane What the what? Van Zandt The Grinder was. Sloane Oh, the Grinder [laughs]. Well, I got very familiar with the Grinder at OCS, because the Grinder was where you—in OCS, you walked off punishment. I mean, it was the parade ground, and it was usually a paved a, uh—asphalt, uh, parade ground, uh, on which you’d have formal parades, but OCS—if you—if you didn’t make your bed right, or there was a dust bunny loose, or if your shoes weren’t shined, uh, when the other folks were going on liberty on Saturday, you were out there marching for two or three hours. Uh, And again, at—at boot camp, the Grinder was, again, the place where graduation was held, but again, uh, conduct infractions were marched off often times. Van Zandt Alright, and, um, the purpose of the USS Blue Jacket? Sloane Yeah, the Blue Jacket was, uh, a wooden replica, if you will, of a ship—a destroyer-type ship, and it had—internally, it had classrooms. Externally, it had fittings that you would find on, uh, a real ship. a life boat, or a whale boat, if you will, that could be lowered, raised, chalks, and bits, and lines, anchor chain, and halyards, and all the things that a sailor in—in the field of seamanship might encounter on a real ship, and so, uh, they can go on board that—that trainer, um, uh, and, uh, do the things that they would be asked to do out in the fleet, and they could also hold classes there. Uh, it was a—a fixture, if you will. A lot of people were sad to see it go. Van Zandt Okay. What kind of social life existed among the recruits on the base through the MWR—Morale, Welfare, and Recreation? Sloane Right. Uh, the interesting fact is: when I retired from the Navy in 1991, uh, the first position I took as a civilian was director of the USO [United Service Organization], here in Central Florida, Which, in a sense, was responsible a little bit for the MWR. I mean, the base had its own MWR organization, which was really the root of it. Uh, when I was on active duty, I personally took advantage of it. They had great gym, and weights, and facilities, and pool—all those sorts of things that you would want on the base. They had opportunities for sailors to buy tickets to local events and theme parks—uh, the typical Morale, Welfare and Rec, uh, support system. The USO was there also, primarily to support, uh, the families that came to see the recruits graduate every week at—at, uh, the Naval Training Center, but, uh, the MWR ran some great programs. They always were there. I remember the people who were—for the most part, many were retired military who were running the programs. They had a golf course, which was, uh, one of the premiere, I think, spots in town, to play golf for the retired Navy community and active duty when they were on liberty. There was also a smaller course down by, uh—by the [McCoy] Air Force Base, or was then a civilian airport. They had a small place down there. They had camping gear you could check out. Um, Just, really great support. I think that was an asset for this—this community—the Navy community. Van Zandt Okay. Um, did they have a local base newspaper? Sloane They did have a local base newspaper, and for the life of me, I’d have to think. I’d have to wake up at 3 in the morning to remember the name of it. I think it was The Navigator or something like that, and the fella named Jim Allen ran it, when I was there. He was sort of the—the editor. Uh, a great asset. I think it came out once a week, but Again, it covered the news, and all the good news, and, uh, that sort of thing. I—I got very familiar with the paper. I always wanted to make sure they—that if my activity had something to promote, it was in there, and it—they did a great job. It was a great asset. Van Zandt ‘Kay. After basic training, what other types of schools did you guys offer here at NTC? Sloane Right. Well, Service School Command had four, uh, ratings, if you will—trade—Trade skills that they trained to. Uh, one was electronics technician, one was torpedoman, uh, one was quartermaster, and the other was signalman. So again we did that, and Nuclear Power School—they had two different, uh, schools, if you will: Nuclear Power A School, and I can’t for the life of me recall what the other division was called, but it was sort of like a lower division and an upper division, and their training, um—it went up to a lot of the skills and requirements of operating nuclear power plants. Uh, they had a lot of senior officers, who would go into command of nuclear powered ships, who went through that program. Very, very, uh, effective training program. Van Zandt Alright, alright[?]. Um, did you have any shore maintenance that was done here? Did anything get sent back to have work done here locally for work done… Sloane You know… Van Zandt From the ships? Sloane I don’t believe that we did. I think, um, most of any maintenance that went on was supporting, uh, what was happening at the base, uh—that sort of thing, but it wasn’t like equipment was coming back from the fleet Van Zandt Yeah[?]. Sloane For maintenance. Van Zand Mmhmm. Sloane Because that was all done at the fleet site’s shore locations, if you will. Van Zandt What about airbases? Uh, ‘cause we have airbases here. Were we doing any work for the airbase maintenance? Sloane No, again, the Navy, um—a lot of that air training was done in Memphis, where a lot of the air raidings were done in Millington, if you will. Van Zandt Mmhmm. Sloane Again, um, if you’re talking about, like, [Naval Air Station] Jacksonville, which had a Naval Air Station up there and added their own—their facilities up there. So we really weren’t training aviation raidings. Van Zandt So our airbases here had been pretty much downgraded? Sloane Um… Van Zandt The old airbases? Sloane Well, Naval Air Station Sanford became the Orlando-Sanford… Van Zandt [inaudible]? Sloane Uh, International, uh, Airport. Um, uh, the Orlando International Airport was McCoy Air Force Base. Um, and, um, it’s always, uh, enjoyable when I drive down there and have a moment to scoot in by where the old [Boeing] B-52 [Stratofortress] is parked.<a title="">[3]</a> I think so many people in this community don’t know it’s there, haven’t had the opportunity to go down there where you can walk right up to it and kick the tires on this gigantic airplane. Up in, uh, Orlando-Sanford—which I’m sure the locals don’t know about—uh, there was a small civilian community, uh, that, uh decided to refurbish a [North American RA-5C] Vigilante, an A-5 aircraft, which is on display, uh, at the entrance to the airport up there. My wife and I had occasion to work with that committee and help, uh, put it in place, and, uh, that’s—that’s a sight, I’ll tell ya, and they’re working on refurbishing other aircraft for display up there. Van Zandt Great[?]. Sloane Yeah. Van Zandt Now, I know we had Tactical Air Command and Army Air Force[s] Training Command here, at one time. Did you have an occasion to work on any joint exercises with them? Sloane No, that was way before my time. Van Zandt Okay. Sloane That was when they wore the leather helmets. Van Zandt [laughs]. Sloane [laughs]. Van Zandt They have—the do still have the simulator training and stuff that goes on here with the [U.S.] Joint Forces [Command]? Did you… Sloane Well, the, uh… Van Zandt Participate in any of that? Sloane The Navy—the, um, Naval Air Warfare Training Center [Systems Division]…<a title="">[4]</a> Van Zandt Mmhmm. Sloane Here in Orlando, is part of the Research Park activity, the military’s presence, uh, joint services are there, mostly contracting for, uh, training and simulation work. That’s why all of these defense contractors have set up shop here in Orlando, so that they can have close act[sic]—access to those folks, but there’s a lot of activity taking on—taking in that area, right here in Orlando. Very important to the community. Van Zandt Right. I know the, uh, base has tied to developing technology and simulations. Were you involved in any of the future simulation exercises that were currently… Sloane No, really… Van Zandt Conducted by the military? Sloane That all used to be located at the Naval Training Center, and, of course, as it expanded, uh, I remember—I can’t tell you the exact year, but it was when I was in service here that they built the [Luis] De Florez Center, here in the Research Park, and moved that operation out there, and grew it, and had just a tremendous expansion of not only that joint service activity out there, but again , the growth in the Research Park of defense contractors who have come here to Orlando, but I did not work directly with the training and simulation activities here. Van Zandt Okay. Thank you. Um, what’s the hardest thing you remember doing while you were, um, a Commander at the NTC? Sloane Pushups. Van Zandt Pushups? [laughs]. Sloane [laughs] Yeah, well, you, um—I think “hardest” is a tough word. When you say “hardest,” uh, you know, I—I’ll change it over to what was the most, uh, difficult, uh, and that was the discipline. Um, Having to, uh, work with young people, who, again, had a lapse in—in judgment and came before you, because of some infraction—some minor, some not so minor, but it was always, I say, a little disappointment—maybe a little heartfelt, because it—in the back, you’ll say to yourself, uh, This youngster can do better. You’ve tried to provide them and your team to[?] guidance. Everybody makes a mistake, once in a while, and—and while there were those who, you know, were more than willing to atone for their sins, so to speak, and get back on track. Eh, there was the rare exception who was not the right person for the service and you had to ask them to leave, and, uh, I think—so when you say what was the “hardest,” it was that. You felt like to some degree, you failed. Now, some degree you—you can’t change some people—that sort of thing. So that was probably the most difficult, really. Van Zandt Alright. From the most difficult, when did you feel the most proud at NTC? Sloane Well, I think, um, every time you had a graduation, you know? Uh, every time you set sailor from your school out to the fleet, and you felt that they were—your team had prepared them, uh, very well to do the job, and that they would go out, and the people in fleet were going to look back and say, “Now, that sailor came from NTC Orlando. He or she was trained right.” Van Zandt Okay. Um, is there a particular story, um, from your time at the NTC that you’ll never forget? Sloane Oh, there’s a million of them. A million of them. We used to—we had a lot of fun. I mean, if you don’t have fun—that’s not to say that every day was a good day, uh, but if you don’t come away, uh, with a balance sheet that says you had more fun than not, you’re probably either not doing it right or don’t belong there and, uh,every year, uh, the, uh, Navy-Marine Corps Relief Society would hold a fund drive. Navy-Marine Corps Relief Society is just what it sounds. It’s a[sic] organization—civilian organization—that, uh, provides release services for men and women in the Navy and the Marines who have had hardship. Whether it’s a house fire, a death in the family, some serious illness, they—they’re there to support with finances and services, if[?] necessary. So every year they had a fund drive Throughout the Navy, and our little piece at the Navy Training Center broke down the individual commands, and what we did, for the time that I was there, we had a little carnival, or a cookout, or whatever every year in support of that, and my wife and I would put on a skit every year. So we did about three skits, during the time I was there, and [laughs]—and, uh, let’s see if I can remember them in the right order. One year, we did, uh a sk—it wasn’t a skit, but it was a song called “Lydia and the Tattooed Lady,” which [Julius] “Groucho” [Henry] Marx made famous, and I dressed up as Lydia the Tattooed Lady. My wife dressed up as Groucho Marx. The Navy band came and played the music. Van Zandt [laughs]. Sloane And out we went and did it for the crowd, and then one year, we did, uh, from, uh, South Pacific, uh—uh, the number “Honey Bun,” where—if you’re not familiar with it—this, um, senior sailor gets dressed up in a grass skirt and, um—and, um, uh, the Navy nurse dresses up as a sailor and sings about, uh, his girlfriend—his honey bun. So I dressed up in the grass skirt, and my wife dressed up in the sailor suit, and sang the song, and the Navy band played along, and then the last year we did, uh, “Get Me to the Church on Time” from My Fair Lady. So there I was in—in bridal regalia and she was, uh, dressed up as a, uh, groom going to the church, and we had great fun doing that. It made—let’s just say it made the base newspaper [laughs]. Van Zandt That sounds wonderful. Sloane Yeah. Van Zandt Um, were there any other areas of the base that were of particular importance to you or the sailors? Sloane Well, one of things, you—you know, everything was important, whether it was the commissary or what have you, but I remember Lake Baldwin, you know, which Baldwin Park is named after, if you will, and so many of the, uh, people who had the opportunity would go out there and fish on Lake Baldwin, or be at one of the clubs, whether it was the enlisted club or officer’s club, which looked out on Lake Baldwin. It was sort of, um, just the center of things, not necessarily geographically, but, uh, when you drove home, you went by it. That sort of thing. It was always there. The sort of Place a lot of people, uh, looked forward to seeing, or recreating on, what have you. The Maple Hospital overlooked Lake Baldwin. The golf course was off of Lake Baldwin. Uh, that sort of thing I remember very much. Van Zandt Um, I know what you did when you left the Navy. You went to work for the USO. Do you recall the day your service ended? Sloane The day my service ended? Yeah. Well, you know, like most senior people in the service, they have some sort of retirement ceremony for you. Change of command is what it really was, where, um, uh—a good friend of mine, uh, Captain Harry Smith—U.S. Navy retired, still here in Central Florida, uh,—relieved me of that job, and that was a very emotional day. It may not have be the—my last day—maybe it was the last day. Uh, it was just, uh, a very emotional time for me, um, in concluding that service, and reflecting back on all the years of service, all the assignments, the family, uh that sort of thing. So that’s my reflection on my last day, if you will Van Zandt Have you kept in touch with people from the Navy? Sloane Oh, absolutely. Um, [laughs] there’s one warrant officer, uh, who served with me in Vietnam. He was the maintenance officer for the river section, and he, uh, sort of, uh, made it his business to stay in touch with, uh, those of us who were still around, and so, um, an email contact with him. As I said, Captain Smith, who relieved me of the Naval Training Service School Command job, um, was a good personal friend here. Dave Arms, retired Navy Captain, who was Commanding Officer of the [U.S.] Naval Reserve Center here in Orlando for a while, uh—still here, and, uh, we stay in touch. Um, you hear from some people every once in a while. One of the most poignant things I recall, uh, is: many, many, years went by, uh, after I had left Vietnam, and as I said, we lost a couple of people in our section, and I, over the years, received just a handful of correspondence from, uh, relatives of the people we lost, um, asking about them, and I responded to those people, and that was, in a way, staying in touch. Van Zandt Was that hard? Sloane Oh, it—well, it was hard on—it wasn’t hard. Uh, I was glad to hear from them and to be able to tell them that, uh, their relative had served honorably. Van Zandt Um, what values or characteristics do you believe that the Navy made, um—that instilled in you a great impression for the rest of your life? Sloane Well, I think discipline, and I—I mean that in the finest sense of the word. Organization, uh, good order, wanting to see things in the right place, um, making decisions, you know—right or wrong. Somebody’s gotta make that decision. Uh, working with others towards a common goal—that sort of thing. Van Zandt Your lasting legacy with the, um, NTC in Orlando and the Navy’s legacy, um, in Central Florida—what do you think, um, is the lasting legacy in Orlando? Sloane Well, I think the lasting legacy [sniffs] is a couple of different things. One is: people, like myself, who are here and remain here, who chose to stay for many different reasons. Uh, but we have a tremendous veterans’ population here. People who served here and came back—I see a lot of that up in Sanford. You know, people—there’s a lot of, um, people who don’t, uh, know about the Naval Air Station Sanford, and, uh—and I had the opportunity to meet a lot of them during the restoration of the vigilante aircraft. Boy, they came out of the woodwork, um, for that, and so that’s one, uh—one thing. I think what we’re doing at—at, um, Baldwin Park, with the Lone Sailor Memorial [Project] is a great, great thing. Uh, that will stand forever and, uh, when generations go by, people will still know that there was a Naval Training Center activity here, hundreds and thousands of young men and women passed through here in service to their nation. Um, you can’t do more than that. Van Zandt How do you think that the former Navy personnel would like to see or reminded, um, at the memorial? Sloane Well, I think that the Lone Sailor Memorial is a very, very appropriate, uh, recognition of what took place here over the years. I think, uh, there’s so much pride in—in veterans. I don’t care whether they did 20 years or a four-year hitch in the Navy. I have rarely spoken to an individual who served, especially in the Navy, uh, who didn’t come away saying “It was a good experience for me.” That sort of thing. Van Zandt Okay. Um, when we’re looking at, uh, designing the [Blue Jacket] Park, what do you think they would like to see at the park? Sloane Oh, nautical—Things of the nautical nature. I remember, when I [laughs] was, uh—had command at the Naval Training Center, and one of things, I think—my recollection of up at the Great Lakes is the—by—by virtue of the fact that it was a very, uh—I don’t want to use “old” in the wrong word—but it had been there for… Van Zandt [laughs]. Sloane Since 1903,<a title="">[5]</a> I think. They had accumulated a lot of maybe history there. Whether it was an anchor, or a gun, or what have you, and so as you walked around that base, if you will, a [inaudible] you saw a lot of these things And You knew you were at a military facility or a naval facility, and when I came to Orlando, one of things I asked my, uh, team to do was to bring some of those Navy artifacts to—to our activity, and I’ll never forget, uh, we brought two big—what we call “24-inch searchlights”—no longer in use in the fleet, but these, uh—If you see the movies and you see the big arc lights things searching for planes in the sky, and I, uh—I charged one of our officers. Uh, I said, uh, you know, “Get in touch with the—the old shipyards, who[sic] have this stuff in excess, and let’s see if we can’t get one.” They did. They brought it and it was mounted in front of the school. they got a, uh, uh, four-barrel—I think it was a 4-barrell—a 40-millimeter gun mount brought it down and got it there, and that was—when the base was closed, I think they transferred it, to my recollection, to the, uh, Oviedo High School and JROTC [Junior Reserve Officer Training Corps] unit, and they may still be there. I haven’t been in the back lot for a while. So I think—and I remember that, uh, the torpedo—and it was a very strong World War II torpedo CO—submarine community here in Orlando, and I remember over at, eh, um—I don’t—it wasn’t near the USO, but it was somewhere over there in that vicinity, near the RTC [Recruit Training Center Orlando]. They had got these old World War II torpedoes and put them on display, and so I think, eh, you know, any of those type materials that can be brought, appropriately placed in and around Blue Jacket Park, uh, would really be a great reminder of, uh, the service that these people gave to their country. Van Zandt Thank you. Sloane Mmhmm. Van Zandt You’ve exhausted my list. Is there anything else you’d like to share with me? Sloane Have a great Navy Day. Van Zandt Aw. Sloane [laughs]. Van Zandt Thank you so much Sloane You’re welcome. Van Zandt I appreciate your time. Sloane My pleasure. Van Zandt I’m ready to stop recording. <div> <div> <a title="">[1]</a> Correction: “There is nothing more exhilarating than to be shot at with no result.” </div> <div> <a title="">[2]</a> Correction: Naval Destroyers School. </div> <div> <a title="">[3]</a> B-52 Memorial Park. </div> <div> <a title="">[4]</a> Correction: Naval Air Warfare Center Training Systems Division (NAWCTSD). </div> <div> <a title="">[5]</a> Correction: Naval Station Great Lakes was approved in 1904 and dedicated in 1911. </div> </div> A-5 advanced training aircraft airplanes airports auxiliary service B-52 B-52 Memorial Park Baldwin Park basic training Blue Jacket Park Boeing B-52 Stratofortress Bronze Star with V Device BUPERS Bureau of Naval Personnel captains Carli Van Zandt Carolyn Van Zandt Central Florida Research Park Combat Action Award Commander Carrier Group 8 Community Veterans History Project conscription CVHP Dave Arms deployments destroyers discipline drafts engineering engineers ensigns Fernando Maldonado Garcia Get Me to the Church on Time graduations Great Lakes, Illinois Grinder Groucho Marx gunnery officers Harry Smith historical preservation historical restoration Honey Bun Jim Allen Julius Henry Marx Lake Baldwin Legion of Merit Lieutenant Junior Lone Sailor Memorial Project LSMP LST LTJG Luis De Florez Luis De Florez Building Lydia and the Tattooed Lady McCoy AFB McCoy Air Force Base Mekong Delta memorials military spouses military training military wife military wives Milwaukee monuments Morale, Welfare, and Recreation MWR My Fair Lady NAS Sanford Naval Air Station Sanford Naval Air Warfare Center Training Systems Divisions Naval Destroyers School Naval Education and Training Command Naval Training Center Naval Training Center Great Lakes Naval Training Center Orlando Naval War College Navy E Ribbon Navy-Marine Corps Relief Society NAWCTSD NETC Newport, Rhode Island NMCRS North American A-5 Vigilante NTC Great Lakes NTC Orlando Nuclear Power School nurses OCS Officer Candidate School Officer Car orlando Orlando International Airport Orlando-Sanford International Airport parks planes preservation Purple Heart Queens, New York City, New York RA-5C RA-5C Vigilante recruit training Recruit Training Center Recruit Training Center Orlando recruits Repair Division Officer Research Park retirement Richard T. Sloane Richard Tobias Sloane river patrols River Section 35 Rockbridge RTC Orlando Sanford Santa Barbara selective service Service School Command Service Schools Command SERVSCOLSCOM simulations simulators South Pacific Surface Warfare Advisor Surface Warfare Officers School The Navigator training U.S. Naval War College U.S. Navy United Service Organization USO USS Blue Jacket USS Garcia USS Hassayampa USS Milwaukee USS Rockbridge USS Santa Barbara USS Wisconsin veterans Vietnam Vietnam War Vietnamese volunteers Ward Room wars Weapon Systems Officer Wisconsin https://richesmi.cah.ucf.edu/omeka/files/original/568a371c7d9a15e61420e9cc47801acb.pdf 91becf0a983b24e5f0ec57c4729e3381 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Lone Sailor Navy Memorial History Project Collection Alternative Title Lone Sailor Collection Subject Veterans--Florida Orlando (Fla.) United States. Navy Navy Sailors--United States Description Collection of digital images and oral histories related to the former Recruit Training Center Orlando (RTC Orlando) for the United States Navy. The training center transformed raw recruits into highly effective sailors. This process took place over an intensive eight-week training period, commonly referred to as "boot camp." RTC Orlando occupied roughly one half of the former Naval Training Center Orlando (NTC Orlando), which was located at present day Baldwin Park, Orlando, Florida. Between 1968 and 1994, over 650,000 men and women graduated from RTC Orlando. Contributor <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/24" target="_blank">UCF Community Veterans History Project Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Naval Training Center, Orlando, Florida Contributing Project <a href="http://www.lonesailorfl.com/" target="_blank">Lone Sailor Navy Memorial History Project</a> <a href="http://digitalcollections.net.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://riches.cah.ucf.edu/veterans/" target="_blank">About the Project</a>." UCF Community Veterans History Project, RICHES of Central Florida, University of Central Florida. http://riches.cah.ucf.edu/veterans/. "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Oral History of William Reuter Alternative Title Oral History, Reuter Subject Veterans--Florida Navy Orlando (Fla.) Simulation Description An oral history interview of William Reuter (b. 1961), who served in the U.S. Navy from 1979 until 2012. Reuter was born in Camden, New Jersey on April 21, 1961. He served in Libya during the Action in the Gulf of Sidra and in the fjords of Norway. Reuter achieved the rank of Captain, earned a Legion of Merit, and served as Executive Officer (XO) at the Naval Air Warfare Center Training Systems Division (NAWCTSD) at Naval Training Center (NTC) Orlando. This oral history interview was conducted by Daniel Bradfield on March 10, 2014. Interview topics include Reuter's experiences as XO at NAWCTSD, the simulation industry, Recruit Training Center (RTC) Orlando, the Lone Sailor Memorial Project, and applying to the National Aeronautics and Space Administration (NASA). Table Of Contents 0:00:00 Introduction 0:00:38 Background 0:01:40 Joining the Navy and active duty in warzones 0:05:20 Executive Officer at Naval Air Warfare Center Training Systems Division 0:09:35 Simulation industry 0:15:05 Post-Navy career and lessons learned from naval experience 0:16:59 Naval Training Center Orlando and the Lone Sailor Memorial Project 0:19:07 National Aeronautics and Space Administration Abstract Oral history interview of William Reuter. Interview conducted by Daniel Bradfield at Central Florida Research Park in Orlando, Florida on March 10, 2014. Type Moving Image Source <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/286/rec/2" target="_blank">Reuter, William</a>. Interviewed by Daniel Bradfield, March 10, 2014. UCF Community Veterans History Project, DP0014907. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank">Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank">Java</a> <a href="https://get.adobe.com/reader/" target="_blank">Adobe Acrobat Reader</a> Is Part Of <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a>, Orlando, Florida. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/109" target="_blank">Lone Sailor Navy Memorial History Project Collection</a>, UCF Community Veterans History Project Collection, RICHES of Central Florida. Has Format 12-page digital transcript of original 21-minute and 23-second oral history: <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/286/rec/2" target="_blank">Reuter, William</a>. Interviewed by Daniel Bradfield, March 10, 2014. UCF Community Veterans History Project, DP0014907. Audio/video record available. UCF Community Veterans History Project, Special Collections and University Archives, University of Central Florida Libraries, Orlando, Florida. Conforms To Standards established by the <a href="http://www.loc.gov/vets/" target="_blank">Veterans History Projects</a>, Library of Congress. Coverage Naval Air Warfare Center Training Systems Division, Naval Support Activity, Orlando, Florida Baldwin Park, Orlando, Florida Creator Reuter, William Bradfield, Daniel Publisher <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Date Created 2014-03-10 Date Issued 2014-09 Date Copyrighted 2014-03-10 Format application/website application/pdf Extent 137 MB 165 KB Medium 21-minute and 23-second DVD audio/video recording 12-page digital transcript Language eng Mediator History Teacher Civics/Government Teacher Economics Teacher Geography Teacher Provenance Originally created by Daniel Bradfield and William Reuter. Rights Holder <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> Accrual Method Item Creation Contributing Project <a href="http://riches.cah.ucf.edu/veterans/" target="_blank">UCF Community Veterans History Project</a> Curator Cepero, Laura Digital Collection <a href="http://digital.library.ucf.edu/cdm/landingpage/collection/VET" target="_blank">UCF Community Veterans History Project</a>, UCF Digital Collections, University of Central Florida <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference "<a href="http://cfnavyleague.org/lone-sailor/" target="_blank">The History</a>." Lone Sailor Navy Memorial History Project. http://cfnavyleague.org/lone-sailor/ "<a href="http://rtcorlando.homestead.com/" target="_blank">The History</a>." RTC Orlando. http://rtcorlando.homestead.com/. <a href="http://www.lonesailorfl.com/" target="_blank">A Guide to Historic Orlando</a>. Charleston, SC: History Press, 2006. Click to View (Movie, Podcast, or Website) <a href="http://digital.library.ucf.edu/cdm/singleitem/collection/VET/id/286/rec/2" target="_blank">Reuter, William</a> Transcript Bradfield Today is March 10th, 2014. I am interviewing [William] “Bill” Rotto[sic]—Reuter, who served in the United States Navy from 1979 through 2010? Reuter 2012. Bradfield 2012. Um, they, uh—Mr. Reuter served during the Cold War and completed his service as a… Reuter Captain. Bradfield Captain. Um, my name is Daniel Bradfield. We are interviewing Mr. Reuter as part of the UCF [University of Central Florida] Community Veterans History Project and as research for the creation of the Lone Sailor Memorial Project. We are recording this interview at [Central Florida] Research Parkway in Orlando, Florida. Mr. Reuter, can you please start us off by telling us when and where you were born? Reuter I was born in [April 4th,] 1961 in Camden New Jersey. Bradfield Okay. Uh, what did your parents do for a living? Reuter My dad owned a mobile home business in, uh, Key West, Florida, which is where I grew up, and, uh, my mother, uh did all kinds of different things, including deal with us. Bradfield Uh, what did you, uh—do you have any brothers or sisters? Reuter I have two younger brothers and, uh—one of them in Pennsylvania and the other down in the Keys. Bradfield Growing up, where did you go to school? Reuter I went to school in Key West. Uh, grew up in a trailer park, because we owned trailers and trailer parks, and so, uh—but, uh—all—all throughout my life in Key West. Bradfield Um, what did you do before entering the Navy? Reuter Uh, basically, I was a student—I was a high school student, and received an [Reserve Officers’ Training Corps] ROTC scholarship out of—out of Key West High School, and then went straight to UF [University of Florida] to, uh, start my journey in the Navy. Bradfield Um, why did you join the Navy? Reuter I wanted to fly airplanes. I wanted be an astronaut. Bradfield Um, do you have any other family members in the service? Reuter I had an uncle that was in the Air Force, uh, but that’s about it. Bradfield Uh, how did your family feel about you joining the Navy? Reuter Very, very supportive. Bradfield Where did you attend boot camp? Reuter As an officer, my boot camp was really going through the Reserve Officer[sic] Training Corps program at UF. So I didn’t attend a formal boot camp, like many of the enlisted sailors that you’ve interviewed. Bradfield Did you ever see active duty in a warzone? Reuter Uh, only on, uh, Line of Death in Libya, and, uh, in the Norwegian fjords, uh, against Soviet, uh, reconnaissance, uh, and bomber aircraft, but not in the current [Persian] Gulf conflict.<a title="">[1]</a> Bradfield Um, do you have any stories you’d like to share about those encounters? Reuter Well, I mean, it’s always fun seeing people that, you know, think differently from you, and back in the [19]80s, certainly, we saw the Soviet Union as, uh—as sort of an enigma. It was very, very mysterious, because they were in this whole different, you know, behind the—Steel Curtain, you know? And so, uh, we had a lot of curiosity, and—and, uh, we’d look back at each other in airplanes, and here we are up in the middle of nowhere, and we just con—continue to have that kind of curiosity. Most of my stories having to do with, uh, stress and overcoming stress in the service have more to do with landing aircraft—landing aircraft on aircraft carriers at night. Those sorts of things. Because those are often, uh, scarier than most other things that an aviator would encounter. Bradfield Do you have any stories about any close calls while trying to land on an aircraft carrier? Reuter Certainly. Uh, well, I can tell you that, uh, at one point, I was—I had had a, uh, problem—what we call a “bleed air fuel leak,” which can create a fire, and so I had lights in the cockpit that were saying that there was excessive heat in the engine compartment. Uh, and it was—it’s what they call “one step short of a fire.” And a fire out on the aircraft carrier, when there’s really nowhere else to go, and, In this case, the aircraft carrier was so far off of any coast, that we were doing what you call “blue water op[eration]s.” “Blue water ops” meaning you’re going nowhere but back to the carrier, or the aircraft is going in the ocean. So we had to think real quick[sic]. We had just launched off catapult, so we were still very heavy, and we couldn’t land on the carrier right away. Carrier read—wasn’t even ready to catch us right away. So, uh—so we had to do, uh, some— real, uh, quick emergency things. Cockpit was getting very, very hot. Uh, they estimated it was around 130 degrees, uh, in the cockpit, and, um, we had to, uh—had to bring it back aboard the carrier, and—and, uh, did that, and got out of the airplane, and went down, and had me a cheeseburger. Because, uh, that’s one of the ways that we aviators deals[sic] with—deal with stress. Bradfield Did you receive any special commendations or medals? Reuter Uh, lots in the Navy, certainly. A couple of Legions of Merit medals, uh, which I am very, very grateful for. Uh, most of my accolades though, I can tell you—like most other sailors, I believe, would say—and that is: it’s not only due to them personally. None of these awards, uh—though you wear them as a personal decoration—a decoration, most of the time, they are as a result of the team you were on and the people you served with. Uh, But I was very fortunate to get a—a good number of accolades, uh, in the Navy, Including two commands. Uh, my—my biggest role, before this role down here at NAWCTSD [Naval Air Warfare Center Training Systems Division], uh, was—it’s Commanding Officer and Chief Test Pilot of the squadron up at [Naval Air Station] Patuxent River, Maryland, Where I flew as an [McDonnell Douglas] F[/A]-18 [Hornet]<a title="">[2]</a> test pilot. Bradfield Uh, when were you assigned to NAWCTSD? Reuter I got here in, uh, January of 2008. So—and as I—as I moved into the role as Executive Officer, which is the second-in-command. Bradfield Did you know the—did you know about the region, militarily or other, before coming to NAWCTSD Orlando? Reuter All I knew about Orlando, uh, other than knowing a little bit of what NAWCTSD did and the—the—I did not know or appreciate the whole modeling and simulation cluster we had here. I knew there was a base,<a title="">[3]</a> when there was a boot camp,<a title="">[4]</a> and everything like that, and the nuke school,<a title="">[5]</a> But I did not know a lot about what NAWCTSD did, other than produce the aviation simulators that I was fortunate enough to fly. Bradfield What were your first impressions of the base?<a title="">[6]</a> Or—or the surrounding area? Reuter Well, I was very impressed with the—the—the—the proximity of everything. I was impressed that we were really close to the Army and we were really close to the Air Force and Marine Corps, and I was astounded with the intimacy of the relationship with the University of Central Florida, uh, and—and continued to enjoy that relationship throughout my tenure at NAWCTSD. Bradfield How did that compare to other bases you have been stationed at? Reuter There’s absolutely nothing like this area right here. There—there are no—no entities, within the [U.S.] DOD [Department of Defense], that duplicate what we have here. What we have here is a clear synergistic effect, not only based on proximity. You can put anybody in a building next to another entity and not gain the kind of synergies we get here from the partnerships and the relationships that we have across academia, and industry, and now these DOD activities. Bradfield What were your first days at NAWS—NAWCTSD like? Reuter I came in with—wearing civilian clothes, ‘Cause I was actually a, uh—in a—in a class. So this class had you wearing civilian clothes. So people didn’t know that I was the guy that was gonna come in and eventually be in charge. So it was actually very cool, ‘cause I could have this sort of Brubaker approach to it, Where [Henry] Brubaker was the guy that[sic] went into the prison as the warden and he went in as an inmate. So I kinda went in in that underground kind of incognito way, and it was great, ‘cause I got to hear the conversations. I got to understand a little bit more about the culture/ but it is the most unique place that I have ever served in the Navy. Bradfield What were your primary responsibilities while you were at NAWCTSD? Reuter Well, I was the Executive Officer, who is the second-in-command, so responsible for pretty much everything that happens, uh, at NAWCTSD, and the other thing that a lot people don’t rec—recognize is that when you’re the commanding officer, or the Executive Officer, of NAWCTSD, You are also the Executive Officer, Commanding Officer of NSA Orlando—the Naval Support Activity Orlando, which is the base. So all of the stuff that deals with the gates, and the guards, and any of the sort of anti-terrorism measures, or any of that kind of stuff when it comes to protection, You deal with in capacity as CO or the XO, so—Commanding Officer or Executive Officer—of NSA Orlando. So you really had two hats and two jobs. Bradfield So, eh, what was a typical day like, um, when you were, uh, Executive Officer? Reuter Well, a typical day as Executive Officer, uh, had a lot to do with, uh, a series of meeting, most of which were people that[sic] wanted a decision about one thing or another. Some of them were informational, but we tried to keep those to a minimum. Most of the time, I was given direction and—and providing guidance to people that were trying to, uh, make decisions. Uh, I—I tried to give them enough context to how I would decide, so that they could make decisions on their own and have my full faith, trust, and confidence, as they did so. So a lot of different things go on as you can imagine. Running, uh, a warfare center and a base, and so, there’s, uh, everything from acquisition stuff that has to be decided, to what, uh—to—to where we’re gonna—to what color carpet we’re gonna pick out. There’s just a lot of different things [laughs] that—you[?] pro—and anything in between that spectrum. Bradfield Um, can you tell us about the types of projects you worked on and what they aimed to accomplish? Reuter The things that I’m most proud of, and the thing that people need to understand is that: simulation—we talk about it, kind of, trying to create an environment that is the real thing, and, in this environ—in this world today— in the way that we train our airmen, our sailors, our soldiers, and our Marines, We have to create some really, really immersive environments, in order to generate the kind of suspension of disbelief. For people to go in there and actually get proficiency from these environments. I mean, there’s[sic] so many people playing video games and they’re dealing with such cool graphics and immersive effects that you really, really need to wow them, in order to create that environment, and in the aviation community, it becomes even harder, because you’re dealing with very dynamic technology and it’s not as easy to do that. So what we decided to do in the Navy was really, really take hold of this whole idea of increasing the fidelity of our simulations. Whether it be better visuals, better motions, better all kinds of different things that you can do to generate, uh—to—to give them an environment where they could actually be trained, and so, we were—I was—I was fortunate enough to be there, from ‘08 to ‘12—from 2008 to 2012—where we made huge investments that we still continue to make, but it was really the—the tip of the iceberg, for the money that’s going into simulation and that is being taken out of a lot of the live exercises that we used to do that cost a lot of money and that required a lot of infrastructure, and you had to sustain that infrastructure. So that’s a—a cost that is per—you know, in perpetuity. So we’ve have really changed our mindset on simulation. That’s been the most important thing that I was a part of—of being able to do that in, uh, aviation, surface, subsurface, and other communities. Bradfield In what ways have the simulation projects at NAWCTSD impacted other branches of the military? Reuter So the Air Force, uh, is very, very big on simulation, as well. They’re—we do a lot of collaboration through—not only of the acquisitions that we do, you know? We—we go out and we buy a simulator, and we go to some of these industry partners that are in this area and around the country, and, in fact, the world, and we buy, you know, an aircraft simulator or we buy a ship simulator, or something like that, but what’s really cool is the collaboration that goes into the technical side of this, before we ever ask industry to give us a simulator. We inform each other, through symposia and the like, to understand better the science of learning, to understand better where the technology is going, So we can be leaning forward as a DOD—and not only as a DOD, but as other agencies around here. We still work with the [U.S.] Department of Homeland Security and with other agencies that have benefit from this technology training their workforce—whatever it might be. So that collaborative energy, and the fact that we have papers, and we have symposia that sort of continue to nurture that collective understanding of the technology and its merit in the science of learning. That’s what moves this needle forward for all of us. So that NAWC—it’s not only NAWCTSD, or PEO STRI [Program Executive Office for Simulation, Training and Instrumentation], or any of those entities. It is all those entities and their collective, uh, IP—intellectual property—to get together that gets moved forward. Bradfield What do you think the future holds for simulation training in Central Florida? Reuter Si—there is—there’s really no limit to what we can do with simulation and training in Central Florida. The fact that we have grown it, based on DODs demand, is very fortunate, but it is certainly not the limit to the application of this technology into other fields. We talk about transportation, we talk—modeling and simulating transportation, In order to understand where chokepoints are, to, uh, train people in dealing with different crises, to train emergency first responders, to train medical professionals. We’re already doing that at the VA [Veterans Health Administration] Sim[ulation] Learning[, Education and Research Network National Simulation] Center down here at Lake Nona, where [Lake Nona] Medical City is. We talk about construction simulation, So that we avoid, uh, costs of engineering changes and things like that, once we have gone into the construction phase, through just So many—education. There is so many applications of this simulation technology in—in moving forward. All of these industries. Bradfield What do you think are the most important achievements or contributions of the simulation projects to technology and to the future of technology? Reuter I think that the—the most important contribution was to give some other technologies an application that actually could affect an end-product. So if you think about digital media and graphics, alright? and some of the, um, some of the, uh—the stuff we’re doing with, uh—with extensive graphics—much—much higher definition graphics—There’s are a lot of different applications for those types of technologies. What we did was bring those technologies into, uh, a simulation, into creating a virtual environment, Such that we could add proficiency to people. We can do that in so many different ways, not only across DOD, but others, as well. Bradfiels When did you leave the Navy, and what did you do after you left? Reuter So I left the Navy in September of 2012, um, just—Not even two years ago now—And started my own consulting practice. I’ve also continued to work in the simulation industry and work with both companies in—in the simulation industry, as well as with folks like the [Metro Orlando] Economic Development Commission, and—and the Mayor’s office, and people that are moving forward this understanding of how simulation can grow and affect our economy. I was fortunate enough, in the very beginning of, uh—right after I retired, to assist in writing the strategic plan for modeling and simulation for Central Florida, and I can tell ya, more than anything we have a center of excellence. We need to grow and nurture it, even beyond the DOD, such that DOD just wants to be around it, because they recognize the kind of ecosystem we have here. Bradfield What values or characteristics of the Navy do you believe made an impression on your life? Reuter Well, he standard answer, of course, would be: honor, courage, and commitment, and they, uh—and those are our watchwords in the Navy, and the—the caliber of people that I have met—that I have lifelong friends, uh, that[sic] I’ve been 28 years in the Navy. You’ve met people in so many different stages of your career, and you continue to be in touch with them, and so, that sort of, uh—that’s sort of such a nurturing environment, and the fact that we were off and off of the aircraft carrier, and test flying up in Patuxent River, Maryland, Launching into some pretty hairy situations, uh, and—and came through it, and shared a beer at the end, uh, Just continues to nurture those relationships, and we’ve seen kids grow up together, and we’ve had a lot of fun, and so that’s been the most valuable piece for me. Bradfield How has the NTC Orlando base or Central Florida region changed since the time you spent there? Reuter In my case, of course, that would be a little NA [not applicable], But I can tell you that I’ve, uh—because I didn’t spend the time at NTC—But I can tell you that, um, you know, what has been done at [Lake] Baldwin Park is phenomenal. No question about it, it has definitely one of the better repurposing of a base environment that, uh, has taken place in our entire country, when it comes to BRACs, and how people have responded to Base Realignment and Closure. Uh, I think what’s unfortunate—and what was unfortunate for me and my family—was when we came here and saw that there was really no evidence that the Navy had been there, and so hence, the rationale and the driver behind the Lone Sailor Navy Memorial Project. Bradfield What do you think former naval personnel would like to see or be reminded of when they revisit—when they revisit the site of the base and the LS[M]P memorial? Reuter I think, more than anything, they want to imagine—re—reimagine, especially ones that were stationed there, what that Grinder was like, to recognize that that is hallowed ground, and to be able to tell their descendants about the time that they spent here and the pride that they took in getting through that. Whether it had been the nuke school or whether it was RTC [Recruit Training Center Orlando]—you know, because there were a lot of Navy entities here, at that time, and so, they—people need to understand what the Navy meant to Orlando during those days. It was a big Navy town. People started and—and made businesses grow, as a result of the Navy being here during those times, and so, to have—and we’ve got such a tremendous amount of support from people way out of town, That have roots here in Orlando based on their time here at RTC, and so somehow, we have got to—got to memorialize that, and give them a chance to re-experience that and pass that on down the generations. Bradfield Is there anything else you would like to share about your Navy experience? Reuter Well, I tell ya, I’m just—I was very blessed from the word go. Um, you know, you’re talking to a kid that—that grew up running on coral in Key West, And—often barefoot—had a dream to be an astronaut. Ended up going through the whole program, into Test Pilot School, finalist for NASA [National Aeronautics and Space Administration], ended up coming here into a place that I had no idea how special it was, and I—I’m grateful for the relationships that we have built, and I have built personally, as a Navy guy, with the folks at UCF with president [John C.] Hitt and a lot of others in this community, uh, that truly, truly are a partnership community, and, uh, it was the best way to—to leave the Navy. Understanding, that one, my command was in my good hands and the Navy was in good hands but also to come out into this tremendous community that[?], um, I’ve learned more in the last four years being in the Navy, than, uh, arguably then I learned in the la—in the ten prior, Uh, for sure. Bradfield When did you start your astronaut training? Reuter Uh, you—basically, what you do is you—as you—when you become a test pilot and you go through Test Pilot School, You are then, uh, afforded the opportunity to apply to NASA, and the thing—fortunately or unfortunately—when I was through that training and was applying for NASA, We had—had encountered a couple of really tough things. The [Space Shuttle] Challenger disaster, uh, certainly setback some—in 1986—se—or 1985<a title="">[7]</a>—setback some things pretty big, and then the [Space Shuttle] Columbia disaster was really the one that was tough. I mean, I had two buddies on the Columbia that day: uh, [William] “Willie” [Cameron] McCool and Dr. David [McDowell] Brown, uh, and that really slowed the manifest of space shuttle launches. So—so it was harder to get through the eye of the needle there, when it came to NASA. They weren’t taking as many people—all that kinda stuff. So I was a finalist three times. I—I’m very grateful for that, But at the end of the day, uh, somebody had other plans, and I have no problem with that, and I am very, very grateful that I got to come here. Bradfield Alright. Well, thank you very much. Reuter Absolutely. Thank you for the opportunity. <div> <div> <a title="">[1]</a> Iraq War. </div> <div> <a title="">[2]</a> Now manufactured the Boeing Company as the Boeing F/A-18 Hornet. </div> <div> <a title="">[3]</a> Naval Training Center (NTC) Orlando. </div> <div> <a title="">[4]</a> Recruit Training Center (RTC) Orlando. </div> <div> <a title="">[5]</a> Nuclear Power School. </div> <div> <a title="">[6]</a> Naval Support Activity (NSA) Orlando. </div> <div> <a title="">[7]</a> Correction: January 28, 1986. </div> </div> Action in the Gulf of Sidra aircraft aircraft carriers airplanes anti-terrorism astronauts aviation aviation simulations aviation simulators aviators Baldwin Park Base Realignment and Closure Bill Reuter bleed air fuel leak blue water operation Boeing F/A-18 Hornet BRAC Challenger disaster Chief Test Pilot cold war college colleges Columbia Columbia disaster Commanding Officer commendation commendations Community Veterans History Project CVHP Daniel Bradfield David M. Brown David McDowell Brown education Executive Officer F-18 Henry Brubaker Key West Key West High School KWHS Lake Baldwin Park Legion of Merit Libya Line of Death Lone Sailor Memorial Project LSMP McDonnell Douglas F/A-18 Hornet medals memorials military education modeling monuments NAS Patuxent River NASA National Aeronautics and Space Administration Naval Air Station Patuxent River Naval Air Warfare Center Training Systems Division Naval Support Activity Naval Support Activity Orlando Naval Training Center Naval Training Center Orlando NAWCTSD Norway NSA Orlando NTC Orlando outer space Patuxent River, Maryland pilots planes Recruit Training Center Recruit Training Center Orlando Reserve Officers' Training Corps ROTC RTC Orlando science of learning Soviet Union Soviets Space Shuttle Challenger Space Shuttle Challenger disaster Space Shuttle Columbia Space Shuttle Columbia disaster SU terrorism Test Pilot School test pilots U.S. Air Force U.S. Navy UCF UF Union of Soviet Socialist Republics universities university University of Central Florida University of Florida USSR veterams veteran wars warzones William C. McCool William Cameron McCool William Reuter Willie McCool XO