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                  <text>Orlando City Hall Collection</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>An advertisement produced to showcase the advent of mid-century modernism in Orlando, Florida. The film depicts marketing strategies aimed at attracting white middle-to-upper class men in either military or defense technology engineering professions. It emphasizes the economic, cultural, and social changes taking place within Orlando that make it an ideal place to raise a family and to live a fulfilling life. The film also depicts developments and signs of growth that occurred in Orlando before the Walt Disney World Resort opened.</text>
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                <text>Original 14-minute and 28-second color film: &lt;a href="https://www.floridamemory.com/items/show/232384" target="_blank"&gt;&lt;em&gt;Action Center USA&lt;/em&gt;&lt;/a&gt;. Directed by Grant Gravitt (Orlando, FL: Tel Air Interests, Inc.): &lt;a href="http://dlis.dos.state.fl.us/index_Researchers.cfm" target="_blank"&gt;State Library and Archives of Florida&lt;/a&gt;, Tallahassee, Florida.</text>
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                <text>Digital reproduction of original 14-minute and 28-second color film: &lt;a href="https://www.floridamemory.com/items/show/232384" target="_blank"&gt;&lt;em&gt;Action Center USA&lt;/em&gt;&lt;/a&gt;. Directed by Grant Gravitt (Orlando, FL: Tel Air Interests, Inc.).</text>
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                <text> Central Florida Museum, Orlando, Florida</text>
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                <text> Loch Haven Art Center, Orlando, Florida</text>
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                <text> Winter Park, Florida</text>
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                <text> Colonial Plaza Mall, Orlando, Florida</text>
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                <text>ca. 1960-1969</text>
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                <text>Dickinson, Joy Wallace. &lt;a href="http://www.worldcat.org/oclc/53872607" target="_blank"&gt;&lt;em&gt;Orlando: City of Dreams&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2003.</text>
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                <text>Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2012.</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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            <name>Title</name>
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                <text>Proud of Our Heritage...</text>
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                <text>Orlando (Fla.)</text>
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                <text>A brochure concerning the construction of the Orlando City Hall in Orlando, Florida. The brochure outlines the city officials responsible in the various steps of its conception, construction, and design processes. A brief stapled on the inside of the front cover details the construction materials as well as the technical features of the building. A majority of the brochure consists of floor plan designs. The building was designed by noted Orlando architect Richard Boone Rogers under the administration of Mayor William Beardall (1923-2011), and was constructed on land acquired during the administration of Mayor J. Rolfe Davis (1904-1988). The building was constructed by Tampa-based firm C.A. Fielland from 1956 to 1958 during the administration of Mayor Bob Carr (1899-1967). Dedicated on October 3, 1958, the building served as Orlando’s city hall until its implosion on October 25, 1991, following the construction of a new City Hall less than ten feet away as a product of Mayor Bill Frederick’s efforts to beautify and improve Orlando. The building's implosion is featured in a scene from the Warner Bros.’ 1992 film &lt;em&gt;Lethal Weapon 3&lt;/em&gt;.</text>
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                <text>Original 12-page brochure by the &lt;a href="http://www.orlando.org/" target="_blank"&gt;Orlando Chamber of Commerce&lt;/a&gt;, 1958: Call No. FLORIDA 975.924 Orl , &lt;a href="http://www.ocls.info/locations/MainLibrary/default.asp?from=vurl_orlandopubliclibrary" target="_blank"&gt;Orlando Public Library&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="http://www.ocls.info/locations/MainLibrary/default.asp?from=vurl_orlandopubliclibrary" target="_blank"&gt;Orlando Public Library&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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            <name>Is Format Of</name>
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                <text>Digital reproduction of original 12-page brochure by the &lt;a href="http://www.orlando.org/" target="_blank"&gt;Orlando Chamber of Commerce&lt;/a&gt;, 1958.</text>
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                <text>Orlando City Hall, Downtown Orlando, Florida</text>
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                <text>&lt;a href="http://www.orlando.org/" target="_blank"&gt;Orlando Chamber of Commerce&lt;/a&gt;</text>
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                <text>ca. 1958</text>
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                <text>ca. 1958</text>
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            <name>Format</name>
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                <text>1.55 MB</text>
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                <text>12-page brochure</text>
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            <name>Language</name>
            <description/>
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                <text>eng</text>
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            <name>Mediator</name>
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                <text>History Teacher</text>
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                <text> Geography Teacher</text>
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            <name>Provenance</name>
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              <elementText elementTextId="626674">
                <text>Originally created by the &lt;a href="http://www.orlando.org/" target="_blank"&gt;Orlando Chamber of Commerce&lt;/a&gt;.</text>
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            <name>Rights Holder</name>
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                <text>Copyright to this resource is held by the &lt;a href="http://www.orlando.org/" target="_blank"&gt;Orlando Regional Chamber of Commerce&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Orlando Remembered</text>
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                <text>Wolf, Casey</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.ocls.info/locations/MainLibrary/default.asp?from=vurl_orlandopubliclibrary" target="_blank"&gt;Orlando Public Library&lt;/a&gt;</text>
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              <elementText elementTextId="626682">
                <text>"&lt;a href="http://thehistorycenter.pastperfectonline.com/webobject/19C7CEBD-3BF5-48A6-8B24-394179597640" target="_blank"&gt;Object 2009.070.0002 - Granite&lt;/a&gt;." 1958. Orange County Regional History Center, http://thehistorycenter.pastperfectonline.com/webobject/19C7CEBD-3BF5-48A6-8B24-394179597640.</text>
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        <name>A. P. Clark</name>
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      <tag tagId="27760">
        <name>A. T. Coith</name>
      </tag>
      <tag tagId="46714">
        <name>A. W. Crosby</name>
      </tag>
      <tag tagId="36781">
        <name>A/C</name>
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      <tag tagId="46679">
        <name>air conditioners</name>
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      <tag tagId="1984">
        <name>air conditioning</name>
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      <tag tagId="16308">
        <name>architecture</name>
      </tag>
      <tag tagId="38375">
        <name>Bob Carr</name>
      </tag>
      <tag tagId="46677">
        <name>Carl Fielland</name>
      </tag>
      <tag tagId="46723">
        <name>Carlisle Johnstone</name>
      </tag>
      <tag tagId="46708">
        <name>Charles A. Voorhees, Sr.</name>
      </tag>
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        <name>city councils</name>
      </tag>
      <tag tagId="31372">
        <name>city halls</name>
      </tag>
      <tag tagId="46692">
        <name>Claude R. Edwards</name>
      </tag>
      <tag tagId="46703">
        <name>Clauson Johnson</name>
      </tag>
      <tag tagId="169">
        <name>construction</name>
      </tag>
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        <name>Curtis H. Stanton</name>
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      <tag tagId="46698">
        <name>Don Craft</name>
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        <name>E. Glenn Hennig</name>
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      <tag tagId="46680">
        <name>E. Leroy Brewton</name>
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        <name>Elizabeth Gilmore</name>
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        <name>Franklin Albert</name>
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        <name>George A. Barker</name>
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        <name>Grace Avera</name>
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        <name>I. L. Bond</name>
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        <name>I. Y. Suggs</name>
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        <name>J. B. Shearouse</name>
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        <name>J. Edward Greaves</name>
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        <name>J. R. Cox</name>
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        <name>Jesse L. Burkett</name>
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        <name>John A. Baker</name>
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        <name>John F. Baker</name>
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        <name>John Horne, Sr.</name>
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        <name>Kenneth Cooper</name>
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        <name>Kenneth L. Stimpson</name>
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        <name>Lamar Thomas</name>
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        <name>Leland Dame</name>
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        <name>Margaret Acree</name>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                <text>Mayor William Beardall hard at work in his office (1890-1984). Beardall served as Mayor of Orlando from 1940 to 1952. Mayor Beardall made improvements to Orlando International Airport by expanding upon it and creating a larger terminal. Progress in the city’s sewer system was guided by Mayor Beardall along with improved street paving and a new incinerator plant.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Rodriguez, Coty</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Brossier, J. C. "Lawyer Beardall Was 4-Term Mayor." &lt;em&gt;The Emeritus Star&lt;/em&gt;, November 26, 1955.</text>
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                <text>"&lt;a href="http://www.worldstatesmen.org/US_Mayors2.html#Orlando" target="_blank"&gt;Mayors of U.S. Cities M-W&lt;/a&gt;." Worldstatesmen.org. Accessed February 3, 2016. http://www.worldstatesmen.org/US_Mayors2.html#Orlando.</text>
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                <text>"&lt;a href="http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&amp;amp;GRid=22106849" target="_blank"&gt;William Hamer "Billy" Beardall, Jr.&lt;/a&gt;" Find A Grave. Accessed February 3, 2016. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&amp;amp;GRid=22106849.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>The City of Orlando acquired a new city hall in 1958. Situated at the corner of South Orange Avenue and South Street in Downtown Orlando, the 1958 city was located very close to where the current city hall stands. The 1958 city hall was a large eight-story upgrade from the previous city hall. Prior to 1924, the city government offices were housed in the former building for the Orlando Public School. In 1924, city hall was relocated and the Orlando Police Department (OPD) took over the old school building. The 1958 city hall was imploded 1991 for the filming of &lt;em&gt;Lethal Weapon 3&lt;/em&gt;. The current Orlando City Hall was built on the same lot, with its signature dome roof while being overshadowed by large skyscrapers in the heart of Downtown Orlando at the corner of Orange Avenue and South Street.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Benedick, Robin. "&lt;a href="http://articles.orlandosentinel.com/1988-08-07/news/0060090163_1_city-hall-complex-orlando-downtown" target="_blank"&gt;Orlando Fancies New City Hall As Downtown Gem&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, August 7, 1988. Accessed February 3, 2016. http://articles.orlandosentinel.com/1988-08-07/news/0060090163_1_city-hall-complex-orlando-downtown.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <text>McElroy Apartments was originally a building owned by Sylvan McElroy Sr., whose family was one of the first settlers in Orlando, Florida, arriving in 1881. McElroy attended Rollins Academy (present-day Rollins College) in Winter Park, the Stetson University in DeLand, and received his medical degree from a medical school in Maryland. He opened his medical practice in 1908, and was a founder of the Orange General Hospital, now known as the Orlando Regional Medical Center (ORMC). Prior to 1926, he hired designer George Krug, who was well known for his Colonial Revival-style architecture, to help build his new apartment building on Orange Avenue, two blocks north of Lake Lucerne. In the early 1960s, after McElroy, passed away, the City of Orlando bought the property and demolished the apartments, in order to build a parking garage for Orlando Utilities. Today, the garage belongs to the International Restaurant &amp;amp;amp</text>
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                <text>Original black and white photograph: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <text>The Orlando Police Department (OPD) motor patrol in 1948, with Lieutenant Vernon "Bulldog" Rogers in the center. The OPD was established in 1875, the same year Orlando became incorporated into a city with only 22 votes. The motor patrol was first created during the 1930s with the purchase of four patrol cars and a motorcycle in 1934. Lt. Rodgers was the first officer in the department to ride the OPD's 1200cc front-end Harley Davidson.</text>
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                <text>&lt;a href="http://www.worldcat.org/oclc/29779143" target="_blank"&gt;&lt;em&gt;Orlando Police Historical Report&lt;/em&gt;&lt;/a&gt;. Orlando, Fl: Orlando Police Dept, 1990.</text>
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                <text> "&lt;a href="" target="_blank"&gt;Orange County Sheriff's Office Office of the Sheriff Historical Highlights&lt;/a&gt;." Orange County Sheriff's Office Office of the Sheriff Historical Highlights. Accessed February 3, 2016. http://www.ocso.com/officeofthesheriff/historicalhighlights/tabid/58/default.aspx.</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>A key to the city of Orlando. The size of the key represents the importance of the key. The "Key to the City" tradition comes from the medieval "Freedom of the City" tradition. The recipient of this key or this honor received the privilege to enter or leave the city whenever he or she wanted. In the past, cities only gave this honor to its military personnel and its outstanding civilians. In today's world, cities give it to its people and others who are not residents, but have a strong connection with the city. This is the highest honor that a person can receive from a city. There is usually a ceremony when this honor is being given to someone. Musicians, sportsmen, and actors have been chosen to receive this award time to time in the distant past. The mayor is often the person who presents the key to the recipient in the United States.</text>
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                <text>Original key: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="https://www.cityoflondon.gov.uk/about-the-city/about-us/Pages/freedom-of-the-city.aspx" target="_blank"&gt;Freedom of the City&lt;/a&gt;." City of London. April 10, 2013. Accessed January 14, 2016. https://www.cityoflondon.gov.uk/about-the-city/about-us/Pages/freedom-of-the-city.aspx.</text>
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                <text>"&lt;a href="https://www.brown.edu/Departments/Joukowsky_Institute/courses/13things/7443.html" target="_blank"&gt;12 Things: Key to the City&lt;/a&gt;." Key to the City. Accessed February 1, 2016. https://www.brown.edu/Departments/Joukowsky_Institute/courses/13things/7443.html.</text>
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                <text>"&lt;a href="http://www.cityofsydney.nsw.gov.au/learn/sydneys-history/civic-history/symbols-of-the-city/symbolic-honours" target="_blank"&gt;City of Sydney - Council - Home&lt;/a&gt;." Symbolic Honours, November 21, 2013. Accessed February 1, 2016. http://www.cityofsydney.nsw.gov.au/learn/sydneys-history/civic-history/symbols-of-the-city/symbolic-honours.</text>
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        <name>city keys</name>
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        <name>key to the city</name>
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        <name>orlando</name>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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                  <text>eng</text>
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                  <text>Cepero, Laura</text>
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                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
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            <element elementId="134">
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                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <elementText elementTextId="586098">
                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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      <name>Still Image</name>
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            <description/>
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                <text>Orlando Steam Laundry Buttons</text>
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            <description/>
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                <text>Orlando Steam Laundry Buttons</text>
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          <element elementId="49">
            <name>Subject</name>
            <description/>
            <elementTextContainer>
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                <text>Orlando (Fla.)</text>
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                <text> Buttons--United States</text>
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          <element elementId="41">
            <name>Description</name>
            <description/>
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                <text>Buttons from the Orlando Steam Laundry in Downtown Orlando, Florida. Originally called Mann Laundry, the business was first located on East Pine Street. The laundry was later purchased by I. N. Burman and J. N. Wigfall, Jr. in 1919, who renamed it the Orlando Steam Laundry and moved the business to 43 West Concord Avenue. In 1923, the company was sold to a stock company. Orlando Steam Laundry went out of business in April of 1975. Its last known address is 1705 Depauw Avenue.</text>
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            <description/>
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                <text>Original buttons: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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            <description/>
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              <elementText elementTextId="626827">
                <text>Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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            <name>Is Format Of</name>
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                <text>Original color digital image, 2016.</text>
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            <name>Coverage</name>
            <description/>
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                <text>Orlando Steam Laundry, Orlando, Florida</text>
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            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626831">
                <text>ca. 1919-1950</text>
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            <name>Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626832">
                <text>image/jpg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626833">
                <text>159 KB</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626834">
                <text>4 buttons</text>
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            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626835">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626836">
                <text>History Teacher</text>
              </elementText>
              <elementText elementTextId="626837">
                <text> Economics Teacher</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="124">
            <name>Provenance</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626838">
                <text>Originally created by Orlando Steam Laundry.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626839">
                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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          <element elementId="117">
            <name>Accrual Method</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626840">
                <text>Donation</text>
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            </elementTextContainer>
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          <element elementId="138">
            <name>Contributing Project</name>
            <description/>
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                <text>Orlando Remembered</text>
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          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626842">
                <text>Sirenord, Edgar</text>
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              <elementText elementTextId="626843">
                <text> Cepero, Laura</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626844">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626845">
                <text>"&lt;a href="http://digital.library.ucf.edu/cdm/fullbrowser/collection/CFM/id/40699/rv/compoundobject/cpd/40899/rec/1" target="_blank"&gt;From Florida Sand to "The City Beautiful": A Historical Record of Orlando, Florida&lt;/a&gt;. :: Central Florida Memory. Accessed February 4, 2016, page 102. http://digital.library.ucf.edu/cdm/fullbrowser/collection/CFM/id/40699/rv/compoundobject/cpd/40899/rec/1.</text>
              </elementText>
              <elementText elementTextId="626846">
                <text> "&lt;a href="http://florida.intercreditreport.com/company/orlando-steam-laundry-company-012251" target="_blank"&gt;ORLANDO STEAM LAUNDRY COMPANY&lt;/a&gt;." InterCreditReport.com. Accessed March 29, 2016. http://florida.intercreditreport.com/company/orlando-steam-laundry-company-012251.</text>
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              <elementText elementTextId="626847">
                <text> "&lt;a href="http://digital.library.ucf.edu/cdm/compoundobject/collection/CFM/id/19923/rec/1" target="_blank"&gt;&lt;em&gt;Sandspur&lt;/em&gt;, Vol. 20 No. 30, April 20, 1918&lt;/a&gt;." Central Florida Memory. Accessed February 4, 2016. http://digital.library.ucf.edu/cdm/compoundobject/collection/CFM/id/19923/rec/1.</text>
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      <tag tagId="43508">
        <name>laundries</name>
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      <tag tagId="29729">
        <name>laundromats</name>
      </tag>
      <tag tagId="43507">
        <name>laundry</name>
      </tag>
      <tag tagId="795">
        <name>orlando</name>
      </tag>
      <tag tagId="9002">
        <name>Orlando Steam Laundry</name>
      </tag>
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                  <text>Orlando City Hall Collection</text>
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              <description/>
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                <elementText elementTextId="586083">
                  <text>City Hall Collection</text>
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              <name>Subject</name>
              <description/>
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                  <text>Orlando (Fla.)</text>
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                <elementText elementTextId="586085">
                  <text>City halls--United States</text>
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            </element>
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              <description/>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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              <name>Contributor</name>
              <description/>
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              <name>Is Part Of</name>
              <description/>
              <elementTextContainer>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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              <name>Language</name>
              <description/>
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                  <text>eng</text>
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            <element elementId="138">
              <name>Contributing Project</name>
              <description/>
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                  <text>Orlando Remembered</text>
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            </element>
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              <name>Curator</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586093">
                  <text>Cepero, Laura</text>
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                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
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            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="135">
              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
                </elementText>
                <elementText elementTextId="586098">
                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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              </elementTextContainer>
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          </elementContainer>
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      <name>Still Image</name>
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            <description/>
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                <text>Orlando City Hall Exhibit Painting</text>
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            <name>Alternative Title</name>
            <description/>
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                <text>City Hall Exhibit Painting</text>
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          <element elementId="49">
            <name>Subject</name>
            <description/>
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              <elementText elementTextId="626850">
                <text>Orlando (Fla)</text>
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              <elementText elementTextId="626851">
                <text> City halls--United States</text>
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          <element elementId="41">
            <name>Description</name>
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              <elementText elementTextId="626852">
                <text>This painting highlights notable businesses and the Orlando City Hall located in Downtown Orlando, Florida in 1951. Featured in the piece is South Street and the South West Corner of Boone Street. At the center of the piece is the Orlando City Hall which was constructed in 1906 originally to serve as the Orlando Public School. On the right is the headquarters of the American Fire and Casualty Company, which is the only distinguishable business in the piece. In 1951, visitors would have seen many flourishing businesses such as Howard's Grocery Company, Borden Dairy, Orlando Linen Service, as well as the Dixie Sales and Service Garage. The piece was painted by artist Jim Stoll in conjunction with Orlando Remembered.</text>
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            <name>Source</name>
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                <text>Original oil painting by Jim Stoll: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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            <name>Is Part Of</name>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Dickinson, Joy Wallace. &lt;a href="http://www.worldcat.org/oclc/53872607" target="_blank"&gt;&lt;em&gt;Orlando: City of Dreams&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia Pub., 2003.</text>
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        <name>Blair Howard</name>
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        <name>Doc Estees</name>
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        <name>Don Mott</name>
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            <element elementId="41">
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              <description/>
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                <elementText elementTextId="586086">
                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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              <name>Is Part Of</name>
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              <elementTextContainer>
                <elementText elementTextId="586088">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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                  <text>Orlando City Hall, Downtown Orlando, Florida</text>
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            <element elementId="138">
              <name>Contributing Project</name>
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                <elementText elementTextId="586092">
                  <text>Orlando Remembered</text>
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            <element elementId="133">
              <name>Curator</name>
              <description/>
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                <elementText elementTextId="586093">
                  <text>Cepero, Laura</text>
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                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
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            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="135">
              <name>Source Repository</name>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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      <name>Still Image</name>
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            <description/>
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                <text>Orlando City Council Chambers Key</text>
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            <name>Alternative Title</name>
            <description/>
            <elementTextContainer>
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                <text>City Council Chambers Key</text>
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            <name>Subject</name>
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                <text>Orlando (Fla)</text>
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              <elementText elementTextId="626889">
                <text> City councils--United States</text>
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          <element elementId="41">
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                <text>The keys to the Orlando City Council chambers. The key was the only key that would unlock the door to the Council chambers. The key opened a pin tumbler lock, which had five pins that responded when depressed by the key. This type of key format was patented in 1851. Attached to the chain is a disc that was more than likely designed to prevent theft, as well as to prevent the key from getting lost as it was the only key that could open the council chambers. It is likely that this key was the original used in the city hall built in 1958, which remained in use until 1991.</text>
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                <text>Original key: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Original color digital image, 2016.</text>
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            <description/>
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              <elementText elementTextId="626898">
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            <name>Medium</name>
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            <elementTextContainer>
              <elementText elementTextId="626900">
                <text>1 key</text>
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            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="626901">
                <text>eng</text>
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            <name>Mediator</name>
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            <elementTextContainer>
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                <text>History Teacher</text>
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          <element elementId="125">
            <name>Rights Holder</name>
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            <elementTextContainer>
              <elementText elementTextId="626904">
                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            <description/>
            <elementTextContainer>
              <elementText elementTextId="626909">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            <description/>
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                <text>"&lt;a href="http://www.yalelock.com/en/yale/com/About-Yale/History-of-Yale/Brand-1/" target="_blank"&gt;The Yale Pin-tumbler Invention&lt;/a&gt;." The Yalelock.com. Accessed February 2, 2016. http://www.yalelock.com/en/yale/com/About-Yale/History-of-Yale/Brand-1/.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>A bottle for storing medicine used by pharmacists in the late 1800s and early 1900s. Many glass bottles were manufactured and embossed with information, such as the store address, name of the doctor or prescription, etc. The bottles were not restricted by any of the properties of the medicine, and thousands of glass bottles were produced. Pharmacies like Enzor's Pharmacy sold medicine in bottles like these from their opening through the Great Depression and into the modern era until plastic bottles came into production. Also known as Enzor's Drug Store and Restaurant, Enzor's was located on the block as the original Orlando City Hall in Downtown Orlando, Florida. Enzor's opened in the old Avalon Hotel in 1925 and then reopened when the old building was razed and replaced in 1956. The pharmacy was named after William Enzor, who owned the business in the 1940s. In 1983, the business was bought by James J. Rowlison and became Rowlinson's Restaurant.</text>
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                <text>Original medicine bottles: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Lindsey, B. "&lt;a href="https://www.sha.org/bottle/medicinal.htm" target="_blank"&gt;Bottle Typing/Diagnostic Shapes, Medicinal/Chemical/Druggist Bottles&lt;/a&gt;." Society of Historical Archaeology, Inc. February 3, 2016. Accessed February 11, 2016. https://www.sha.org/bottle/medicinal.htm.</text>
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                <text> Kunerth, Jeff. "&lt;a href="http://articles.orlandosentinel.com/2011-04-24/news/os-james-rowlinson-obituary-20110424_1_diner-jim-rowlinson-rowlinson-s-restaurant" target="_blank"&gt;James J. Rowlinson: Enzor's diner was his kind of place&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, April 24, 2011. http://articles.orlandosentinel.com/2011-04-24/news/os-james-rowlinson-obituary-20110424_1_diner-jim-rowlinson-rowlinson-s-restaurant.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.controlled-demolition.com/orlando-city-hall" target="_blank"&gt;Orlando City Hall&lt;/a&gt;.” Controlled-demolition.com. Accessed April 7, 2016. http://www.controlled-demolition.com/orlando-city-hall.</text>
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                <text>Allman, T. D. "&lt;a href="http://ngm.nationalgeographic.com/2007/03/orlando/allman-text" target="_blank"&gt;Beyond Disney&lt;/a&gt;." &lt;em&gt;National Geographic&lt;/em&gt;. http://ngm.nationalgeographic.com/2007/03/orlando/allman-text.</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Jean, Charlie. "&lt;a href="http://articles.orlandosentinel.com/1988-04-01/news/0030090281_1_city-of-orlando-orlando-high-school-davis" target="_blank"&gt;Orlando Pioneer Dies&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, April 1, 1988. http://articles.orlandosentinel.com/1988-04-01/news/0030090281_1_city-of-orlando-orlando-high-school-davis.</text>
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                <text>Spear, Kevin. "&lt;a href="http://articles.orlandosentinel.com/2007-10-07/news/MCCOY07_1_mccoy-pilot-bomber" target="_blank"&gt;What Really Happened&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, October 7, 2007. http://articles.orlandosentinel.com/2007-10-07/news/MCCOY07_1_mccoy-pilot-bomber.</text>
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                <text>"&lt;a href="https://www.orlandoairports.net/arff/mccoy.htm" target="_blank"&gt;SAC Bases: Pinecastle / McCoy Air Force Base&lt;/a&gt;." Orlando International Airport Fire Rescue. https://www.orlandoairports.net/arff/mccoy.htm.</text>
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                <elementText elementTextId="586094">
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>Orlando City Hall Commemorative Brick</text>
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                <text>City Hall Commemorative Brick</text>
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                <text>Orlando (Fla.)</text>
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                <text>The cornerstone commemorative brick of the Orlando City Hall in Downtown Orlando, Florida. From 1906 to 1924, this brick was part of Orlando Public School, located at 1 West Jackson Street. In 1922, the school was moved to a new building and Orlando City Hall and the Orlando Police Department (OPD) was moved to the old school building in 1924. In 1958, it became headquarters for the OPD and city hall was moved to a new building at 400 South Orange Avenue. On February 28, 1972, when Carl T. Langford (1918-2011) was the mayor, the cornerstone was removed for commemoration.</text>
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                <text>Original commemorative brick: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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            <name>Is Format Of</name>
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                <text>Original color digital image, 2016.</text>
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                <text>Orlando Public School, Downtown Orlando, Florida</text>
              </elementText>
              <elementText elementTextId="627053">
                <text> Orlando City Hall, Downtown Orlando, Florida</text>
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              <elementText elementTextId="627054">
                <text> Orlando Police Department, Downtown Orlando, Florida</text>
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            <name>Date Created</name>
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                <text>ca. 1906-04-12</text>
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            <name>Format</name>
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                <text>image/jpg</text>
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          <element elementId="112">
            <name>Extent</name>
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                <text>274 KB</text>
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            <name>Medium</name>
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                <text>1 commemorative brick</text>
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            <name>Language</name>
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                <text>eng</text>
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            <name>Mediator</name>
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                <text>History Teacher</text>
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            <name>Rights Holder</name>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Orlando Remembered</text>
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                <text>Grande, John</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Schlueb, Mark. "&lt;a href="http://dc.ocls.info/memory/person/carl-langford" target="_blank"&gt;Carl Langford."&lt;/a&gt; Orlando Memory, July 14, 2011.
http://dc.ocls.info/memory/person/carl-langford.</text>
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        <name>OPD</name>
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        <name>orlando</name>
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        <name>Orlando City Hall</name>
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        <name>Orlando Police Department</name>
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        <name>Orlando Public School</name>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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              <name>Contributor</name>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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              <name>Language</name>
              <description/>
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                  <text>eng</text>
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              <name>Curator</name>
              <description/>
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                  <text>Cepero, Laura</text>
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                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
                </elementText>
                <elementText elementTextId="586098">
                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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            <name>Title</name>
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                <text>Howard's Grocery Store</text>
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            <name>Alternative Title</name>
            <description/>
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                <text>Howard's Grocery Store</text>
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          <element elementId="49">
            <name>Subject</name>
            <description/>
            <elementTextContainer>
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                <text>Orlando (Fla.)</text>
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              <elementText elementTextId="627096">
                <text> Grocery industry</text>
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          <element elementId="41">
            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627097">
                <text>Three items are from the Howard's Grocery Store, which most likely came from the location at 4200 South Orange Avenue in Downtown Orlando, Florida, between 1930 and 1980. The company has been in operation since its founding in 1912 by Julian Howard. While it is labeled as a grocery store, it is in fact a wholesale warehouse which would supply the local restaurants and grocery stores with the products requested. The other two items seem in the image are a food label for Howard's Grocery's brand of spaghetti sauce and a receipt from for a restaurant named Emerick Cafe, which ordered supplies from Howard's Grocery.</text>
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            <name>Type</name>
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          <element elementId="48">
            <name>Source</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627099">
                <text>Original black and white photograph, 1912: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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              <elementText elementTextId="627100">
                <text> Original food label: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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              <elementText elementTextId="627101">
                <text> Original sales receipt, June 6, 1940: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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            <description/>
            <elementTextContainer>
              <elementText elementTextId="627102">
                <text>Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
              </elementText>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
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                <text>Original color digital image, 2016.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <text>The newly constructed Orlando City Hall in Downtown Orlando, Florida, as it looked in 1958 upon its completion. Located on the southwest corner of South Orange Avenue and South Street, construction of the new city hall began in 1956 with the building fully operational two years later. Under the administration of Mayor William Beardall (1890-1984), plans for the construction of a newer and larger city hall had been in the works since as early as 1950, with the city received an advanced grant of $28,500 for what would eventually become a $1,052,500 facility. Totaling a span of 85,000 square feet, the building was eight stories high with the infrastructure required for the possibility of an additional six floors. Designed by architect Richard Boone Rogers, it would go on to replace the old Orlando Public School Building on South Orange Avenue as the main residence for the city government. The Orlando Public School Building had served as Orlando’s City Hall since 1924. On October 24, 1991, the building would be imploded to make way for the current city hall. The moment of implosion was captured on film and the footage of the blast famously used in the 1992 film &lt;em&gt;Lethal Weapon 3&lt;/em&gt;.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;. (Charleston, SC: Arcadia Publishing, 2012), 118.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                <text>The cover from the October 1986 issue of the &lt;em&gt;Central Florida&lt;/em&gt; magazine, which highlights the economic boom in Orlando, Florida, under Mayor Bill Frederick (b. 1934), who served as mayor from 1980 to 1992. The growing city was, during this time, facing numerous internal issues, including an inadequate sewage system, heavy traffic, and a congested metropolitan center that locals worried was detracting from the beauty of the city. Mayor Frederick was considered instrumental in implementing many structural and economic reforms from a new transportation system to the construction of major city landmarks. During his time in office, Mayor Frederick would be responsible for several major renovations, including the refurbishment of Lake Eola, the expansion of Orlando International Airport, and the erection of a new city hall. A strong supporter of education and the arts, Mayor Frederick would also work to improve public schools for the city and go on to lay the foundation necessary for the construction of what would eventually become Central Florida’s Dr. Phillips Center for the Performing Arts.</text>
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                <text>Original magazine: &lt;a href="http://www.worldcat.org/oclc/11248262" target="_blank"&gt;&lt;em&gt;Central Florida Magazine&lt;/em&gt;&lt;/a&gt;, October 1986: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original magazine: &lt;a href="http://www.worldcat.org/oclc/11248262" target="_blank"&gt;&lt;em&gt;Central Florida Magazine&lt;/em&gt;&lt;/a&gt;, October 1986.</text>
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                <text>&lt;a href="http://www.worldcat.org/oclc/11248262" target="_blank"&gt;&lt;em&gt;Central Florida Magazine&lt;/em&gt;&lt;/a&gt;</text>
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                <text>1986-10</text>
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                <text>Originally published by &lt;a href="http://www.worldcat.org/oclc/11248262" target="_blank"&gt;&lt;em&gt;Central Florida Magazine&lt;/em&gt;&lt;/a&gt;.</text>
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                <text>Copyright to this resource is held by &lt;a href="http://www.worldcat.org/oclc/11248262" target="_blank"&gt;&lt;em&gt;Central Florida Magazine&lt;/em&gt;&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Lohmann, Bill. "&lt;a href="https://news.google.com/newspapers?id=h5UpAAAAIBAJ&amp;amp;sjid=tccEAAAAIBAJ&amp;amp;pg=3715%2C6688432" target="_blank"&gt;Orlando Has Growing Pains&lt;/a&gt;." &lt;em&gt;The Times Daily&lt;/em&gt;, May 26, 1984. https://news.google.com/newspapers?id=h5UpAAAAIBAJ&amp;amp;sjid=tccEAAAAIBAJ&amp;amp;pg=3715%2C6688432.</text>
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                <text>Quesinberry, Amy. "&lt;a href="http://www.orangeobserver.com/photo-gallery/curtain-rises-new-dr-phillips-center-performing-arts" target="_blank"&gt;Curtain Rises at New Dr. Phillips Center for the Performing Arts&lt;/a&gt;.” &lt;em&gt;The Orange Observer&lt;/em&gt;, November 13, 2014. http://www.orangeobserver.com/photo-gallery/curtain-rises-new-dr-phillips-center-performing-arts.</text>
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                  <text>Orlando City Hall Collection</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <text>Orlando (Fla.)</text>
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                <text>Home under construction on Silver Drive in Downtown Orlando, Florida. During the 1950s and 1960s, Orlando underwent one of the biggest building booms within its history. The 1952 census of the city registered a total of 18,513 housing units within Orlando, an increase of over 6,262 new structures since the last census in 1940. New construction companies, such as Phillips Properties began building up large residential areas throughout the city, many of which still stand today. The houses of Silver Drive, which were predominantly constructed during the early 1950s, were one such example and showcases the scale of these developmental projects.</text>
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                <text>Digital reproduction of original 11 x 6 inch black and white photographic print:  "&lt;a href="http://www.orlandomemory.info/sites/default/files/styles/full_size_image/public/image_files/SD.jpeg?itok=oKgajgYL" target="_blank"&gt;The homes on Silver Drive under construction, circa 1950&lt;/a&gt;." Orlando Memory. http://www.orlandomemory.info/sites/default/files/styles/full_size_image/public/image_files/SD.jpeg?itok=oKgajgYL.</text>
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                <text>"&lt;a href="http://www.orlandomemory.info/memory/document/house-house-lynda-swenk" target="_blank"&gt;A House is a House&lt;/a&gt;, Orlando Memory.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text> Geography Teacher</text>
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            <name>Provenance</name>
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                <text>Originally owned by Lynda Hope Swenk and published by &lt;a href="http://www.orlandomemory.info/" target="_blank"&gt;Orlando Memory&lt;/a&gt;.</text>
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            <name>Rights Holder</name>
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                <text>"&lt;a href="http://www.orlandomemory.info/sites/default/files/styles/full_size_image/public/image_files/SD.jpeg?itok=oKgajgYL" target="_blank"&gt;Creative Commons 10th Birthday Celebration San Francisco&lt;/a&gt;" by Lynda Hope Swenk is licensed under &lt;a href="http://creativecommons.org/licenses/by/4.0/" target="_blank"&gt;CC BY 4.0&lt;/a&gt;.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                <text> Geography Teacher</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Clark, James C. &lt;a href="http://www.worldcat.org/oclc/857404927" target="_blank"&gt;&lt;em&gt;Orlando, Florida: A Brief History&lt;/em&gt;&lt;/a&gt;. The History Press, 2013.</text>
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                <text> Weiner, Jeff. "&lt;a href="http://articles.orlandosentinel.com/2011-07-09/news/os-obit-carl-langford-20110709_1_mayor-buddy-dyer-carl-langford-longest-serving-mayor" target="_blank"&gt;Carl Langford: Former Orlando Mayor Led City during Period of Tremendous Growth&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;. July 9, 2011. Accessed February 4, 2016. http://articles.orlandosentinel.com/2011-07-09/news/os-obit-carl-langford-20110709_1_mayor-buddy-dyer-carl-langford-longest-serving-mayor.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                <text>This is Orlando</text>
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                <text>An aerial view of Orlando City Hall in Downtown Orlando, Florida, in the 1960s or 1970s. Along with city hall, several other buildings are viewable in the background, namely the American Fire and Casualty Company. The photograph is titled "This is Orlando" and contains no publishing information, dates, or discernible origin. At the bottom of the photograph, there is a sentence highlighting the cities desirable parking situation and convenient size. Accompanying this image is a plaque transcribed with a quote by Ormund Powers, whose words highlight the change the city was experiencing during that time. Powers was a journalist for &lt;em&gt;The Orlando Sentinel&lt;/em&gt; whose career spanned seven decades.</text>
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                <text>Original black and white photographic print: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>ca. 1960-1979</text>
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                <text>image/jpg</text>
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                <text>eng</text>
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                <text> Geography Teacher</text>
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            <name>Rights Holder</name>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Glendinning, Michael</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Snyder, Jack. "&lt;a href="http://articles.orlandosentinel.com/2000-05-10/news/0005100005_1_sentinel-lake-county-orlando" target="_blank"&gt;A Pioneer Sentinel Reporter, Ormund Powers Dies At 85&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;. May 10, 2010. Accessed February 4, 2016. http://articles.orlandosentinel.com/2000-05-10/news/0005100005_1_sentinel-lake-county-orlando.</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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                  <text>eng</text>
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              <name>Contributing Project</name>
              <description/>
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                  <text>Orlando Remembered</text>
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              <name>Curator</name>
              <description/>
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                <elementText elementTextId="586093">
                  <text>Cepero, Laura</text>
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                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
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            </element>
            <element elementId="134">
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              <description/>
              <elementTextContainer>
                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>Source Repository</name>
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              <elementTextContainer>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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            <name>Title</name>
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                <text>Glenn L. Martin Company Plant Construction</text>
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                <text>Martin Co. Plant Construction</text>
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                <text>Orlando (Fla)</text>
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              <elementText elementTextId="627272">
                <text> Aerospace industries--United States</text>
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                <text> Construction</text>
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                <text>The original Martin Company plant during its construction. The site was located on Orange Blossom Trail and Sand Lake Road, about four miles south of in Orlando, Florida. The Martin Company purchased the land from the City of Orlando in 1956 for almost two million dollars. The Martin Company was a missile manufacturer that expanded to the Orlando area in 1956 to be closer to Cape Canaveral and the heart of the Space Race. While this building was under construction, a temporary building on Elwell Street was used by the Martin Company.</text>
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            <name>Source</name>
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                <text>Digital reproduction of original black and white photographic print: "&lt;a href="http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957" target="_blank"&gt;The Glenn L. Martin Company Plant Site, circa 1957&lt;/a&gt;." Orlando Memory. http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957.</text>
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                <text>&lt;a href="http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957" target="_blank"&gt;The Glenn L. Martin Company Plant Site, circa 1957&lt;/a&gt;, Orlando Memory.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Glenn L. Martin Company, Orlando, Florida</text>
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              <elementText elementTextId="627280">
                <text>ca. 1956-1957</text>
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              <elementText elementTextId="627281">
                <text>image/jpg</text>
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            <name>Medium</name>
            <description/>
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                <text>1 black and white photograph</text>
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            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627283">
                <text>History Teacher</text>
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              <elementText elementTextId="627284">
                <text> Geography Teacher</text>
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          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627285">
                <text>"&lt;a href="http://www.orlandomemory.info/sites/default/files/styles/full_size_image/public/image_files/SD.jpeg?itok=oKgajgYL" target="_blank"&gt;Creative Commons 10th Birthday Celebration San Francisco&lt;/a&gt;" by Lynda Hope Swenk is licensed under &lt;a href="http://creativecommons.org/licenses/by/4.0/" target="_blank"&gt;CC BY 4.0&lt;/a&gt;.</text>
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            <name>Accrual Method</name>
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                <text>Donation</text>
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                <text>Orlando Remembered</text>
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            <name>Curator</name>
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                <text>Glendinning, Michael</text>
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              <elementText elementTextId="627289">
                <text> Cepero, Laura</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627290">
                <text>&lt;a href="http://www.orlandomemory.info/" target="_blank"&gt;Orlando Memory&lt;/a&gt;</text>
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              <elementText elementTextId="627291">
                <text> &lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            <name>External Reference</name>
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              <elementText elementTextId="627292">
                <text>"&lt;a href="http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957" target="_blank"&gt;The Glenn L. Martin Company Plant Site, circa 1957&lt;/a&gt;." Orlando Memory. http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957.</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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              <description/>
              <elementTextContainer>
                <elementText elementTextId="586088">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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            <element elementId="44">
              <name>Language</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586089">
                  <text>eng</text>
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              <description/>
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                  <text>Orlando City Hall, Downtown Orlando, Florida</text>
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            <element elementId="138">
              <name>Contributing Project</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586092">
                  <text>Orlando Remembered</text>
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            <element elementId="133">
              <name>Curator</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586093">
                  <text>Cepero, Laura</text>
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                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
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            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="135">
              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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      <name>Still Image</name>
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            <name>Title</name>
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                <text>Temporary Glenn L. Martin Company Facility</text>
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            <name>Alternative Title</name>
            <description/>
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                <text>Martin Co. Plant Construction</text>
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            <name>Subject</name>
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            <elementTextContainer>
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                <text>Orlando (Fla)</text>
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                <text> Aerospace industries--United States</text>
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          <element elementId="41">
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                <text>A temporary building on Elwell Street used by the Martin Company while the company's main plant was being constructed on Orange Blossom Trail and Sand Lake Road in Orlando, Florida. The Martin Company was a missile manufacturer that expanded to the Orlando area in 1956 to be closer to Cape Canaveral and the heart of the Space Race. This building was previously used as a facility for the U.S. Army Air Corps and was located at the Orlando International Airport. The building remained in use by the Martin Company for several years after the completion of their main plant, which was located about four miles south of Orange Blossom Trail.</text>
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                <text>Still Image </text>
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          <element elementId="48">
            <name>Source</name>
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                <text>Digital reproduction of original black and white photographic print: "&lt;a href="http://www.orlandomemory.info/sites/default/files/styles/full_size_image/public/image_files/MartinOrlandoElwellStreet.jpg?itok=yVLJfzUK" target="_blank"&gt;Martin Orlando Engineering Facility on Elwell Street in 1957&lt;/a&gt;." Orlando Memory. http://www.orlandomemory.info/sites/default/files/styles/full_size_image/public/image_files/MartinOrlandoElwellStreet.jpg?itok=yVLJfzUK.</text>
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                <text>&lt;a href="http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957" target="_blank"&gt;The Glenn L. Martin Company Plant Site, circa 1957&lt;/a&gt;, Orlando Memory.</text>
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              <elementText elementTextId="627301">
                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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            <name>Coverage</name>
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              <elementText elementTextId="627302">
                <text>Glenn L. Martin Company, Orlando, Florida</text>
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            <name>Date Created</name>
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                <text>1957-08-06</text>
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            <name>Format</name>
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            <elementTextContainer>
              <elementText elementTextId="627304">
                <text>image/jpg</text>
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          <element elementId="113">
            <name>Medium</name>
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            <elementTextContainer>
              <elementText elementTextId="627305">
                <text>1 black and white photograph</text>
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          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627306">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
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            <elementTextContainer>
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                <text>History Teacher</text>
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              <elementText elementTextId="627308">
                <text> Geography Teacher</text>
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            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627309">
                <text>"&lt;a href="http://www.orlandomemory.info/sites/default/files/styles/full_size_image/public/image_files/SD.jpeg?itok=oKgajgYL" target="_blank"&gt;Creative Commons 10th Birthday Celebration San Francisco&lt;/a&gt;" by Lynda Hope Swenk is licensed under &lt;a href="http://creativecommons.org/licenses/by/4.0/" target="_blank"&gt;CC BY 4.0&lt;/a&gt;.</text>
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            <name>Accrual Method</name>
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                <text>Donation</text>
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            <name>Contributing Project</name>
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            <elementTextContainer>
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                <text>Orlando Remembered</text>
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          <element elementId="133">
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                <text>Glendinning, Michael</text>
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                <text> Cepero, Laura</text>
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          <element elementId="134">
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              <elementText elementTextId="627314">
                <text>&lt;a href="http://www.orlandomemory.info/" target="_blank"&gt;Orlando Memory&lt;/a&gt;</text>
              </elementText>
              <elementText elementTextId="627315">
                <text> &lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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          </element>
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            <name>External Reference</name>
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            <elementTextContainer>
              <elementText elementTextId="627316">
                <text>"&lt;a href="http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957" target="_blank"&gt;The Glenn L. Martin Company Plant Site, circa 1957&lt;/a&gt;." Orlando Memory. http://orlandomemory.info/memory/image/glenn-l-martin-company-plant-site-circa-1957.</text>
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        <name>aircraft engineering</name>
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        <name>Elwell Street</name>
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        <name>Glenn L. Martin Company</name>
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              <description/>
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                  <text>Orlando City Hall Collection</text>
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            </element>
            <element elementId="86">
              <name>Alternative Title</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586083">
                  <text>City Hall Collection</text>
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            </element>
            <element elementId="49">
              <name>Subject</name>
              <description/>
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                <elementText elementTextId="586084">
                  <text>Orlando (Fla.)</text>
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                  <text>City halls--United States</text>
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            </element>
            <element elementId="41">
              <name>Description</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586086">
                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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            <element elementId="37">
              <name>Contributor</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586087">
                  <text>Orlando Remembered</text>
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            <element elementId="104">
              <name>Is Part Of</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586088">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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              <name>Language</name>
              <description/>
              <elementTextContainer>
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                  <text>eng</text>
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              <description/>
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              <name>Coverage</name>
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                <elementText elementTextId="586091">
                  <text>Orlando City Hall, Downtown Orlando, Florida</text>
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            </element>
            <element elementId="138">
              <name>Contributing Project</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586092">
                  <text>Orlando Remembered</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="133">
              <name>Curator</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586093">
                  <text>Cepero, Laura</text>
                </elementText>
                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="135">
              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
                </elementText>
                <elementText elementTextId="586098">
                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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              </elementTextContainer>
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      </elementSetContainer>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
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            <name>Title</name>
            <description/>
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                <text>Orlando City Hall Painting</text>
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            </elementTextContainer>
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          <element elementId="86">
            <name>Alternative Title</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627318">
                <text>Orlando City Hall</text>
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          <element elementId="49">
            <name>Subject</name>
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            <elementTextContainer>
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                <text>Orlando (Fla.)</text>
              </elementText>
              <elementText elementTextId="627320">
                <text> City halls--United States</text>
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            <name>Description</name>
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                <text>Orlando City Hall in Downtown Orlando, Florida, as it appeared from 1958 to 1991. The building was located on the corner of South Street and Orange Avenue and acted as the place of governance for the growing Orlando area. The painting was created by James Stoll and is paired with the Orlando Remembered Exhibit located in the Orlando City Hall Building, located at 400 South Orange Avenue.&lt;br /&gt;&lt;br /&gt;The 1958 city hall was designed by Richard Boone Rogers and constructed by the C. A. Finland Company of Tampa. Dedicated on October 3, 1958, the building was faced with Tennessee marble, Minnesota granite and terrazzo stones. The Orlando Utilities Commission was located within the building from 1958 to 1967, when it moved into a $3.5 million building at 500 South Orange Ave. The Orlando Police Department (OPD) remained in the previous city hall building, which was the original Orlando Public School, across the street. In January of 1972, OPD and the city jail relocated to the Municipal Justice Building at 100 South Hughey Avenue.</text>
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                <text>Still Image</text>
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            <name>Source</name>
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                <text>Original oil painting by Jim Stoll: Orlando Remembered Exhibit, &lt;a href="http://www.cityofOrlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Orlando Remembered Exhibit, &lt;a href="http://www.cityofOrlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627326">
                <text>Original color digital image, 2016.</text>
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            <name>Coverage</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627327">
                <text>Orlando City Hall, Downtown Orlando, Florida</text>
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            <name>Creator</name>
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                <text>Stoll, Jim</text>
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            <name>Date Created</name>
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              <elementText elementTextId="627329">
                <text>ca. 1958-1991</text>
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            <name>Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627330">
                <text>image/jpg</text>
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            <name>Extent</name>
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              <elementText elementTextId="627331">
                <text>252 KB</text>
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            <name>Medium</name>
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                <text>1 oil painting</text>
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            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627333">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627334">
                <text>History Teacher</text>
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                <text> Civics/Government Teacher</text>
              </elementText>
              <elementText elementTextId="627336">
                <text> Economics Teacher</text>
              </elementText>
              <elementText elementTextId="627337">
                <text> Geography Teacher</text>
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            <name>Provenance</name>
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                <text>Originally created by Jim Stoll.</text>
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          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
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                <text>Simons, George W., Jr. "&lt;a href="http://digitalcommons.unf.edu/cgi/viewcontent.cgi?article=1029&amp;amp;context=simonsflorida" target="_blank"&gt;Comprehensive City Plan Orlando, Florida, Vol III&lt;/a&gt;." Digital Commons, University of North Florida. http://digitalcommons.unf.edu/cgi/viewcontent.cgi?article=1029&amp;amp;context=simonsflorida.</text>
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                <elementText elementTextId="586094">
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>City Hall Maximum Occupancy Sign</text>
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                <text> City councils--United States</text>
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                <text>The sign depicts the maximum occupancy for the Orlando City Council Chambers within the Orlando City Hall in Downtown Orlando, Florida. The building was located on the corner of South Street and Orange Avenue and acted as the place of governance for the growing Orlando area. The sign was created to maintain the fire safety codes which used the number of exits, as one of the fire protection features, to determine the maximum occupancy of a room. This was following the scramble for fire safety in 1956 when more than 713 calls were made concerning fires and costs overwhelming damaging the city’s wallet at an estimated overall cost of more than $300,000. City Council’s involvement with the firefighters in the city saw huge improvement in 1954 when the council approved a salary raise for the workers.</text>
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                <text>Original sign: Orlando Remembered Exhibit, &lt;a href="http://www.cityofOrlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Original color digital image, 2016.</text>
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            <name>Coverage</name>
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                <text>Orlando City Hall, Downtown Orlando, Florida</text>
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          <element elementId="90">
            <name>Date Created</name>
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              <elementText elementTextId="627361">
                <text>ca. 1958</text>
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            <name>Format</name>
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              <elementText elementTextId="627362">
                <text>image/jpg</text>
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          <element elementId="113">
            <name>Medium</name>
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              <elementText elementTextId="627363">
                <text>1 sign</text>
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          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627364">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
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                <text>History Teacher</text>
              </elementText>
              <elementText elementTextId="627366">
                <text> Civics/Government Teacher</text>
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          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627367">
                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            <name>Accrual Method</name>
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            <description/>
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                <text> Cepero, Laura</text>
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            <description/>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <elementText elementTextId="627373">
                <text>"&lt;a href="http://www.cityofOrlando.net/fire/history/" target="_blank"&gt;History: 1951 – 1975&lt;/a&gt;." City of Orlando. http://www.cityofOrlando.net/fire/history/.</text>
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                <text> "&lt;a href="https://www2.municode.com/library/fl/Orlando/codes/code_of_ordinances?nodeId=13349" target="_blank"&gt;Orlando, Florida - Code of Ordinances: Supplement 59 Update 2&lt;/a&gt;." MuniCode. https://www.municode.com/library/fl/Orlando/codes/code_of_ordinances?nodeId=13349.</text>
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        <name>fire safety</name>
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        <name>Orlando City Council Chambers</name>
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        <name>Orlando City Hall</name>
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      <tag tagId="35835">
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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              <name>Curator</name>
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                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="135">
              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <elementText elementTextId="586098">
                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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            <name>Title</name>
            <description/>
            <elementTextContainer>
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                <text>Fire Alarm at Orlando City Hall</text>
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            <name>Alternative Title</name>
            <description/>
            <elementTextContainer>
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                <text>City Hall Fire Alarm</text>
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            <name>Subject</name>
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            <elementTextContainer>
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                <text>Orlando (Fla.)</text>
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                <text> Fire departments--Florida</text>
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            <description/>
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                <text>The fire alarm for the fire safety system in the 1958 Orlando City Hall in Downtown Orlando, Florida. The building was located on the corner of South Street and Orange Avenue and acted as the place of governance for the growing Orlando area. The fire alarm allowed the building to fit into the newly formulated fire safety regulations, acting as one of the fire protection features. This was following the scramble for fire safety in 1956 when more than 713 calls were made concerning fires and costs overwhelming damaging the city’s wallet at an estimated overall cost of more than $300,000. City Council’s involvement with the firefighters in the city saw huge improvement in 1954 when the council approved a salary raise for the workers.</text>
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                <text>Physical Object</text>
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                <text>Original fire alarm: Orlando Remembered Exhibit, &lt;a href="http://www.cityofOrlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Orlando Remembered Exhibit, &lt;a href="http://www.cityofOrlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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              <elementText elementTextId="627383">
                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Original color digital image, 2016.</text>
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          <element elementId="38">
            <name>Coverage</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627385">
                <text>Orlando City Hall, Downtown Orlando, Florida</text>
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            <name>Date Created</name>
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              <elementText elementTextId="627386">
                <text>ca. 1958</text>
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            <name>Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627387">
                <text>image/jpg</text>
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          </element>
          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627388">
                <text>1 fire alarm</text>
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          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627389">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627390">
                <text>History Teacher</text>
              </elementText>
              <elementText elementTextId="627391">
                <text> Civics/Government Teacher</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627392">
                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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          <element elementId="117">
            <name>Accrual Method</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627393">
                <text>Donation</text>
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          <element elementId="138">
            <name>Contributing Project</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627394">
                <text>Orlando Remembered</text>
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          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627395">
                <text>Smith, Robert T.</text>
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              <elementText elementTextId="627396">
                <text> Cepero, Laura</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627397">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627398">
                <text>"&lt;a href="http://www.cityofOrlando.net/fire/history/" target="_blank"&gt;History: 1951 – 1975&lt;/a&gt;." City of Orlando. http://www.cityofOrlando.net/fire/history/.</text>
              </elementText>
              <elementText elementTextId="627399">
                <text> "&lt;a href="https://www2.municode.com/library/fl/Orlando/codes/code_of_ordinances?nodeId=13349" target="_blank"&gt;Orlando, Florida - Code of Ordinances: Supplement 59 Update 2&lt;/a&gt;." MuniCode. https://www.municode.com/library/fl/Orlando/codes/code_of_ordinances?nodeId=13349.</text>
              </elementText>
              <elementText elementTextId="627400">
                <text> "&lt;a href="http://archive.wppl.org/wphistory/Winter%20Park%20Fire%20Department.html" target="_blank"&gt;Winter Park Fire Department: Bravely serving the community since 1900." Winter Park Public Library. http://archive.wppl.org/wphistory/Winter%20Park%20Fire%20Department.html.</text>
              </elementText>
              <elementText elementTextId="627401">
                <text>"&lt;/a&gt;&lt;a href="http://www.ffca.org/i4a/pages/index.cfm?pageid=3312" target="_blank"&gt;Past Presidents&lt;/a&gt;." Florida Fire Chiefs' Association. http://www.ffca.org/i4a/pages/index.cfm?pageid=3312.</text>
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        <name>city halls</name>
      </tag>
      <tag tagId="2144">
        <name>Downtown Orlando</name>
      </tag>
      <tag tagId="32622">
        <name>fire departments</name>
      </tag>
      <tag tagId="27659">
        <name>fire protection</name>
      </tag>
      <tag tagId="32554">
        <name>fire safety</name>
      </tag>
      <tag tagId="795">
        <name>orlando</name>
      </tag>
      <tag tagId="1407">
        <name>Orlando City Hall</name>
      </tag>
      <tag tagId="35835">
        <name>public safety</name>
      </tag>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586009">
                  <text>Orlando City Hall Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="86">
              <name>Alternative Title</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586083">
                  <text>City Hall Collection</text>
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            <element elementId="49">
              <name>Subject</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586084">
                  <text>Orlando (Fla.)</text>
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                <elementText elementTextId="586085">
                  <text>City halls--United States</text>
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            </element>
            <element elementId="41">
              <name>Description</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586086">
                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586087">
                  <text>Orlando Remembered</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="104">
              <name>Is Part Of</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586088">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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            </element>
            <element elementId="44">
              <name>Language</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586089">
                  <text>eng</text>
                </elementText>
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              <name>Type</name>
              <description/>
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                  <text>Collection</text>
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              <name>Coverage</name>
              <description/>
              <elementTextContainer>
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                  <text>Orlando City Hall, Downtown Orlando, Florida</text>
                </elementText>
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            </element>
            <element elementId="138">
              <name>Contributing Project</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586092">
                  <text>Orlando Remembered</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="133">
              <name>Curator</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586093">
                  <text>Cepero, Laura</text>
                </elementText>
                <elementText elementTextId="586094">
                  <text>Barnes, Mark</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="135">
              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
                </elementText>
                <elementText elementTextId="586098">
                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
                </elementText>
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            </element>
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    </collection>
    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627402">
                <text>Mayor Carl T. Langford's Small Key to the City of Orlando</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="86">
            <name>Alternative Title</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627403">
                <text>Mayor Langford's Key to the City</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627404">
                <text>Orlando (Fla.)</text>
              </elementText>
              <elementText elementTextId="627405">
                <text> Mayors--Florida</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627406">
                <text>The small city key presented to Mayor Carl T. Langford (1918-2011). Mayor Langford later presented this key to George Hill in 1973. Little information is known on who George Hill was or why he was being honor with a key to the city.&lt;br /&gt;&lt;br /&gt;Langford was elected to the Office of Mayor on March 7, 1967, to fill the vacancy left when Mayor Bob Carr (1899-1967) died in office. Mayor Langford served through 1980. He was a businessman who strived to follow the code of the City of Orlando and enforce all laws as they were stated. Mayor Langford played a significant role in expanding Orlando with the installation of the Orlando International Airport, which is his main legacy. He also served as mayor during the Civil Rights Movement and played a role in integrating the city. Mayor Langford created a program to help African Americans pass the required written exam to enter the police academy and he also created a policy that allowed African Americans to become firemen, which made Orlando the first city in the state of Florida to have African American firefighters.</text>
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            <name>Type</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627407">
                <text>Physical Object</text>
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            </elementTextContainer>
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          <element elementId="48">
            <name>Source</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627408">
                <text>Original key: Orlando Remembered Exhibit, &lt;a href="http://www.cityofOrlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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          <element elementId="104">
            <name>Is Part Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627409">
                <text>Orlando Remembered Exhibit, &lt;a href="http://www.cityofOrlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
              </elementText>
              <elementText elementTextId="627410">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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          </element>
          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627411">
                <text>Original color digital image, 2016.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627412">
                <text>Orlando City Hall, Downtown Orlando, Florida</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="90">
            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627413">
                <text>ca. 1967-1980</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627414">
                <text>image/jpg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627415">
                <text>56.7 KB</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627416">
                <text>1 key</text>
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          </element>
          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627417">
                <text>eng</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627418">
                <text>History Teacher</text>
              </elementText>
              <elementText elementTextId="627419">
                <text> Civics/Government Teacher</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627420">
                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="117">
            <name>Accrual Method</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627421">
                <text>Donation</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="138">
            <name>Contributing Project</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627422">
                <text>Orlando Remembered</text>
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            </elementTextContainer>
          </element>
          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627423">
                <text>Smith, Robert T.</text>
              </elementText>
              <elementText elementTextId="627424">
                <text> Cepero, Laura</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627425">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627426">
                <text>"&lt;a href="http://www.keedex.com/Main_Pages/about_us/Keys_pages/keysbystate/Floridakeys.html" target="_blank"&gt;Florida&lt;/a&gt;." Keedex. http://www.keedex.com/Main_Pages/about_us/Keys_pages/keysbystate/Floridakeys.html.</text>
              </elementText>
              <elementText elementTextId="627427">
                <text>"&lt;a href="http://thehistorycenter.pastperfectonline.com/webobject/599DBFE6-2D34-44A1-A457-490245507739" target="_blank"&gt;Object Record. 2005.008.0011&lt;/a&gt;." Orange County Regional History Center, accessed January 30, 2016. http://thehistorycenter.pastperfectonline.com/webobject/599DBFE6-2D34-44A1-A457-490245507739.</text>
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                <text>Schlueb, Mark. "&lt;a href="http://articles.Orlandosentinel.com/2011-07-14/news/os-carl-langford-funeral-20110714_1_carl-langford-Orlando-mayor-longest-serving-mayor" target="_blank"&gt;Carl Langford remembered as Orlando mayor who loved city, a good prank&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, July 14, 2011. Accessed February 1, 2016. http://articles.Orlandosentinel.com/2011-07-14/news/os-carl-langford-funeral-20110714_1_carl-langford-Orlando-mayor-longest-serving-mayor.</text>
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                <text>Schlueb, Mark and Weiner, Jeff. "&lt;a href="http://articles.Orlandosentinel.com/2011-07-09/news/os-obit-carl-langford-20110709_1_mayor-buddy-dyer-carl-langford-longest-serving-mayor" target="_blank"&gt;Carl Langford: Former Orlando mayor led city during period of tremendous growth&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, July 9, 2011. Accessed March 10, 2016. http://articles.Orlandosentinel.com/2011-07-09/news/os-obit-carl-langford-20110709_1_mayor-buddy-dyer-carl-langford-longest-serving-mayor.</text>
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                <text>Langford, Carl. &lt;a href="http://www.worldcat.org/oclc/3086503" target="_blank"&gt;&lt;em&gt;Hizzoner the Mayor&lt;/em&gt;&lt;/a&gt;. Orlando, Fla: Chateau Pub, 1976.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <text>Minnesota Twins Cap</text>
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                <text> Hats--United States</text>
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                <text>A Minnesota Twins baseball cap. The Minnesota Twins have been part of the history of Orlando, Florida, since 1936. Originally, this baseball club was founded in 1901 as the Washington Senators. The Washington Senators spent 34 years in 11 different locations for spring training before finally coming to Orlando in 1936. From 1936 to 1942, the team played preseason games at Tinker Field. In 1943, the Senators moved to College Park, Maryland, through 1945, before returning to Tinker Field in 1946. In 1960, the team owner Calvin Griffith (1911-1999) moved his team home to Minneapolis, Minnesota, and they officially became the Minnesota Twins. The team continued spring training in Orlando until 1990.</text>
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                <text>Original baseball cap: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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              <elementText elementTextId="627443">
                <text>Metropolitan Stadium, Bloomington, Minnesota</text>
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                <text> Tinker Field, Downtown Orlando, Florida</text>
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          <element elementId="112">
            <name>Extent</name>
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                <text>History Teacher</text>
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            <name>Rights Holder</name>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Orlando Remembered</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Thomley, Stew, "&lt;a href="http://minnesota.twins.mlb.com/min/history/minnesota_baseball_history.jsp" target="_blank"&gt;Minnesota Baseball History&lt;/a&gt;. Major League Baseball. Accessed February 3, 2016. http://minnesota.twins.mlb.com/min/history/minnesota_baseball_history.jsp.</text>
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                <text> "&lt;a href="http://www.springtrainingonline.com/teams/minnesota-twins.htm" target="_blank"&gt;Minnesota Twins Spring Training&lt;/a&gt;." Spring Training Online. Accessed February 3, 2016. http://www.springtrainingonline.com/teams/minnesota-twins.htm.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                <text>The Orlando Steam Laundry Company, located at 43 West Concord Avenue, and Dixie Kuhr’s Dixie Sales &amp;amp; Service in Orlando, Florida. Orlando Steam Laundry Co. was first established in 1900 and was officially incorporated on January 1, 1923. While originally located on Concord Ave., the company later moved to 1705 Depauw Avenue. The president was Arthur H. Hillman, the Treasurer was Bernard D. Sommers, and the Director was Sally A. Hillman. The company is no longer in business, as it shut its doors on April 16, 1975.&lt;br /&gt;&lt;br /&gt;Orlando Steam Laundry Company was a model of efficiency. Each bundle of laundry was sorted by fabric and color before being sent to the battery of washers, where each customer’s laundry was kept separate by nets and put into compartments. The clothes would be washed and the water would be removed by centrifugal extractors that were so gentle that they would not damage a single button. Rollers would finish the work to keep everything flat and then the clothes would be sent to a specific finishing machine for every different type of article of clothing. From here, they would be boxed up and sent back out to the people on one of their service cars.</text>
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                <text>Original black and white photograph: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>A model of a B-52G bomber plane from McCoy Air Force Base. The Boeing B-52 Stratofortress is a long range, heavy bomber that entered military service in 1955. The primary role and purpose of the B-52 was strategic bombing and nuclear deterrence; two roles that were essential for a Cold War bomber. From 1952 to 1962, Boeing Company produced 744 B-52s. Out of those 744 B-52s built, 193 were G models.&lt;br /&gt;&lt;br /&gt;In 1961, McCoy Air Force Base in Orlando, Florida, acquired the B-52. McCoy Air Force base was a key strategic base for the U.S. Air Force’s Strategic Air Command (SAC). SAC was in charge of all strategic bombers and intercontinental ballistic missiles within the continental United States. With the B-52 located at such a strategic Air Force base, it was capable of performing one of its main roles, nuclear deterrence.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.stratofortress.org/history.htm" target="_blank"&gt;History&lt;/a&gt;." B52 Stratofortress Association. B-52 Stratofortress Association. http://www.stratofortress.org/history.htm.</text>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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                <elementText elementTextId="586094">
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                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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                <text>The Orlando City Hall in Downtown Orlando, Florida, in the 1960s or 1970s. During that same decade, Orlando experienced a population boom. Due to this increase in population, the city needed to expand its public buildings to accommodate the changes that were happening in the city. Prior to the construction of the fourth city hall, pictured here, the municipal government officers were housed on the top floor of the Armory Building on Jefferson Street and Orange Avenue.&lt;br /&gt;&lt;br /&gt;The Orlando Public School was built in 1906 on Jackson Street and Orange Avenue. It served its purpose as a school until the year 1922. In 1924, the City of Orlando bought the school for $115,000 and moved city hall into the empty building. Along with city hall being located here, the Orlando Police Department (OPD) and the city jail were located in the basement.</text>
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                <text>Original black and white photograph: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>ca.1960-1979</text>
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                <text>image/jpg</text>
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                <text>1 black and white photograph</text>
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            <name>Language</name>
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                <text>eng</text>
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                <text>History Teacher</text>
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              <elementText elementTextId="627544">
                <text> Geography Teacher</text>
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            <name>Rights Holder</name>
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              <elementText elementTextId="627545">
                <text>Copyright to this resource is held by &lt;a href="https://www.thehistorycenter.org/" target="_blank"&gt;Orange County Regional History Center&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>Orlando Remembered</text>
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                <text>Pacheco, Alexander</text>
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                <text> Cepero, Laura</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>Dickinson, Joy Wallace. &lt;a href="http://www.worldcat.org/oclc/53872607" target="_blank"&gt;&lt;em&gt;Orlando: City of Dreams&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2003.</text>
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                <text> "&lt;a href="http://www.cityoforlando.net/wp-content/uploads/2014/04/CityHallBrochurePrint.pdf" target="_blank"&gt;Orlando City Hall&lt;/a&gt;." City of Orlando, accessed February 2, 2016, http://www.cityoforlando.net/wp-content/uploads/2014/04/CityHallBrochurePrint.pdf.</text>
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              <elementText elementTextId="627553">
                <text> Antequino, Stephanie Gaub, and Tana Mosier Porter. &lt;a href="http://www.worldcat.org/oclc/783150094" target="_blank"&gt;&lt;em&gt;Lost Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2012.</text>
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        <name>Orlando City Hall</name>
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        <name>police departments</name>
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        <name>police stations</name>
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                  <text>City Hall Collection</text>
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              <description/>
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                  <text>Historic artifacts from an exhibit created by Orlando Remembered at the Orlando City Hall, located at 400 South Orange Avenue in Downtown Orlando, Florida. This exhibit houses objects relating to Orlando's municipal government. The current building opened in July of 1991. The former city hall was located directly in front of current building and was in operation from 1958 to 1991. The exhibit features photographs and memorabilia from past Orlando mayors dating back to 1932.&lt;br /&gt;&lt;br /&gt;Orlando Remembered is a community based group, dedicated to the preservation of Downtown Orlando's past. To date, the group has constructed 18 exhibits in the downtown area that highlight the current building's connection to the past.</text>
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              <name>Contributor</name>
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                  <text>Orlando Remembered</text>
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              <name>Is Part Of</name>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/106" target="_blank"&gt;Orlando Remembered Collection&lt;/a&gt;, Orlando Collection, Orange County Collection. RICHES of Central Florida.</text>
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                  <text>Orlando City Hall, Downtown Orlando, Florida</text>
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                  <text>Orlando Remembered</text>
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                  <text>Cepero, Laura</text>
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                <elementText elementTextId="586094">
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              <name>Digital Collection</name>
              <description/>
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                <elementText elementTextId="586095">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>Source Repository</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="586096">
                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
                </elementText>
                <elementText elementTextId="586097">
                  <text>Bacon, Eve. &lt;a href="http://www.worldcat.org/oclc/2020029" target="_blank"&gt;&lt;em&gt;Orlando: A Centennial History&lt;/em&gt;&lt;/a&gt;. Chuluota, Fla: Mickler House, 1975.</text>
                </elementText>
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                  <text>Rajtar, Steve. &lt;a href="http://www.worldcat.org/oclc/70911136" target="_blank"&gt;&lt;em&gt;A Guide to Historic Orlando&lt;/em&gt;&lt;/a&gt;. Charleston, SC: History Press, 2006.</text>
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            <name>Title</name>
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                <text>Mayor Carl T. Langford's Gavel</text>
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                <text>Mayor Langford's Gavel</text>
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          <element elementId="49">
            <name>Subject</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627556">
                <text>Orlando (Fla.)</text>
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              <elementText elementTextId="627557">
                <text> Mayors--United States</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627558">
                <text>Mayor Carl T. Langford's (1918-2011) gavel, which was used to bring Orlando City Council meetings to order. The gavel is made of wood, with a metal ring attaching the handle to the head of the gavel. Mayor Langford shepherded Orlando, Florida, through a period of rapid growth due to the opening of Walt Disney World in 1917. He served as mayor from 1967 to 1980, and was known for his sense of humor and personable behavior. Mayor Langford is responsible for converting McCoy Air Force Base, which housed B-52 strategic bombers, into Orlando International Airport, which is his lasting legacy on the city.</text>
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                <text>Original gavel: Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Orlando Remembered Exhibit, &lt;a href="http://www.cityoforlando.net/city-hall-hours-directions/" target="_blank"&gt;Orlando City Hall&lt;/a&gt;, Orlando, Florida.</text>
              </elementText>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/173" target="_blank"&gt;Orlando City Hall Collection&lt;/a&gt;, Orlando Remembered Collection, Orlando Collection, Orange County Collection, RICHES of Central Florida.</text>
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                <text>Original color digital image, 2016.</text>
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            <name>Coverage</name>
            <description/>
            <elementTextContainer>
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                <text>Orlando City Hall, Downtown Orlando, Florida</text>
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            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="627565">
                <text>ca. 1967-1980</text>
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            <name>Format</name>
            <description/>
            <elementTextContainer>
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                <text>image/jpg</text>
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                  <text>"&lt;a href="http://www.historiciconsoforlando.com/" target="_blank"&gt;The Historic Icons of Orlando&lt;/a&gt;." Orlando Remembered. http://www.historiciconsoforlando.com/.</text>
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                <text>Garner, Dwight. "&lt;a href="http://www.nytimes.com/2008/12/03/books/03garner.html?_r=0" target="_blank"&gt;The Days of Their Lives: Lesbians Star in Funny Pages&lt;/a&gt;." &lt;em&gt;The New York Times&lt;/em&gt;, December, 2006. http://www.nytimes.com/2008/12/03/books/03garner.html?_r=0.</text>
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                <text>Originally created by John E. Sullivan and published by &lt;a href="http://www.watermarkonline.com/" target="_blank"&gt;Watermark Media&lt;/a&gt;.</text>
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                <text>Copyright to this resource is held by &lt;a href="http://www.watermarkonline.com/" target="_blank"&gt;Watermark Publishing Group&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://glbthistorymuseum.com/joomla25/index.php?lang=en" target="_blank"&gt;GLBT History Museum of Central Florida&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.watermarkonline.com/aboutcontact/" target="_blank"&gt;About/Contact&lt;/a&gt;." WatermarkOnline.com, accessed July 11, 2016. http://www.watermarkonline.com/aboutcontact/.</text>
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                  <text>Lake Apopka (Fla.)</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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                <text>Letter from John R. Squire to Mrs. Jerry Boyd (October 12, 1976)</text>
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                <text>Letter from Squire to Boyd (Oct. 12, 1976)</text>
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                <text>A letter from John R. Squire, the Recreation Planner Supervisor for the Bureau of Plans, Programs, and Services of the Florida Division of Recreation and Parks to Mrs. Jerry Boyd, dated October 12, 1976. In the letter, Squires clarifies the Environmentally Endangered Lands (EEL) Program's definitions of land types. Squires quotes the program's definition of "tropical" and "semi-tropical" hammocks, and explains that the Gourd Neck Springs area of Lake Apopka does not meet the qualifications for a tropical hammock.&lt;br /&gt;&lt;br /&gt;The Environmentally Endangered Lands Program was formed in 1972 as part of the larger Land Conservation Act of 1972. The EEL program was initially funded through the sale of state bonds. The program was designed to help the state acquire lands considered environmentally sensitive and was not designed for creating areas for recreational use. Potential sites for acquisition could be suggested by citizens, county and state governments, and nonprofit organizations. After evaluation for environmental value, potential sites would be approved by the Executive Director of the Florida Department of Natural Resources and finalized by the Governor. In 1979, the former Executive Director, Harmon Shields, was indicted on corruption charges involving the lands-acquisition process. Following this scandal, the EEL program was replaced by Conservation and Recreation Lands Program. This change replaced the program's funding with tax revenues instead of bond sales, and formed the Land Acquisition Selection Committee, made up by six executive directors of Florida environmental agencies, to select sites for approval by the governor. The Division of State Lands was also created as a division of the Department of Natural Resources to over-see mapping and evaluation of potential sites for acquisition.&lt;br /&gt;&lt;br /&gt;Gourd Neck Springs is a small spring located in the southwest portion of Lake Apopka, in a small cove called “Gourd Neck” due to its distinctive shape. This area of the lake was considered in the 1960s as a potential nursery for fish. The Lake Apopka Technical Committee explored damming the Gourd Neck, separating it from the lake and preventing polluted lake water from entering, but these plans did not materialize. Efforts were also made in the 1960s to have the Gourd Neck area purchased by the State of Florida for use as a public park. The Gourd Neck Springs Park Association was formed in 1961 to study the site’s potential for a park and lobby for support from legislators. The land bordering the area was privately-owned by various individuals. One of these, Gary Sharp, continued seeking support for a park into the 1970s. While the project received support from Florida legislators and environmentalists, the land was never purchased by the state.</text>
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                <text>Photocopy of original 2-page typewritten letter from John R. Squires to Mrs. Jerry Boyd, October 12, 1976: binder 1976, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text> Lake Apopka, Florida</text>
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                <text>Squires, John R.</text>
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                <text>Originally created by John R. Squires.</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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                <text>King, Joshua</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.lake.wateratlas.usf.edu/resource.aspx?wbodyid=8500" target="_blank"&gt;Apopka Spring&lt;/a&gt;." Lake County Water Atlas. Accessed June 08, 2016. http://www.lake.wateratlas.usf.edu/resource.aspx?wbodyid=8500.</text>
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                <text>Campbell, Ramsey. "&lt;a href="http://articles.orlandosentinel.com/1995-04-23/news/9504220188_1_lake-apopka-spring-water-bottled-water" target="_blank"&gt;Source of Surprise: Crystal Clear Water from Lake Apopka&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, April 23, 1995. Accessed June 8, 2016. http://articles.orlandosentinel.com/1995-04-23/news/9504220188_1_lake-apopka-spring-water-bottled-water.</text>
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                <text>"&lt;a href="https://richesmi.cah.ucf.edu/omeka/items/show/6858" target="_blank"&gt;Letter from Arthur W. Sinclair to C. W. Sheffield (December 22, 1967)&lt;/a&gt;." RICHES of Central Florida. https://richesmi.cah.ucf.edu/omeka/items/show/6858.</text>
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                <text>Farr, James A., and O. Greg Brock. "&lt;a href="http://www.dep.state.fl.us/lands/files/Florida_LandAcquisition.pd" target="_blank"&gt;Florida's Landmark Programs for Conservation and Recreation Land Acquisition&lt;/a&gt;." Sustain 14 (2006). Accessed June 14, 2016. http://www.dep.state.fl.us/lands/files/Florida_LandAcquisition.pdf.</text>
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                  <text>Friends of Lake Apopka Collection</text>
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                  <text>Lake Apopka (Fla.)</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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                  <text>Florida Game and Fresh Water Commission, Tallahassee, Florida</text>
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                  <text>Orlando, Florida</text>
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                  <text>Saint Johns River, Florida</text>
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                  <text>Winter Garden, Florida</text>
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                  <text>Zellwood, Florida</text>
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                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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            <element elementId="133">
              <name>Curator</name>
              <description/>
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                <elementText elementTextId="560107">
                  <text>Cepero, Laura</text>
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                <elementText elementTextId="560108">
                  <text>King, Joshua</text>
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            </element>
            <element elementId="134">
              <name>Digital Collection</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560109">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <elementText elementTextId="560110">
                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560111">
                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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      <description>A resource containing textual data.  Note that facsimiles or images of texts are still of the genre text.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629396">
                <text>StreamLines, No. 2 (March 1977)</text>
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            <description/>
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              <elementText elementTextId="629397">
                <text>StreamLines (March 1977)</text>
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          <element elementId="49">
            <name>Subject</name>
            <description/>
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              <elementText elementTextId="629398">
                <text>Lake Apopka (Fla.)</text>
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              <elementText elementTextId="629399">
                <text> Orlando (Fla.)</text>
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              <elementText elementTextId="629400">
                <text> Environmental protection--Florida</text>
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                <text> Pollution--Florida</text>
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          <element elementId="41">
            <name>Description</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629402">
                <text>The &lt;em&gt;StreamLines&lt;/em&gt;, a newsletter published by the East Central Florida Regional Planning Council (ECFRPC), for March 1977.This newsletter discusses workshops held by the ECFRPC reviewing financial concerns related to water management, as well as ongoing plans for a drawdown of Lake Apopka, stating that the first phase of the restoration program is due to begin in 1977, and estimates the total cost of the project to be three million dollars. The newsletter also discusses the ECFRPC's 208 Program, a water quality management program aimed at achieving water quality standards mandated by section 208 of the Clean Water Act of 1972.&lt;br /&gt;&lt;br /&gt;Lake drawdown is a method of environmental restoration that is used to control erosion and aquatic vegetation. Lake drawdown has also been sought as a potential method to lessen the effects of pollution by exposing the lake bed and allowing bottom sediments to dry, trapping pollutants. Opponents of lake drawdowns cite the impact of polluted water on areas downstream of the area being drained, in cases where the targeted lake is connected to a river system. Citrus growers have also opposed drawdowns on the grounds that draining large lakes makes nearby citrus groves more vulnerable to freezes, as lakes help keep temperatures stable throughout the year.&lt;br /&gt;&lt;br /&gt;Drawdowns of Lake Apopka have been sought by restoration efforts dating back to the 1960s, beginning with the Lake Apopka Restoration Project, organized by Governor Claude R. Kirk Jr. (1926-2011) and headed by C. W. Sheffield. These efforts were delayed and no drawdown was performed by the project. Plans for a drawdown continued to be developed, and federal and state efforts to gather funds and perform feasibility studies began in 1970. An experimental drawdown of Lake Apopka was performed in 1971, lowering the lake level by four feet, but was halted after public fears that wildlife deaths in the area were the result of the drawdown. Drawdown plans continued through the 1970s, but were continually delayed and projected costs for the project rose sharply. The project was cancelled by Governor Bob Graham (b. 1936) in 1979.</text>
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                <text>Original 4-page typewritten newsletter: &lt;em&gt;StreamLines&lt;/em&gt;, March 1977: binder 1977, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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            <name>Requires</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629405">
                <text>&lt;a href="http://www.adobe.com/products/reader.html" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
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                <text>Binder 1977, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
              </elementText>
              <elementText elementTextId="629407">
                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629408">
                <text>Digital reproduction of original 4-page typewritten newsletter: &lt;em&gt;StreamLines&lt;/em&gt;, March 1977.</text>
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          <element elementId="38">
            <name>Coverage</name>
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            <elementTextContainer>
              <elementText elementTextId="629409">
                <text>Lake Apopka, Florida</text>
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              <elementText elementTextId="629410">
                <text> Lake Eola, Orlando, Florida</text>
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          <element elementId="45">
            <name>Publisher</name>
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            <elementTextContainer>
              <elementText elementTextId="629411">
                <text>&lt;a href="http://www.ecfrpc.org/" target="_blank"&gt;East Central Florida Regional Planning Council&lt;/a&gt;</text>
              </elementText>
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            <name>Date Created</name>
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                <text>ca. 1977-03</text>
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            <name>Date Issued</name>
            <description/>
            <elementTextContainer>
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                <text>1977-03</text>
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          <element elementId="92">
            <name>Date Copyrighted</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629414">
                <text>1977-03</text>
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            <name>Format</name>
            <description/>
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              <elementText elementTextId="629415">
                <text>application/pdf</text>
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          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629416">
                <text>820 KB</text>
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          <element elementId="113">
            <name>Medium</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629417">
                <text>4-page newsletter</text>
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          <element elementId="44">
            <name>Language</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629418">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629419">
                <text>History Teacher</text>
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          <element elementId="124">
            <name>Provenance</name>
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            <elementTextContainer>
              <elementText elementTextId="629420">
                <text>Originally published by the &lt;a href="http://www.ecfrpc.org/" target="_blank"&gt;East Central Florida Regional Planning Council&lt;/a&gt;.</text>
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          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629421">
                <text>Copyright to this resource is held by the &lt;a href="http://www.ecfrpc.org/" target="_blank"&gt;East Central Florida Regional Planning Council&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            <name>Accrual Method</name>
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              <elementText elementTextId="629422">
                <text>Donation</text>
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          <element elementId="138">
            <name>Contributing Project</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629423">
                <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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          </element>
          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629424">
                <text>King, Joshua</text>
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          </element>
          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629425">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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          </element>
          <element elementId="135">
            <name>Source Repository</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629426">
                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629427">
                <text>"&lt;a href="http://www.sjrwmd.com/lakeapopka/history.html" target="_blank"&gt;History of Lake Apopka&lt;/a&gt;." St John's River Water Management District. January 28, 2013. Accessed June 5, 2016. http://www.sjrwmd.com/lakeapopka/history.html.</text>
              </elementText>
              <elementText elementTextId="629428">
                <text> Thomson, Bailey. "&lt;a href="http://articles.orlandosentinel.com/1986-11-23/news/0270330262_1_lake-apopka-lakes-of-central-fish" target="_blank"&gt;The Politics of Saving a Dying Lake&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, November 23, 1986. Accessed July 13, 2016. http://articles.orlandosentinel.com/1986-11-23/news/0270330262_1_lake-apopka-lakes-of-central-fish.</text>
              </elementText>
              <elementText elementTextId="629429">
                <text> "&lt;a href="http://www.ecy.wa.gov/programs/wq/plants/management/drawdown.html" target="_blank"&gt;Aquatic Plant Management - Water Level Drawdown&lt;/a&gt;." Washington Department of Ecology. Accessed July 13, 2016. http://www.ecy.wa.gov/programs/wq/plants/management/drawdown.html.
</text>
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        <name>208 Program</name>
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      <tag tagId="47247">
        <name>Bob Dillard</name>
      </tag>
      <tag tagId="36816">
        <name>citrus groves</name>
      </tag>
      <tag tagId="38525">
        <name>East Central Florida Regional Planning Council</name>
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      <tag tagId="47242">
        <name>ECFRPC</name>
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      <tag tagId="43713">
        <name>Environmental Protection Agency</name>
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      <tag tagId="43714">
        <name>EPA</name>
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      <tag tagId="35643">
        <name>eutrophication</name>
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      <tag tagId="47248">
        <name>FDER</name>
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      <tag tagId="47244">
        <name>Federal Water Pollution Control Act of 1972</name>
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      <tag tagId="47232">
        <name>Florida Department of Environmental Regulation</name>
      </tag>
      <tag tagId="43983">
        <name>John Bateman</name>
      </tag>
      <tag tagId="47243">
        <name>John F. Hurlebaus</name>
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      <tag tagId="3057">
        <name>Lake Apopka</name>
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      <tag tagId="43863">
        <name>lake drawdown</name>
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      <tag tagId="806">
        <name>Lake Eola</name>
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        <name>Lake Lawne</name>
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        <name>Lake Weston</name>
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        <name>muck farms</name>
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      <tag tagId="795">
        <name>orlando</name>
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      <tag tagId="47245">
        <name>sewage treatments plants</name>
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        <name>sport fishing</name>
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        <name>water management</name>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>Lake Apopka, Florida</text>
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                  <text>Oakland, Florida</text>
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                  <text>Orlando, Florida</text>
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                  <text>Saint Johns River, Florida</text>
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                  <text>Winter Garden, Florida</text>
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                  <text>Winter Haven, Florida</text>
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                  <text>Zellwood, Florida</text>
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                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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            <element elementId="133">
              <name>Curator</name>
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                  <text>Cepero, Laura</text>
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                <elementText elementTextId="560108">
                  <text>King, Joshua</text>
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            <element elementId="134">
              <name>Digital Collection</name>
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                <elementText elementTextId="560109">
                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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            <element elementId="135">
              <name>Source Repository</name>
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                <elementText elementTextId="560110">
                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="136">
              <name>External Reference</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="560111">
                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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            <name>Title</name>
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                <text>Letter from Gary I. Sharp to the West Orange Chamber of Commerce (May 19, 1977)</text>
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                <text>Letter from Sharp to West Orange Chamber of Commerce (May 19, 1977)</text>
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          <element elementId="49">
            <name>Subject</name>
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                <text>Environmental protection--Florida</text>
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                <text> Parks--Florida</text>
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                <text> Springs--Florida</text>
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          <element elementId="41">
            <name>Description</name>
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              <elementText elementTextId="629435">
                <text>A letter from Gary I. Sharp to the West Orange Chamber of Commerce, dated May 19, 1977. In the letter, Sharp states that he is no longer able to continue his efforts to have the Gourd Neck Springs area purchased by the State of Florida for use as a recreational park. Sharp writes that the State of Florida continues to show no interest in the area, and that he is forced to put the parcels of land he owns in the area up for sale. Sharp also mentions nearby parcels owned by Herbert S. Sharp that have been recently sold, but states that the majority of the area is still intact.&lt;br /&gt;&lt;br /&gt;Gourd Neck Springs is a small spring located in the southwest portion of Lake Apopka, in a small cove called “Gourd Neck” due to its distinctive shape. This area of the lake was considered in the 1960s as a potential nursery for fish. The Lake Apopka Technical Committee explored damming the Gourd Neck, separating it from the lake and preventing polluted lake water from entering, but these plans did not materialize. Efforts were also made in the 1960s to have the Gourd Neck area purchased by the State of Florida for use as a public park. The Gourd Neck Springs Park Association was formed in 1961 to study the site’s potential for a park and lobby for support from legislators. The land bordering the area was privately-owned by various individuals. One of these, Gary Sharp, continued seeking support for a park into the 1970s. While the project received support from Florida legislators and environmentalists, the land was never purchased by the state.</text>
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                <text>Original 1-page typewritten letter from Gary I. Sharp to the West Orange Chamber of Commerce, May 19, 1977: binder 1977, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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              <elementText elementTextId="629438">
                <text>Binder 1977, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
              </elementText>
              <elementText elementTextId="629439">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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          </element>
          <element elementId="109">
            <name>References</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629440">
                <text>Twitty, Tom. "Gourd Neck Park Dream in Danger." &lt;em&gt;The Orlando Sentinel Star&lt;/em&gt;, September 26, 1976.</text>
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          </element>
          <element elementId="103">
            <name>Is Format Of</name>
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              <elementText elementTextId="629441">
                <text>Digital reproduction of original 1-page typewritten letter from Gary I. Sharp to the West Orange Chamber of Commerce, May 19, 1977.</text>
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          <element elementId="38">
            <name>Coverage</name>
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              <elementText elementTextId="629442">
                <text>Gourd Neck Springs, Florida</text>
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              <elementText elementTextId="629443">
                <text> Lake Apopka, Florida</text>
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            <name>Creator</name>
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              <elementText elementTextId="629444">
                <text>Sharp, Gary I.</text>
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          <element elementId="90">
            <name>Date Created</name>
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            <elementTextContainer>
              <elementText elementTextId="629445">
                <text>1977-05-19</text>
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                <text>image/jpg</text>
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          <element elementId="112">
            <name>Extent</name>
            <description/>
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              <elementText elementTextId="629447">
                <text>181 KB</text>
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          <element elementId="113">
            <name>Medium</name>
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                <text>1-page typewritten letter</text>
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          <element elementId="44">
            <name>Language</name>
            <description/>
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              <elementText elementTextId="629449">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
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              <elementText elementTextId="629450">
                <text>History Teacher</text>
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          <element elementId="124">
            <name>Provenance</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629451">
                <text>Originally created by Gary I. Sharp.</text>
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          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629452">
                <text>Copyright to this resource is held by the &lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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            <name>Accrual Method</name>
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                <text>Donation</text>
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            <description/>
            <elementTextContainer>
              <elementText elementTextId="629454">
                <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629455">
                <text>King, Joshua</text>
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          </element>
          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629456">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
              </elementText>
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          </element>
          <element elementId="135">
            <name>Source Repository</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629457">
                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="629458">
                <text>"&lt;a href="http://www.lake.wateratlas.usf.edu/resource.aspx?wbodyid=8500" target="_blank"&gt;Apopka Spring&lt;/a&gt;." Lake County Water Atlas. Accessed June 08, 2016. http://www.lake.wateratlas.usf.edu/resource.aspx?wbodyid=8500.</text>
              </elementText>
              <elementText elementTextId="629459">
                <text>Campbell, Ramsey. "&lt;a href="http://articles.orlandosentinel.com/1995-04-23/news/9504220188_1_lake-apopka-spring-water-bottled-water" target="_blank"&gt;Source of Surprise: Crystal Clear Water from Lake Apopka&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, April 23, 1995. Accessed June 8, 2016. http://articles.orlandosentinel.com/1995-04-23/news/9504220188_1_lake-apopka-spring-water-bottled-water.</text>
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          <element elementId="276">
            <name>Transcript</name>
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            <elementTextContainer>
              <elementText elementTextId="642012">
                <text>May 23 1977 					   &#13;
P.O. Box 341&#13;
Winter Park, Florida 32790&#13;
Telephone: 305 295-5877&#13;
&#13;
May 19, 1977&#13;
&#13;
TO: West Orange Chamber of Commerce&#13;
SUBJECT: GOURD NECK SPRINGS&#13;
&#13;
AFTER WORKING FOR WELL OVER TWO YEARS ON TRYING TO PRESERVE THE GOURD NECK SPRINGS RUN PROPERTY, I REGRET THAT WE DID NOT HAVE ENOUGH “CLOUT” TO ACCOMPLISH SOMETHING OF THIS MAGNITUDE, AND THAT I NO LONGER AM ABLE TO PURSUE THIS DREAM. IT SEEMS THAT NO GOVERNMENTAL AGENCY, INCLUDING THE FLORIDA DEPARTMENT OF NATURAL RESOURCES, IS WILLING TO TAKE ANY ACTION OR RESPONSIBILITY AT THIS TIME. BECAUSE OF OTHER INTERESTS, I HAVE PUT MY 23-ACRE PARCEL (WHICH IS APPROXIMATELY MID-WAY ALONG THE RUN) UP FOR SALE. OTHER CRITICAL TRACTS, INCLUDING THOSE ADJOINING THE SPRINGS, ARE ALSO ON THE OPEN MARKET.&#13;
ALTHOUGH TWO 5-ACRE AND ONE 7-ACRE PARCEL OF MR. STARR’S PROPERTY HAVE BEEN SOLD WITHIN THE LAST FEW WEEKS FOR RESIDENTIAL USE, THE MAIN PART OF THE PROPERTY IS STILL BASICALLY INTACT. MY PURPOSE IN SENDING THIS MEMO IS THAT, HOPEFULLY, SOMEONE RECEIVING IT MIGHT KNOW OF SOMEONE, OR SOME AGENCY, WHO MIGHT BE INTERESTED IN PURCHASING IT IN ITS ENTIRETY (APPROXIMATELY 300 ACRES) OR ANY PART OF THIS PROPERTY IN ORDER TO PRESERVE IT FOR THIS AND FUTURE GENERATIONS, AS I STILL BELIEVE IT SHOULD BE.&#13;
IF ANYONE WOULD LIKE MORE INFORMATION OR WOULD LIKE TO VISIT THE PROPERTY (I WILL BE HAPPY TO GIVE YOU A TOUR ANY TIME DURING THE NEXT COUPLE OF WEEKS), PLEASE CALL ME AT AREA 305 295-5877 IN ORLANDO IF YOU HAVE ANY INTEREST, IDEAS, ETC.&#13;
I WOULD LIKE TO EXPRESS MY APPRECIATION FOR ALL OF THE HELP AND ENCOURAGEMENT THAT I HAVE RECEIVED FROM THE INDIVIDUALS AND ORGANIZATIONS WHO SUPPORT THE PRESERVATION OF THIS BEAUTIFUL, UNIQUE PROPERTY AND ITS WILDLIFE, AND SINCERELY THANK ALL OF YOU VERY MUCH. I ONLY HOPE IT HAS NOT BEEN IN VAIN, AND THAT SOMEONE WILL CONTINUE ON AND SAVE GOURD NECK SPRINGS FROM DESTRUCTION.&#13;
SINCERELY,&#13;
&#13;
GARY I. SHARP&#13;
</text>
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        <name>Gary I. Sharp</name>
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        <name>Gourd Neck Springs</name>
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        <name>Herbert S. Starr</name>
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                  <text>Friends of Lake Apopka Collection</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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              <name>Contributor</name>
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                  <text>Saint Johns River, Florida</text>
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                  <text>Winter Haven, Florida</text>
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                  <text>Zellwood, Florida</text>
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                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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                <text>Lake Apopka: A Fact Sheet for Public Meetings</text>
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                <text>"&lt;a href="http://www.sjrwmd.com/lakeapopka/history.html" target="_blank"&gt;History of Lake Apopka&lt;/a&gt;." St John's River Water Management District. January 28, 2013. Accessed June 5, 2016. http://www.sjrwmd.com/lakeapopka/history.html.</text>
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                <text>A document describing the formation of the Water Resources Restoration and Preservation program (WRR&amp;amp;P) within the Florida Department of Environmental Regulation (DER), as mandated by legislation passed by the Florida Legislature on July 1, 1977. The document also lists 12 restoration projects, both completed and underway, by the program, and gives updates on the Lake Apopka Restoration Project, including the proposed drawdown of Lake Apopka. Additionally, the document states that work on an Environmental Impact Statement (EIS), as required by the Environmental Protection Agency (EPA), was started in March of 1978 and was scheduled to be completed by early 1979. Finally, the document describes public involvement efforts by the program, including a public meeting held in Eustis on March 7, 1978.&lt;br /&gt;&lt;br /&gt;Lake Apopka is one of Florida’s largest lakes and was once considered to be one of the world’s best lakes for bass fishing. The lake’s sport fish population began to decline in the 1960s, with major die-offs occurring almost yearly. The lake’s problems are generally considered to be the result of over-nutrification from various sources. Twenty thousand acres of wetlands bordering the lake’s north shore were drained in the 1940s and used for highly fertile “muck farms.” These farms were routinely flooded to protect the fragile soil, and the fertilizer and pesticide-laden water was then discharged back into the lake prior to each growing season. Other sources of pollution include discharge from citrus processing operations, as well as treated wastewater from sewage plants. The nutrient-rich discharge promoted algae growth in the lake, turning the water to a green color, and blocked sunlight from reaching aquatic vegetation, which provided food and habit to the lake’s fish population. The lake’s bottom soil became increasingly “mucky,” also disrupting aquatic vegetation from taking root. &lt;br /&gt;&lt;br /&gt;Restoration work on the lake began in the 1960s with attempts by various agencies to remove “trash fish,” such as gizzard shad, from the lake via seining, which would hopefully allow the lake’s sportfish to thrive. The Lake Apopka Restoration Council, an initiative formed under Governor Claude Kirk (1926-2011) in 1967, launched several studies to find methods to improve the lake, though no serious action was taken. Various methods were debated to restore the lake through the 1970s and 1980s, including “drawdown,” which entailed completely draining the lake to allow the mucky bottom to consolidate. Restoration attempts were stalled for lack of funding and research.&lt;br /&gt;&lt;br /&gt;The Lake Apopka Restoration Council was reformed in 1985 under Governor Bob Graham (b. 1936), and, in 1987, the Surface Water and Improvement Management Act was passed. Together, these actions allowed comprehensive restoration plans to take shape, such as the Marsh Flow-way, a project by the St John’s Water Management District that uses natural methods to remove nutrients from the lake. The Friends of Lake Apopka, a citizen environmental advocacy group, began to push for further restoration efforts in the 1990s. The lake’s north shore muck farms were eventually purchased by the State of Florida, helping to reduce the amount of nutrient entering the lake.</text>
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                <text>Original 2-page typewritten document, 1978: binder 1978, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>Binder 1978, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text> Lake Jackson, Florida</text>
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                <text> Lake Lulu, Florida</text>
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                <text> Lake Washington, Florida</text>
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                <text> Sanibel River, Florida</text>
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                <text> Cape Coral, Florida</text>
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                <text> Bayou Chico, Florida</text>
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                <text> Bayou Texar, Florida</text>
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                <text> Pond Creek, Florida</text>
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                <text> Big Hickory Pass, Florida</text>
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                <text> Lake Eola, Florida</text>
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                <text>&lt;a href="http://www.dep.state.fl.us/mainpage/default.htm" target="_blank"&gt;Florida Department of Environmental Regulation&lt;/a&gt;</text>
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                <text>Originally published by the &lt;a href="http://www.dep.state.fl.us/mainpage/default.htm" target="_blank"&gt;Florida Department of Environmental Regulation&lt;/a&gt;.</text>
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                <text>This resource is not subject to copyright in the United States and there are no copyright restrictions on reproduction, derivative works, distribution, performance, or display of the work. Anyone may, without restriction under U.S. of state copyright laws:
&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Secton 24 of the Florida Constitution&lt;/a&gt;.</text>
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                <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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              <elementText elementTextId="629527">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.sjrwmd.com/lakeapopka/history.html" target="_blank"&gt;History of Lake Apopka&lt;/a&gt;." St John's River Water Management District. January 28, 2013. Accessed June 5, 2016. http://www.sjrwmd.com/lakeapopka/history.html.</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>Saint Johns River, Florida</text>
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                  <text>Cepero, Laura</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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                <text>Map of Zellwood Drainage and Water Control District Unit No. 1 and Unit No. 2</text>
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              <elementText elementTextId="629570">
                <text>A map that identifies pump stations, canals, and allotments within Unit No. 1 and Unit No. 2 of the Zellwood Drainage and Water Control District (ZDWCD), which was created by the Florida Legislature in 1941 for taxation and land management of farming areas on the north shore of Lake Apopka. The district was granted powers of self-taxation and permitted to construct canals, bridges, and dikes in the area. The north shore farms were constructed on "muck land" created by the drainage of wetlands bordering Lake Apopka. The soil in these areas, often called "muck soil," is highly fertile and vulnerable to oxidation. The ZDWCD was permitted to routinely flood farmlands, when not in use, in order to keep the soil wet and preventing its loss to oxidation. These lands would then be drained before each growing season and this water was discharged back into Lake Apopka. Practices like these were considered to contribute to the pollution of Lake Apopka, with the discharge of fertilizer-rich water creating conditions of “eutrophication” in the lake and promoting the growth of harmful algae.&lt;br /&gt;&lt;br /&gt;The Friends of Lake Apopka (FOLA), a citizen advocacy group organized for the environmental restoration of Lake Apopka in the early 1990s, lobbied for increased restrictions on the district’s ability to utilize water from Lake Apopka. These efforts culminated in a buyout of the Zellwood Drainage and Water Control District farmlands by the State of Florida in 1998, and farming operations ceased in June of that year. The ZDWCD was dissolved by the Florida Legislature in September of 2000.</text>
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                <text>Photocopy of original map, 1979: binder 1979, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>Binder 1979, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                <text>Jackson, Jerry. "&lt;a href="http://articles.orlandosentinel.com/1985-08-12/business/0320160151_1_vegetable-industry-muck-lake-apopka" target="_blank"&gt;Reaping Bucks From Muck Central Florida's $70 Million Vegetable Industry Thrives In Rich Soil&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, August 12, 1985. Accessed August 1, 2015. http://articles.orlandosentinel.com/1985-08-12/business/0320160151_1_vegetable-industry-muck-lake-apopka.</text>
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                <text> "&lt;a href="https://dca.deo.myflorida.com/fhcd/sdip/OfficialListdeo/dissolved.cfm" target="_blank"&gt;Special District Accountability Program&lt;/a&gt;." Florida Department of Economic Opportunity. Accessed August 1, 2016. https://dca.deo.myflorida.com/fhcd/sdip/OfficialListdeo/dissolved.cfm.</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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                <text>A letter from John R. Dollar to W. R. Clonts, dated December 10, 1979. In this letter, Dollar the Project Manager for Post, Buckley, Shuch &amp;amp; Jernigan Inc., writes to Clonts, a farmer in the Zellwood Drainage and Water Control District (ZDWCD), to inform him of changes made by the Orange County Pollution Control Board to the district's usage of water from Lake Apopka. The changes include monitoring requirements for various pumps used by the ZDWCD, such as fuel usage and water quality sampling.&lt;br /&gt;&lt;br /&gt; The Zellwood Drainage and Water Control District was created by the Florida Legislature in 1941 for taxation and land management of farming areas on the north shore of Lake Apopka. The district was granted powers of self-taxation and permitted to construct canals, bridges, and dikes in the area. The north shore farms were constructed on "muck land" created by the drainage of wetlands bordering Lake Apopka. The soil in these areas, often called "muck soil," is highly fertile and vulnerable to oxidation. The ZDWCD was permitted to routinely flood farmlands, when not in use, in order to keep the soil wet and preventing its loss to oxidation. These lands would then be drained before each growing season and this water was discharged back into Lake Apopka. Practices like these were considered to contribute to the pollution of Lake Apopka, with the discharge of fertilizer-rich water creating conditions of “eutrophication” in the lake and promoting the growth of harmful algae.&lt;br /&gt;&lt;br /&gt;The Friends of Lake Apopka (FOLA), a citizen advocacy group organized for the environmental restoration of Lake Apopka in the early 1990s, lobbied for increased restrictions on the district’s ability to utilize water from Lake Apopka. These efforts culminated in a buyout of the Zellwood Drainage and Water Control District farmlands by the State of Florida in 1998, and farming operations ceased in June of that year. The ZDWCD was dissolved by the Florida Legislature in September of 2000.</text>
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                <text>Original 2-page typewritten letter from John R. Dollar to W. R. Clonts, December 10, 1979: binder 1979, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>Binder 1979, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original 2-page typewritten letter from John R. Dollar to W. R. Clonts, December 10, 1979.</text>
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                <text>Originally created by John R. Dollar.</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                <text>Jackson, Jerry. "&lt;a href="http://articles.orlandosentinel.com/1985-08-12/business/0320160151_1_vegetable-industry-muck-lake-apopka" target="_blank"&gt;Reaping Bucks From Muck Central Florida's $70 Million Vegetable Industry Thrives In Rich Soil&lt;/a&gt;." &lt;em&gt;The Orlando Sentinel&lt;/em&gt;, August 12, 1985. Accessed August 1, 2015. http://articles.orlandosentinel.com/1985-08-12/business/0320160151_1_vegetable-industry-muck-lake-apopka.</text>
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                <text>"&lt;a href="https://dca.deo.myflorida.com/fhcd/sdip/OfficialListdeo/dissolved.cfm" target="_blank"&gt;Special District Accountability Program&lt;/a&gt;." Florida Department of Economic Opportunity. Accessed August 1, 2016. https://dca.deo.myflorida.com/fhcd/sdip/OfficialListdeo/dissolved.cfm.</text>
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                  <text>Lake Apopka (Fla.)</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>Cepero, Laura</text>
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                  <text>King, Joshua</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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                <text>Letter from Andy Ireland to Harold L. Moody (June 17, 1981)</text>
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                <text>Letter from Ireland to Moody (June 17, 1981)</text>
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                <text>A letter from U.S. Representative Andy Ireland (b. 1930) to Harold L. Moody, fisheries biologist with the Florida Game and Freshwater Fish Commission (GFC), dated June 17, 1981. In the letter, Rep. Ireland discusses his co-sponsorship of House Resolution 38, which would create an Ad Hoc Committee for Water Resources. Rep. Ireland states that water management programs suffer from mismanagement and lack of coordination at the state and federal levels. He also states that as of the time of writing, there were 12 panels and 29 subcommittees in the U.S. House of Representatives and 10 committees and 21 subcommittees in the U.S. Senate that each deal with water management. Rep. Ireland's proposed Ad Hoc Committee on Water Resources would work towards a coordinated policy at the national level.&lt;br /&gt;&lt;br /&gt;Although the letter does not state so explicitly, it was likely written in reference to Lake Apopka, which is one of Florida’s largest lakes and was once considered to be one of the world’s best lakes for bass fishing. The lake’s sport fish population began to decline in the 1960s, with major die-offs occurring almost yearly. The lake’s problems are generally considered to be the result of over-nutrification from various sources. Twenty thousand acres of wetlands bordering the lake’s north shore were drained in the 1940s and used for highly fertile “muck farms.” These farms were routinely flooded to protect the fragile soil, and the fertilizer and pesticide-laden water was then discharged back into the lake prior to each growing season. Other sources of pollution include discharge from citrus processing operations, as well as treated wastewater from sewage plants. The nutrient-rich discharge promoted algae growth in the lake, turning the water to a green color, and blocked sunlight from reaching aquatic vegetation, which provided food and habit to the lake’s fish population. The lake’s bottom soil became increasingly “mucky,” also disrupting aquatic vegetation from taking root. &lt;br /&gt;&lt;br /&gt;Restoration work on the lake began in the 1960s with attempts by various agencies to remove “trash fish,” such as gizzard shad, from the lake via seining, which would hopefully allow the lake’s sportfish to thrive. The Lake Apopka Restoration Council, an initiative formed under Governor Claude Kirk (1926-2011) in 1967, launched several studies to find methods to improve the lake, though no serious action was taken. Various methods were debated to restore the lake through the 1970s and 1980s, including “drawdown,” which entailed completely draining the lake to allow the mucky bottom to consolidate. Restoration attempts were stalled for lack of funding and research.&lt;br /&gt;&lt;br /&gt;The Lake Apopka Restoration Council was reformed in 1985 under Governor Bob Graham (b. 1936), and, in 1987, the Surface Water and Improvement Management Act was passed. Together, these actions allowed comprehensive restoration plans to take shape, such as the Marsh Flow-way, a project by the St John’s Water Management District that uses natural methods to remove nutrients from the lake. The Friends of Lake Apopka, a citizen environmental advocacy group, began to push for further restoration efforts in the 1990s. The lake’s north shore muck farms were eventually purchased by the State of Florida, helping to reduce the amount of nutrient entering the lake.</text>
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                <text>Original 1-page typewritten letter from Andy Ireland to Harold L. Moody, June 17, 1981: binder 1981, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>Binder 1981, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text>Ireland, Andrew P.</text>
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                <text>Originally created by Andy Ireland.</text>
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                <text>This resource is not subject to copyright in the United States and there are no copyright restrictions on reproduction, derivative works, distribution, performance, or display of the work. Anyone may, without restriction under U.S. of state copyright laws:&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;&lt;li&gt;create derivative works&lt;/li&gt;&lt;li&gt;perform the work publicly&lt;/li&gt;&lt;li&gt;display the work&lt;/li&gt;&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;&lt;/ul&gt;This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Secton 24 of the Florida Constitution&lt;/a&gt;.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.sjrwmd.com/lakeapopka/history.html" target="_blank"&gt;History of Lake Apopka&lt;/a&gt;." St John's River Water Management District. January 28, 2013. Accessed June 5, 2016. http://www.sjrwmd.com/lakeapopka/history.html.</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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                <text>Letter from William E. Johnson to Dennis Holcomb (July7, 1981)</text>
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                <text>A letter from William E. Johnson to Dennis Holcomb, dated July7, 1981. Enclosed with the letter is a report by Johnson, a biologist with the Florida Game and Fresh Water Fish Commission (GFC) regarding a fish kill in Lake Apopka that occurred in June of 1981. The report states that the fish kill was first reported on June 20, and described as "massive" by Holcomb, who was also a fisheries biologist with the GFC. Sample counts of areas of the fish kill estimate that the fish kill totaled 18 million fish, primarily gizzard and threadfin shad. The report also states that no largemouth bass were present in the kill, and it is assumed that none are present in the lake at the time of writing. 15-20 Sunshine bass were observed. Sunshine bass are a hybrid bass used to artificially stock lakes, and Lake Apopka was stocked with Sunshine bass fingerlings in May of 1981. The report concludes, based on water samples, that the fish kill was a result of oxygen depletion after a period of above-average temperatures and stormy weather conditions. Water quality data from the samples are also attached.&lt;br /&gt;&lt;br /&gt;Lake Apopka is one of Florida’s largest lakes and was once considered to be one of the world’s best lakes for bass fishing. The lake’s sport fish population began to decline in the 1960s, with major die-offs occurring almost yearly. The lake’s problems are generally considered to be the result of over-nutrification from various sources. Twenty thousand acres of wetlands bordering the lake’s north shore were drained in the 1940s and used for highly fertile “muck farms.” These farms were routinely flooded to protect the fragile soil, and the fertilizer and pesticide-laden water was then discharged back into the lake prior to each growing season. Other sources of pollution include discharge from citrus processing operations, as well as treated wastewater from sewage plants. The nutrient-rich discharge promoted algae growth in the lake, turning the water to a green color, and blocked sunlight from reaching aquatic vegetation, which provided food and habit to the lake’s fish population. The lake’s bottom soil became increasingly “mucky,” also disrupting aquatic vegetation from taking root. &lt;br /&gt;&lt;br /&gt;Restoration work on the lake began in the 1960s with attempts by various agencies to remove “trash fish,” such as gizzard shad, from the lake via seining, which would hopefully allow the lake’s sportfish to thrive. The Lake Apopka Restoration Council, an initiative formed under Governor Claude Kirk (1926-2011) in 1967, launched several studies to find methods to improve the lake, though no serious action was taken. Various methods were debated to restore the lake through the 1970s and 1980s, including “drawdown,” which entailed completely draining the lake to allow the mucky bottom to consolidate. Restoration attempts were stalled for lack of funding and research.&lt;br /&gt;&lt;br /&gt;The Lake Apopka Restoration Council was reformed in 1985 under Governor Bob Graham (b. 1936), and, in 1987, the Surface Water and Improvement Management Act was passed. Together, these actions allowed comprehensive restoration plans to take shape, such as the Marsh Flow-way, a project by the St John’s Water Management District that uses natural methods to remove nutrients from the lake. The Friends of Lake Apopka, a citizen environmental advocacy group, began to push for further restoration efforts in the 1990s. The lake’s north shore muck farms were eventually purchased by the State of Florida, helping to reduce the amount of nutrient entering the lake.</text>
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                <text>Original 8-page typewritten letter from William E. Johnson to Dennis Holcomb, July7, 1981: binder 1981, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text>"&lt;a href="http://www.sjrwmd.com/lakeapopka/history.html" target="_blank"&gt;History of Lake Apopka&lt;/a&gt;." St John's River Water Management District. January 28, 2013. Accessed June 5, 2016. http://www.sjrwmd.com/lakeapopka/history.html.</text>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                <text>A newspaper article published in &lt;em&gt;The Leesburg Daily Commercial&lt;/em&gt; discussing fish kills that occurred in Lake Apopka in June of 1981. The article gives quotes from Harold L. Moody and Mike Wicker of the Florida Game and Fresh Water Fish Commission (GFC), who state that further fish kills are very likely to occur. The article states that the current drought conditions in Florida were exacerbating the poor condition of the lake, concentrating the lake's water and promoting the growth of algae. The algae growth causes the lake's oxygen levels to drop, triggering fish die-offs. The Lake Apopka fish kill is estimated to have killed between 30 million and 40 million fish.&lt;br /&gt;&lt;br /&gt;Lake Apopka is one of Florida’s largest lakes and was once considered to be one of the world’s best lakes for bass fishing. The lake’s sport fish population began to decline in the 1960s, with major die-offs occurring almost yearly. The lake’s problems are generally considered to be the result of over-nutrification from various sources. Twenty thousand acres of wetlands bordering the lake’s north shore were drained in the 1940s and used for highly fertile “muck farms.” These farms were routinely flooded to protect the fragile soil, and the fertilizer and pesticide-laden water was then discharged back into the lake prior to each growing season. Other sources of pollution include discharge from citrus processing operations, as well as treated wastewater from sewage plants. The nutrient-rich discharge promoted algae growth in the lake, turning the water to a green color, and blocked sunlight from reaching aquatic vegetation, which provided food and habit to the lake’s fish population. The lake’s bottom soil became increasingly “mucky,” also disrupting aquatic vegetation from taking root. &lt;br /&gt;&lt;br /&gt;Restoration work on the lake began in the 1960s with attempts by various agencies to remove “trash fish,” such as gizzard shad, from the lake via seining, which would hopefully allow the lake’s sportfish to thrive. The Lake Apopka Restoration Council, an initiative formed under Governor Claude Kirk (1926-2011) in 1967, launched several studies to find methods to improve the lake, though no serious action was taken. Various methods were debated to restore the lake through the 1970s and 1980s, including “drawdown,” which entailed completely draining the lake to allow the mucky bottom to consolidate. Restoration attempts were stalled for lack of funding and research.&lt;br /&gt;&lt;br /&gt;The Lake Apopka Restoration Council was reformed in 1985 under Governor Bob Graham (b. 1936), and, in 1987, the Surface Water and Improvement Management Act was passed. Together, these actions allowed comprehensive restoration plans to take shape, such as the Marsh Flow-way, a project by the St John’s Water Management District that uses natural methods to remove nutrients from the lake. The Friends of Lake Apopka, a citizen environmental advocacy group, began to push for further restoration efforts in the 1990s. The lake’s north shore muck farms were eventually purchased by the State of Florida, helping to reduce the amount of nutrient entering the lake.</text>
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                <text>Photocopy of original newspaper article: Horvath, Paula. "Officials Think Fish Kills May Spread." &lt;a href="http://www.dailycommercial.com/" target="_blank"&gt;&lt;em&gt;The Leesburg Daily Commercial&lt;/em&gt;&lt;/a&gt;, July 22, 1981: binder 1981, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text>Binder 1981, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text>Digital reproduction of photocopied newspaper article: Horvath, Paula. "Officials Think Fish Kills May Spread." &lt;a href="http://www.dailycommercial.com/" target="_blank"&gt;&lt;em&gt;The Leesburg Daily Commercial&lt;/em&gt;&lt;/a&gt;, July 22, 1981.</text>
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                <text>Horvath, Paula</text>
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                <text>&lt;a href="http://www.dailycommercial.com/" target="_blank"&gt;&lt;em&gt;The Leesburg Daily Commercial&lt;/em&gt;&lt;/a&gt;</text>
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                <text>ca. 1981-07-22</text>
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                <text>1981-07-22</text>
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              <elementText elementTextId="629722">
                <text>1981-07-22</text>
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              <elementText elementTextId="629724">
                <text>193 KB</text>
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                <text>1 newspaper article</text>
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            <elementTextContainer>
              <elementText elementTextId="629726">
                <text>eng</text>
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              <elementText elementTextId="629727">
                <text>History Teacher</text>
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              <elementText elementTextId="629728">
                <text>Originally created by Paula Horvath and published by &lt;a href="http://www.dailycommercial.com/" target="_blank"&gt;&lt;em&gt;The Leesburg Daily Commercial&lt;/em&gt;&lt;/a&gt;.</text>
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                <text>Copyright to this resource is held by &lt;a href="http://www.dailycommercial.com/" target="_blank"&gt;&lt;em&gt;The Leesburg Daily Commercial&lt;/em&gt;&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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          <element elementId="133">
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                <text>King, Joshua</text>
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              <elementText elementTextId="629733">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.sjrwmd.com/lakeapopka/history.html" target="_blank"&gt;History of Lake Apopka&lt;/a&gt;." St John's River Water Management District. January 28, 2013. Accessed June 5, 2016. http://www.sjrwmd.com/lakeapopka/history.html.</text>
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        <name>Harold L. Moody</name>
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        <name>Lake Griffin</name>
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        <name>Mike Wicker</name>
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                  <text>The Friends of Lake Apopka (FOLA) is a citizen advocacy group with the mission of restoring Lake Apopka in Orange County and Lake County, Florida. Due to poor farming practices along its shores, Lake Apopka has become one of the largest polluted lakes in Florida. This collection features various archival items related to the restoration of the lake.</text>
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                  <text>&lt;a href="http://www.fola.org/" target="_blank"&gt;Friends of Lake Apopka&lt;/a&gt;</text>
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                  <text>Orlando, Florida</text>
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                  <text>Saint Johns River, Florida</text>
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                  <text>Cepero, Laura</text>
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                  <text>King, Joshua</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.fola.org/" target="_blank"&gt;Our Mission &amp;amp; Purpose&lt;/a&gt;." Friends of Lake Apopka. http://www.fola.org/.</text>
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                <text>A Second Lake Apopka Fish Kill</text>
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                <text>Lake Apopka Fish Kill</text>
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                <text> Water quality management--Florida</text>
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                <text> Fishing--Florida</text>
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                <text>A newspaper article published in &lt;em&gt;The Winter Garden Times&lt;/em&gt; discussing a fish kill in Lake Apopka in July of 1981. This fish kill, totaling an estimated four million fish, occurred two weeks after another larger kill in Lake Apopka on June 20, 1981. The article states that the kills are due to a combination of factors affecting the lake, including low water levels, high temperatures, and stormy weather, which led to the lake's high algae content deoxygenating the lake.&lt;br /&gt;&lt;br /&gt;Lake Apopka is one of Florida’s largest lakes and was once considered to be one of the world’s best lakes for bass fishing. The lake’s sport fish population began to decline in the 1960s, with major die-offs occurring almost yearly. The lake’s problems are generally considered to be the result of over-nutrification from various sources. Twenty thousand acres of wetlands bordering the lake’s north shore were drained in the 1940s and used for highly fertile “muck farms.” These farms were routinely flooded to protect the fragile soil, and the fertilizer and pesticide-laden water was then discharged back into the lake prior to each growing season. Other sources of pollution include discharge from citrus processing operations, as well as treated wastewater from sewage plants. The nutrient-rich discharge promoted algae growth in the lake, turning the water to a green color, and blocked sunlight from reaching aquatic vegetation, which provided food and habit to the lake’s fish population. The lake’s bottom soil became increasingly “mucky,” also disrupting aquatic vegetation from taking root. &lt;br /&gt;&lt;br /&gt;Restoration work on the lake began in the 1960s with attempts by various agencies to remove “trash fish,” such as gizzard shad, from the lake via seining, which would hopefully allow the lake’s sportfish to thrive. The Lake Apopka Restoration Council, an initiative formed under Governor Claude Kirk (1926-2011) in 1967, launched several studies to find methods to improve the lake, though no serious action was taken. Various methods were debated to restore the lake through the 1970s and 1980s, including “drawdown,” which entailed completely draining the lake to allow the mucky bottom to consolidate. Restoration attempts were stalled for lack of funding and research.&lt;br /&gt;&lt;br /&gt;The Lake Apopka Restoration Council was reformed in 1985 under Governor Bob Graham (b. 1936), and, in 1987, the Surface Water and Improvement Management Act was passed. Together, these actions allowed comprehensive restoration plans to take shape, such as the Marsh Flow-way, a project by the St John’s Water Management District that uses natural methods to remove nutrients from the lake. The Friends of Lake Apopka, a citizen environmental advocacy group, began to push for further restoration efforts in the 1990s. The lake’s north shore muck farms were eventually purchased by the State of Florida, helping to reduce the amount of nutrient entering the lake.</text>
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              <elementText elementTextId="629743">
                <text>Photocopy of original newspaper article: "A Second Lake Apopka fish kill." &lt;a href="http://www.orangeobserver.com/" target="_blank"&gt;&lt;em&gt;The Winter Garden Times&lt;/em&gt;&lt;/a&gt;, Vol. 50, No. 29, July 16, 1981: binder 1981, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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              <elementText elementTextId="629744">
                <text>Binder 1981, Friends of Lake Apopka Archives, Ginn Museum, &lt;a href="http://www.oaktownusa.com/Pages/Preserve/index" target="_blank"&gt;Oakland Nature Preserve&lt;/a&gt;, Oakland, Florida.</text>
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              <elementText elementTextId="629745">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/153" target="_blank"&gt;Friends of Lake Apopka Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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              <elementText elementTextId="629746">
                <text>Digital reproduction of photocopied newspaper article: "A Second Lake Apopka fish kill." &lt;a href="http://www.orangeobserver.com/" target="_blank"&gt;&lt;em&gt;The Winter Garden Times&lt;/em&gt;&lt;/a&gt;, Vol. 50, No. 29, July 16, 1981.</text>
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                <text>Lake Apopka, Florida</text>
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                <text>&lt;a href="http://www.orangeobserver.com/" target="_blank"&gt;&lt;em&gt;The Winter Garden Times&lt;/em&gt;&lt;/a&gt;</text>
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                <text>ca. 1981-07-16</text>
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              <elementText elementTextId="629751">
                <text>1981-07-16</text>
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                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                  <text>Rome, Adam Ward. &lt;a href="http://www.worldcat.org/oclc/44594084" target="_blank"&gt;&lt;em&gt;The Bulldozer in the Countryside: Suburban Sprawl and the Rise of American Environmentalism&lt;/em&gt;&lt;/a&gt;. Cambridge: Cambridge University Press, 2001.</text>
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                <text>Houses in Sky Lake, located approximately seven miles south of Downtown Orlando, Florida, between Lancaster Road and Sand Lake Road. It is unclear as to what street(s) these houses were located along. The Sky Lake residential community was developed in late 1950s and 1960s by Hymen Lake. Houses originally sold in the range of $10,000 to $15,000. In the 1970s, Sky Lake became one of the first housing developments to be racially integrated. This residential community was originally proposed to include one thousand homes within the middle of the square mile block and a ring of commercial developments along the perimeter.</text>
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                  <text>Sky Lake is a residential community and unincorporated area in Orange County, Florida. It is located approximately seven miles south of Downtown Orlando between Lancaster Road and Sand Lake Road. The community was developed in late 1950s and 1960s by Hymen Lake. Houses originally sold in the range of $10,000 to $15,000. In the 1970s, Sky Lake became one of the first housing developments to be racially integrated. The community was originally proposed to include one thousand homes within the middle of the square mile block and a ring of commercial developments along the perimeter.</text>
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                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                  <text>Rome, Adam Ward. &lt;a href="http://www.worldcat.org/oclc/44594084" target="_blank"&gt;&lt;em&gt;The Bulldozer in the Countryside: Suburban Sprawl and the Rise of American Environmentalism&lt;/em&gt;&lt;/a&gt;. Cambridge: Cambridge University Press, 2001.</text>
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                <text>A house in Sky Lake, located approximately seven miles south of Downtown Orlando, Florida, between Lancaster Road and Sand Lake Road. It is unclear as to what street this house was located along. The Sky Lake residential community was developed in late 1950s and 1960s by Hymen Lake. Houses originally sold in the range of $10,000 to $15,000. In the 1970s, Sky Lake became one of the first housing developments to be racially integrated. This residential community was originally proposed to include one thousand homes within the middle of the square mile block and a ring of commercial developments along the perimeter.</text>
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                  <text>Rome, Adam Ward. &lt;a href="http://www.worldcat.org/oclc/44594084" target="_blank"&gt;&lt;em&gt;The Bulldozer in the Countryside: Suburban Sprawl and the Rise of American Environmentalism&lt;/em&gt;&lt;/a&gt;. Cambridge: Cambridge University Press, 2001.</text>
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                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                <text>Travelodge Orlando-Sky Lake was located at 7101 South Orange Blossom Trail (OBT), just north of the Bee Line Toll Road, in Orlando, Florida.. The hotel was constructed in 1970 by Hymen Lake and is currently in operation as the Royal Inn. Photographs from this era show the hotel offered a free continental breakfast, heated pool, and color television. The Onan Corporation, based in Minneapolis, Minnesota, commissioned the photographs. Onan was photographing a standby electric plant that had been recently installed at the hotel.</text>
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                <text> Geography Teacher</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://power.cummins.com/" target="_blank"&gt;Onan Corporation&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="https://www.ocpafl.org/Searches/ParcelSearch.aspx/PID/292327000000030" target="_blank"&gt;7101 S Orange Blossom Trl&lt;/a&gt;." Orange County Property Appraiser. https://www.ocpafl.org/Searches/ParcelSearch.aspx/PID/292327000000030.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank"&gt;Orange County Collection&lt;/a&gt;, RICHES of Central Florida</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>Mormino, Gary R. 2002. "&lt;a href="http://www.worldcat.org/oclc/5544029021" target="_blank"&gt;Sunbelt Dreams and Altered States: A Social and Cultural History of Florida, 1950-2000&lt;/a&gt;." &lt;em&gt;The Florida Historical Quarterly. &lt;/em&gt;81, no. 1: 3-21.</text>
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                  <text>Arsenault, Raymond. "The End of the Long, Hot Summer: The Air Conditioner and Southern Culture." &lt;a href="http://www.worldcat.org/oclc/1782314" target="_blank"&gt;&lt;em&gt;Journal of Southern History&lt;/em&gt;&lt;/a&gt; Vol. 50, no. 4 (November, 1984): 597-628.</text>
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                  <text>Staeheli, Lynn A. and Don Mitchell. "USA’s Destiny? Regulating Space and Creting Community in American Shopping Malls." &lt;a href="http://www.worldcat.org/oclc/37915650" target="_blank"&gt;&lt;em&gt;Urban Studies&lt;/em&gt;&lt;/a&gt; Vol. 43, nos 5/6 (May 2006): 977-992.</text>
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                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                  <text>Rome, Adam Ward. &lt;a href="http://www.worldcat.org/oclc/44594084" target="_blank"&gt;&lt;em&gt;The Bulldozer in the Countryside: Suburban Sprawl and the Rise of American Environmentalism&lt;/em&gt;&lt;/a&gt;. Cambridge: Cambridge University Press, 2001.</text>
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                <text>Travelodge Orlando-Sky Lake was located at 7101 South Orange Blossom Trail (OBT), just north of the Bee Line Toll Road, in Orlando, Florida.. The hotel was constructed in 1970 by Hymen Lake and is currently in operation as the Royal Inn. Photographs from this era show the hotel offered a free continental breakfast, heated pool, and color television. The Onan Corporation, based in Minneapolis, Minnesota, commissioned the photographs. Onan was photographing a standby electric plant that had been recently installed at the hotel.</text>
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                <text>Original color photograph: &lt;a href="http://pinecastlehistory.org/" target="_blank"&gt;Pine Castle Historical Society&lt;/a&gt;, Pine Castle, Florida.</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://power.cummins.com/" target="_blank"&gt;Onan Corporation&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="https://www.ocpafl.org/Searches/ParcelSearch.aspx/PID/292327000000030" target="_blank"&gt;7101 S Orange Blossom Trl&lt;/a&gt;." Orange County Property Appraiser. https://www.ocpafl.org/Searches/ParcelSearch.aspx/PID/292327000000030.</text>
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                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                  <text>Rome, Adam Ward. &lt;a href="http://www.worldcat.org/oclc/44594084" target="_blank"&gt;&lt;em&gt;The Bulldozer in the Countryside: Suburban Sprawl and the Rise of American Environmentalism&lt;/em&gt;&lt;/a&gt;. Cambridge: Cambridge University Press, 2001.</text>
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                <text>Travelodge Orlando-Sky Lake was located at 7101 South Orange Blossom Trail (OBT), just north of the Bee Line Toll Road, in Orlando, Florida.. The hotel was constructed in 1970 by Hymen Lake and is currently in operation as the Royal Inn. Photographs from this era show the hotel offered a free continental breakfast, heated pool, and color television. The Onan Corporation, based in Minneapolis, Minnesota, commissioned the photographs. Onan was photographing a standby electric plant that had been recently installed at the hotel.</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://power.cummins.com/" target="_blank"&gt;Onan Corporation&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                  <text>Rome, Adam Ward. &lt;a href="http://www.worldcat.org/oclc/44594084" target="_blank"&gt;&lt;em&gt;The Bulldozer in the Countryside: Suburban Sprawl and the Rise of American Environmentalism&lt;/em&gt;&lt;/a&gt;. Cambridge: Cambridge University Press, 2001.</text>
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                <text>Original color photograph: &lt;a href="http://pinecastlehistory.org/" target="_blank"&gt;Pine Castle Historical Society&lt;/a&gt;, Pine Castle, Florida.</text>
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                  <text>Mormino, Gary R. 2002. "&lt;a href="http://www.worldcat.org/oclc/5544029021" target="_blank"&gt;Sunbelt Dreams and Altered States: A Social and Cultural History of Florida, 1950-2000&lt;/a&gt;." &lt;em&gt;The Florida Historical Quarterly. &lt;/em&gt;81, no. 1: 3-21.</text>
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                  <text>Arsenault, Raymond. "The End of the Long, Hot Summer: The Air Conditioner and Southern Culture." &lt;a href="http://www.worldcat.org/oclc/1782314" target="_blank"&gt;&lt;em&gt;Journal of Southern History&lt;/em&gt;&lt;/a&gt; Vol. 50, no. 4 (November, 1984): 597-628.</text>
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                  <text>Staeheli, Lynn A. and Don Mitchell. "USA’s Destiny? Regulating Space and Creting Community in American Shopping Malls." &lt;a href="http://www.worldcat.org/oclc/37915650" target="_blank"&gt;&lt;em&gt;Urban Studies&lt;/em&gt;&lt;/a&gt; Vol. 43, nos 5/6 (May 2006): 977-992.</text>
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                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                  <text>Rome, Adam Ward. &lt;a href="http://www.worldcat.org/oclc/44594084" target="_blank"&gt;&lt;em&gt;The Bulldozer in the Countryside: Suburban Sprawl and the Rise of American Environmentalism&lt;/em&gt;&lt;/a&gt;. Cambridge: Cambridge University Press, 2001.</text>
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                <text>The swimming pool at Travelodge Orlando-Sky Lake, which was located at 7101 South Orange Blossom Trail (OBT), just north of the Bee Line Toll Road, in Orlando, Florida.. The hotel was constructed in 1970 by Hymen Lake and is currently in operation as the Royal Inn. Photographs from this era show the hotel offered a free continental breakfast, heated pool, and color television. The Onan Corporation, based in Minneapolis, Minnesota, commissioned the photographs. Onan was photographing a standby electric plant that had been recently installed at the hotel.</text>
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                <text> Geography Teacher</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://power.cummins.com/" target="_blank"&gt;Onan Corporation&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>"&lt;a href="https://www.ocpafl.org/Searches/ParcelSearch.aspx/PID/292327000000030" target="_blank"&gt;7101 S Orange Blossom Trl&lt;/a&gt;." Orange County Property Appraiser. https://www.ocpafl.org/Searches/ParcelSearch.aspx/PID/292327000000030.</text>
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                  <text>Sky Lake is a residential community and unincorporated area in Orange County, Florida. It is located approximately seven miles south of Downtown Orlando between Lancaster Road and Sand Lake Road. The community was developed in late 1950s and 1960s by Hymen Lake. Houses originally sold in the range of $10,000 to $15,000. In the 1970s, Sky Lake became one of the first housing developments to be racially integrated. The community was originally proposed to include one thousand homes within the middle of the square mile block and a ring of commercial developments along the perimeter.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/46" target="_blank"&gt;Orange County Collection&lt;/a&gt;, RICHES of Central Florida</text>
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                  <text>Mormino, Gary R. 2002. "&lt;a href="http://www.worldcat.org/oclc/5544029021" target="_blank"&gt;Sunbelt Dreams and Altered States: A Social and Cultural History of Florida, 1950-2000&lt;/a&gt;." &lt;em&gt;The Florida Historical Quarterly. &lt;/em&gt;81, no. 1: 3-21.</text>
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                  <text>Arsenault, Raymond. "The End of the Long, Hot Summer: The Air Conditioner and Southern Culture." &lt;a href="http://www.worldcat.org/oclc/1782314" target="_blank"&gt;&lt;em&gt;Journal of Southern History&lt;/em&gt;&lt;/a&gt; Vol. 50, no. 4 (November, 1984): 597-628.</text>
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                  <text>Staeheli, Lynn A. and Don Mitchell. "USA’s Destiny? Regulating Space and Creting Community in American Shopping Malls." &lt;a href="http://www.worldcat.org/oclc/37915650" target="_blank"&gt;&lt;em&gt;Urban Studies&lt;/em&gt;&lt;/a&gt; Vol. 43, nos 5/6 (May 2006): 977-992.</text>
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                <elementText elementTextId="601402">
                  <text>Dietrich, T. Stanton. &lt;a href="http://www.worldcat.org/oclc/4683014" target="_blank"&gt;&lt;em&gt;The Urbanization of Florida's Population: An Historical Perspective of County Growth, 1830-1970&lt;/em&gt;&lt;/a&gt;. Gainesville, FL: Bureau of Economic and Business Research, University of Florida, 1978.</text>
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                <text>Laurel Oak Court in Sky Lake, located approximately seven miles south of Downtown Orlando, Florida, between Lancaster Road and Sand Lake Road. The Sky Lake residential community was developed in late 1950s and 1960s by Hymen Lake. Houses originally sold in the range of $10,000 to $15,000. In the 1970s, Sky Lake became one of the first housing developments to be racially integrated. This residential community was originally proposed to include one thousand homes within the middle of the square mile block and a ring of commercial developments along the perimeter.</text>
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                <text>Tracy, Jane. "&lt;a href="http://dc.ocls.info/memory/image/harriett-and-hymen-lake" target="_blank"&gt;Harriett and Hymen Lake&lt;/a&gt; .'" Orlando Memory, March 11, 2014, http://dc.ocls.info/memory/image/harriett-and-hymen-lake.</text>
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&lt;div class="element-text"&gt; &lt;/div&gt;</text>
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                  <text>The Orlando Gay Chorus (OGC) is a 501(c)(3) nonprofit arts and humanitarian organization, and part of the Gay and Lesbian Association (GALA) of Choruses. Founded on Valentines Day 1990, OGC is not only one of the largest mixed gay choirs in the United States at over 100 members, but they also boast four smaller ensembles that perform annual concerts, cabarets, and a host of community events, such as Come Out With Pride, Orlando Museum of Art’s Festival of Trees, and World AIDS Day memorial services. In 2017, the group performed at over 105 events, including 15 performances for the first anniversary of the Pulse Nightclub tragedy. Members come from all walks of life and all sexual and gender orientations, including straight allies. OGC lives by the motto “Singing the World to a Better Place” and strives to use music to change attitudes and build a stronger community. </text>
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                <text>0:00:00 Introduction &lt;br /&gt;0:03:06 Family &lt;br /&gt;0:07:24 Same-sex dancing and the Orlando Gay Chorus &lt;br /&gt;0:11:06 Living with rheumatoid arthritis &lt;br /&gt;0:13:43 Changing attitudes towards homosexuality in Japan &lt;br /&gt;0:18:05 History of same-sex dancing &lt;br /&gt;0:25:04 Dance Vision International Dancers Association (DVIDA) and the kinesiology of dance &lt;br /&gt;0:30:13 Joining the Orlando Gay Chorus &lt;br /&gt;0:36:00 Mass shooting at Pulse nightclub &lt;br /&gt;0:48:08 Achievements in computer science &lt;br /&gt;0:50:36 2016 GALA Choruses Festival and abuse against the LGTBQ+ community &lt;br /&gt;1:01:01 Singing at John F. Kennedy Space Center and gun control &lt;br /&gt;1:06:37 Community response to Pulse tragedy &lt;br /&gt;1:09:11 How the Orlando Gay Chorus can influence political and social change &lt;br /&gt;1:17:07 Closing remarks</text>
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                <text> Humanities Teacher</text>
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              <elementText elementTextId="631973">
                <text> Music Teacher</text>
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                <text> Dance Teacher</text>
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              <elementText elementTextId="631975">
                <text>Originally created by Richard Lamberty and Geoffrey Cravero and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;</text>
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            <name>Curator</name>
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              <elementText elementTextId="631978">
                <text>Cravero, Geoffrey</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="631980">
                <text>Katalin, Lnyi. &lt;a href="http://www.worldcat.org/oclc/951006947" target="_blank"&gt;&lt;em&gt;Same-Sex Ballroom Dance - A Challenge to Patriarchal Gender Order&lt;/em&gt;&lt;/a&gt;. VDM Verlag, 2008.</text>
              </elementText>
              <elementText elementTextId="631981">
                <text>PeRez, Robert. "&lt;a href="http://articles.orlandosentinel.com/2005-12-27/news/DANCER27_1_dance-instructors-professional-dancer-same-sex-dancing" target="_blank"&gt;Orlando native overcomes odds, rules dance floor&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, December 27, 2005. Accessed November 7, 2016. http://articles.orlandosentinel.com/2005-12-27/news/DANCER27_1_dance-instructors-professional-dancer-same-sex-dancing.</text>
              </elementText>
              <elementText elementTextId="631982">
                <text>Shepherd, Lindy T. "&lt;a href="http://www.orlandoweekly.com/orlando/who-leads/Content?oid=2253395#" target="_blank"&gt;WHO LEADS?&lt;/a&gt;." &lt;em&gt;Orlando Weekly&lt;/em&gt;, March 30, 2006. Accessed November 7, 2016. http://www.orlandoweekly.com/orlando/who-leads/Content?oid=2253395#.</text>
              </elementText>
              <elementText elementTextId="631983">
                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
              </elementText>
              <elementText elementTextId="631984">
                <text>Boedeker, Hal. "&lt;a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank"&gt;Orlando Gay Chorus marks 25 years&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, October 18, 2016. Accessed October 18, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.</text>
              </elementText>
              <elementText elementTextId="631985">
                <text>Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
              </elementText>
              <elementText elementTextId="631986">
                <text>Hyman, Jamie. "&lt;a href="http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/" target="_blank"&gt;Community rises up after mass shooting at Orlando gay nightclub kills 49&lt;/a&gt;." &lt;em&gt;Watermark&lt;/em&gt;, June 16, 2016. Accessed October 18, 2016. http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/.</text>
              </elementText>
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            <elementTextContainer>
              <elementText elementTextId="631987">
                <text>&lt;a href="https://youtu.be/K2rphgLl1sQ" target="_blank"&gt;Oral History of Richard Lamberty&lt;/a&gt;</text>
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          <element elementId="276">
            <name>Transcript</name>
            <description/>
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              <elementText elementTextId="632027">
                <text>&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Alright. Let’s see. This is Geoffrey Cravero, and I’m conducting an oral history with Richard Lamberty of the Orlando Gay Chorus. The interview is being conducted in the conference room of the Center fo—of—Center for [&lt;em&gt;laughs&lt;/em&gt;] Humanities and Digital Research at the University of Central Florida in Orlando, Florida, on Tuesday, October 11&lt;sup&gt;th&lt;/sup&gt;, 2016 [&lt;em&gt;clears throat&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Which, by the way, happens to be National Coming Out Day.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;National Coming Out Day. I saw the s—I saw the sign earlier. Excellent, good timing. So, uh, Mr. Lamberty, thank you for speaking with us today. If you would, let’s start by having you state your name and telling us a little about where you’re from.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Richard Lamberty. L-A-M-B—as in boy—E-R-T-Y. Um, I was born in Chicago, Illinois, and we moved to Orlando when I was five. Um, we stayed here until I was 16, and then we briefly moved to Maryland, where I graduated high school, and then I came back to Orlando and attended Rollins [College], um, and then after Rollins, I actually came to UCF[1] for almost two years, during which time I was diagnosed with rheumatoid arthritis and they put me on a medication. Um, one of the side effects of that medication was I lost the ability to read, write, and speak, and so I was unable to complete my graduate degree at that time, um—ended[sic] up moving to New Mexico, where my parents had gone, and enrolled in the university out there to, uh, work in their computer science artificial intelligence department, which by the time I got there, was gone, and so there was not a single person left on campus that even knew that I existed, and there was no one to help me with paperwork or any of the transfers of credit or anything. It was start over.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] Um, continued to work on the degree out there, but got hired to work on a NASA[2] project that I did for five years, and then moved to California, where I stayed for another 18 years, before coming back to Orlando in 2005, um, basically, to be closer to family, and so I have lived here in Orlando ever since.&lt;/p&gt;
&lt;p&gt;Um, I started dancing—you were ask—gonna ask about the dancing thing—I started dancing when I was 10 years old, and I danced first with the Orlando Cloggers, which was a—a youth, square-dance clogging group that was sponsored by the City of Orlando, and from that I got involved in what’s called “round dancing,” which is kind of a hybrid between square dancing and ballroom dancing—ballroom dances and figures, but it’s cued in the same way that a square dance is called, and then directly involved in ballroom from that, and, uh—but because of the arthritis issues then it was like, &lt;em&gt;This is not gonna be what I do with my life.&lt;/em&gt; I have to have something else to do, but as long as I’m able I can dance, and I’ve continued to do so for most of my life, um, and that’s taken me all over the world. In fact, I just got back from two weeks in Europe, where I was teaching for the 22&lt;sup&gt;nd&lt;/sup&gt; year that I’ve been over there teaching at this event in Germany.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, you know, life in Orlando—mostly what my life about[sic] here is I’m taking care of my elderly mother. I am her primary caretaker, and, um, and then I do what work is available to me, in addition to that, and, you know, in my field if it can be, so designing software, computer systems and things, or doing people’s websites and such, but, um, mostly my life is about dealing with family, taking care of family.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;And, uh, what d—what did your family do? It was your—did your mother work? Or…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Uh, my father was an electrical engineer. Um, he had seven children. I’m the fifth of seven, and, uh, so my mother was basically a stay-at-home mom for a lot that, and then didn’t start really working until I was about 16, um, in Maryland, and then…&lt;/p&gt;
&lt;p&gt;[&lt;em&gt;phone rings&lt;/em&gt;]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Go away.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And don’t do that again.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;I’ll make that stop.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;I should’ve thought of that first.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Oh, that’s alright.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;The only person who can make my phone ring now is my mother.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;]. Okay, um, my father was an electrical engineer. He did a wide variety of things for Swift[?] Martin Marietta [Corporation]. Well, actually, in Chicago, we moved down here for a job at Martin—which was before it was Lockheed Martin—and then, um, up to Maryland. Hated it. Cold weather. Not a[sic] interesting job for him. Came back to Florida at Harris Corporation, where they got involved with the satellite project, um, and then eventually ended up with TRW [Inc.] Space and Defense and retired from them. Um, I worked with TRW Space and Defense—was my first real job in my industry, and then, um, that—on the same project as my father, which was an extraordinary privilege. My father was brilliant and exceedingly humble, um, but just this brilliant man, and I had the privilege of spending five years working with him, and just, you know, being around that mind every day and seeing how he viewed the world, which was fascinating because growing up I didn’t experience my parents quite that way. Um, I grew up in a household where debate was the normal form of communication [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You know, and I never knew what my parents thought about anything, because if one of ‘em would say something, the other one’d automatically take the opposite position, and so what did, you know—what did either of them actually believe about the world was almost impossible for me to determine, and, um, you know, in that time period, I actually got to learn about my father, and one of the things that I learned was that he wasn’t ashamed of me, because growing up, he never spoke to me, um, and I—I didn’t know why. It turned out he didn’t speak to me because he was partially deaf and he couldn’t hear me. So when my voice really changed then he could hear me, you know? Alone—the two of us, then he could hear me, and I walked into—he worked in a trailer in the desert, and I walked into his office one day for some reason, and on the wall was a framed poster of a dance exhibition that I had done when I was at Rollins, and I went home and I said to my mother, “Did you know that Dad has the poster from Rollins on the wall in—office?” And she said, “Oh, yes. Your father’s very proud of you,” and up until that very moment, what I had assumed was that he was embarrassed about me because I was a dancer and, you know, not like his other sons, and that really—that wasn’t true. So, you know, that was just—it was remarkable, and, you know, in an era where being gay was not okay, you know, having the security clearance and being gay was not okay, um, it was a very hard thing to do, um, and, you know, my parents were very Catholic. Uh, you know, like “know the pope” kind of Catholic. Um, there’s a photograph of my mother with John Paul II—just the two of them. You know, so it was a, you know—that was not okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And yet, there this poster was. It was an incredible experience.&lt;br /&gt;&lt;br /&gt;Um, but no. When I came back to Orlando, I continued to dance, and I had gotten involved with same-sex ballroom dancing. Uh, you know, two men dancing together, two women dancing together—which again, two women dancing together has always been socially acceptable; two men dancing together has not, and so, um—and I had a partner here in Orlando. We trained, we worked hard, we eventually won world titles together, and then he quit, and I didn’t have anything to do, so I had heard the [Orlando Gay] Chorus sing, and I thought, &lt;em&gt;I can try this. I don’t sing, but I can try this&lt;/em&gt;, you know? I was in chorus in seventh and eighth grade, but, um, I didn’t get a good grade, and when I asked the teacher why she told me I didn’t have a good voice, and so I quit singing, and I never sang again. I mean I wouldn’t sing “Happy Birthday” to people for 35 years. So I joined the chorus and then, you know, started singing with them, and it was fun. It was—I didn’t have to be good. There were [&lt;em&gt;laughs&lt;/em&gt;] zero expectations that I actually be good at anything. Not like work, not like dancing, you know—just show up, sing, gave a good time, and, you know, as it happens, apparently, I’ve gotten to the point where I’m okay as a singer, and, you know, had the—the privilege of being a part of the chorus now for six years, and it’s really—it is—it’s a lot of fun. Wonderful thing.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;That’s fantastic. Um, so, uh, can you tell us a little more about how you got involved in, uh, ballroom and Latin dancing? Um, what sort of work, uh, did you do as a board member on the—I saw that you did…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;The North American Same-Sex Partner Dance Association [NASSPDA]…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You Googled me.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I Googled.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yes.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Okay, my parents were square dancers. They had taken a square dance class here in Orlando, and they had what was called “hoedown,” which was in the parking lot of the, uh, um, uh, Colonial Plaza Mall in where—what now would be the—I guess the Walgreens or the CVS is in that corner—that was parking. They put up a tent one day and they just had the square dance callers with a whole bunch of people, and people were dancing in the parking lot [&lt;em&gt;door closes&lt;/em&gt;], and I saw the Orlando Cloggers perform, and that’s what I wanted to do. I wasn’t quite old enough yet. You had to be 10 and I wasn’t 10 yet, and so as soon as I turned 10, then I could start the classes, and it was amazing. It was run by the city. It was $5 per family for the season—not $5 a week, not $5 a person. It was $5 for the entire thing—for three of us to go and take the classes, and I loved it. I thought it was awesome. I loved the dancing, so, you know, I learned to clog, I learned to square dance, and then I learned the round dancing, which was like ballroom, and, um, we moved to Maryland when I was in high school, and I can dance, and I got a job at an independent ballroom dancing studio as a dance teacher at the age of 16. I—and this is 1975—’75 —’76 —and I was making $16 an hour, which is basically still what a—a beginning dance instructor makes—same—same thing—but I was making $16 an hour teaching dance lessons, and I think the minimum wage was $2.85 [&lt;em&gt;laughs&lt;/em&gt;]. So it’s like, &lt;em&gt;Woo hoo.&lt;/em&gt; I had money. It’s like I’m 16 years old, I’ve got this job that I can—that I love, and I have money. It was amazing and—and I loved the dancing.&lt;/p&gt;
&lt;p&gt;Um, when I developed [rheumatoid] arthritis and—you know, what they told me was I’d never walk again. I was 100 percent disabled, and that was while I was here at UCF. You know, the campus was not that big, as it is now, but I couldn’t walk across campus, and the medication had this profound effect on me. I—I couldn’t communicate, um, you know, I couldn’t write coherently, I couldn’t make sense of what I was reading, and I couldn’t—I could not talk intelligently, um, and fortunately, there was a professor here in the Computer Science Department who understood what was going on, and she advised me to, you know, get the medical records brought in and have my record expunged and sealed so that all of that failing grade stuff that showed up, because of that, would not show up on my transcript ever, and without that I would have simply just failed, uh, graduate school, and probably never been able to get back in, um, and then, you know, got enough better that I could move and get back into school and get a job that was, uh—that I loved, um, and tried to dance, you know, as best I could, and it wasn’t always easy physically.&lt;/p&gt;
&lt;p&gt;I was—I was allergic to the non-steroidal anti-inflammatories, and so any of them that I would take would cause some kind of a very unpleasant neurological side effect, so it was just better to be in pain. So basically, for 30 years—so I just lived in pain, and didn’t tell anybody. You didn’t talk about it. Um, you know, if it was a bad day, you just tried to dance with your partner not touching actually, you know? It’s like you’re s—and don’t say. Don’t s—never tell anybody why you can’t do anything, you know? Um, yeah, it was really horrible, um, pretending, you know—pretending about a lot of things—pretending about being okay, pretending about not being gay, pretending about, you know, that my brain was working normally when it wasn’t. Basically, life was a whole lot about pretending a lot of things, and very painful—physically, psychologically, emotionally painful experience to live that way all the time.&lt;/p&gt;
&lt;p&gt;But, yeah, I got, you know—I danced as much as I could, and slowly, slowly over time. Basically, most dancers peak in their late 20s or early 30. It’s like, &lt;em&gt;Mm, yeah. Not until I was in my late-40s&lt;/em&gt;, [&lt;em&gt;laughs&lt;/em&gt;] you know, and, um, you know, d—did what teaching I could over the years. I mean, I’ve been traveling to Europe for over 20 years and teaching there, um, uh, various places around the United States, Canada, Japan. Uh, we did—a couple years ago, we did a three week tour in Japan—six different teaching events while we were there. It was just amazing—which in and of itself was fascinating because, you know, there’s a large community of dancers in Japan, and they knew of me and they—they would—when they would come to the United States, there[sic] was[sic] always be at the events that I was at, um, and they brought people over all the time to teach, and I asked—was a big, big international convention that I was teaching at—there was a huge group of Japanese there, and I got invited to the room party with the Japanese—was the only white person at this party, and, um, so I asked, you know—it’s like, you know, “When will I get invited to Japan?” And this—there was this discussion. This rapid discussion in Japanese, and the woman who spoke English best took me into the—the bathroom in the connected hotel rooms and closed the door and said to me, “We cannot invite you.” I was like, “Well, why?” And she goes, “Because whoever invites you would have to accept your shame.” I was like, “Oh.”&lt;/p&gt;
&lt;p&gt;So when I got contacted a couple years ago about coming over, there was an American woman living in Japan—I didn’t know her history, but she was an American woman living in Japan with the dancing—and so I wrote to her and said, “I’d love to come, but, you know, you need to know,” and she said to me, you know, “It’s not how it is now.” Things changed. Things changed because finally, the Japanese government had to acknowledge that there were people in Japan dying of AIDS,[3] and so everything changed when they acknowledged that—that these are Japanese people; therefore, they’re Japanese, and the laws changed, and the way that people behaved changed, and now it was just not a problem, and this was like, you know, social change on this huge scale in a couple of years, you know? Things that we have been fighting for in this country for 20 or 30 years and still don’t have—that they could achieve because, as a society, it’s more important that you’re Japanese than it is that you’re gay, you know? So she arranged this trip, we went, we had this amazing time, and it didn’t matter at all, you know? It didn’t matter at all. It matters more here than it does there.  Um, you know, I mean I’m—and I still—I love dancing. Although at this point, I’m probably done. I don’t have a partner anymore.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And if I can’t dance on a regular basis then I lose the ability to dance, which anybody would. Any skill that you’ve developed, if you don’t use it, you lose it. It’s, you know—especially physical skills, but in my case, it’s not just that. Dancing’s what’s kept me well. Um, if I don’t move, I can’t move, and I’ve tried other things. I’ve, you know, gone to gyms, I’ve done swimming, I’ve done all kinds of things. The only thing that’s been really effective is the dancing that I do, and so basically, you know, 47 years of dancing and I don’t have a partner. If I don’t have a partner, I can’t dance. If I can’t dance, I don’t know how long it is that I can walk. That’s the equation. I mean, you know, we talked—I—walking over here from the parking garage was an ordeal, and that’s been, you know—it’s four—four months that I haven’t danced regularly. Going to Germany and having to dance all day, every day, you know? It’s like the first day was just horrible, and after that it was like, &lt;em&gt;Oh, dancing. My body is happy.&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;“It’s fine.” Yeah, so I get distracted easily. It’s okay [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Oh [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] I’m chatty.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Um, I was gonna—I have a question following up on that—is, um, what kind of—did you face any sort of challenges, um, early on, um, in a same-sex partner dance organization? Like what did you…
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, you were—asked about NASSPDA.[4] That was not the first.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, the first organization kind of disappeared. It[?] was the United States same-sex dance, uh, organization that I was one of the founders of. I was also a—a—an honorary founding member of the European same-sex dance organization,[5] and then, at the same time that those two were formed, there was a world organization that was formed that I was on the committee that help form it, write the bylaws, was an officer of, and then there was a dispute about, you know: was that the right way to do this? Did it happen too fast? All that. So that organization shut down. The North American one disappeared, and a couple years later, the, um—or the U.S. one disappeared. Then the—they decided to do—try again, and we created the North American Same-Sex Partner Dance Association—NASSPDA—and I was, again, one of the founders, uh—original co—co-president with a woman, um, Barbara Zoloth, was one—one of my students for many years, and, um, you know, then—actually, I was the first honorary member of the organization when I went off the board. They voted me in, and, uh, you know—so I—I’ve been involved in the history of same-sex dancing in the United States since essentially its beginning.&lt;/p&gt;
&lt;p&gt;Um, I ran the first, uh—well, not the first. The first same-sex dance competition was a long time ago in New York—the first one we know of—but it was a one-time thing, and then nothing happened for years and years, but I put one together with, uh, my partner that[sic] I went to the Gay Games in 1998 with—Tom Slater—and a woman—a straight woman that[sic] was helping us—Ava Kaye—and, um, then the three of us decided this was important, and we put together, um, it was—I think it was “March Madness”—might have been the first one. It was either “March Madness” or “April Follies,” and then, the next one, you know—we did series of them that—that I ran with the two of them for many years, starting around 2000—2001—and then, when I moved away, I ran the next year remotely, you know, went back for it, but it was too much. So I turned it over to this organization—a non-profit in the [San Francisco] Bay area that has run it ever since, and so it’s the longest-running same-sex, uh, dance competition in North America, and longer than many of the ones in Europe, um, and, uh, so there’s the—you know, very small community of people involved in that in this country. We don’t have a history of partner dancing in this country in the way they do in Europe and other places in the world, but there are people that are[sic] really love it. It’s this wonderful thing to do. It’s social, it’s engaging, it challenges the mind and the body, um, it’s great exercise in a gentle way, um, and it’s fun. It’s just a tremendous amount of fun.&lt;/p&gt;
&lt;p&gt;Um, competing in the same-sex world is so different than the mainstream world. The mainstream world is very cutthroat, and the same-sex world is, you know, the—the—the people who’ve been to mainstream competition that come to one of the same-sex events is like, “What? It’s like, “You s—you act like you like each other. You know, this isn’t like a competition. It’s like a party. It’s a celebration,” and that’s exactly what it feels like. We are celebrating something that we can’t have. I mean there were rules against same-sex couples competing, uh, in regular competitions. Some of that has changed now, but there were rules against it. You weren’t allowed, you know, a—and it’s not just that you, you know, could if you wanted to. Y—you weren’t allowed, and while I wasn’t directly involved in a lot of the politics in the mainstream world to do that, um, I was behind the people who were, you know? I wasn’t—they hated me in the mainstream world of ballroom dancing from day one because I was an out[-of-the-closet] gay man doing ballroom dancing, and there were none. It was like, “Y—you can’t do that.” I got told when I was trying to compete as an amateur, and then as a professional, “Sh—y—you can’t be ‘out.’ You ca—you have to stop talking about this. You can’t bring a boyfriend.” I was like, “Yeah. No, I don’t—I y—I don’t need you to dance. I don’t do this for a living. You can’t make me,” and so—oh, they did not like me [&lt;em&gt;laughs&lt;/em&gt;]. I mean I—when I was still trying to be an amateur, there were actually lawsuits filed against me. Try to keep me from dancing—trying to, you know, declare me “not an amateur.” I was—I had a sports lawyer. It was—I mean, I f—finally quit. I was spending about $5,000 a year defending my amateur status with the lawyer. It was like, &lt;em&gt;This is ridiculous.&lt;/em&gt; This thing’s already so expensive. I was spending $20-25,000 a year dancing, and on top of that, I’ve got to spend lawyers’ fees? Nobody else has to do this. So I just—I gave up. I let them m—make me go pro, and then, you know, dance in Europe more than the United States, because in Europe nobody knows who I am. They don’t care. Then you get judged on the dancing.&lt;/p&gt;
&lt;p&gt;Uh, you know—you know, this thing that I’m passionate about. I just love doing it. I love teaching, I love dancing, you know? The, um—the next world championships for same-sex dancing is gonna be in Miami in August of 2017 at the, uh—the World Outgames, and I won’t be dancing, you know? I’ve—I’ve danced at every Gay Game since 1998. I’m the only one. The Gay Games in 1998 was the first time they had dancing, and my partner and I took third. We danced in Sydney[, Australia], and then, let’s see—it was, uh, Amsterdam[, Netherlands], Sydney[, Australia], I wanna say Chicago[, Illinois], Cologne[, Germany], Cleveland[, Ohio]. The next one’s Paris[, France] in ’18, and, uh—and then the Outgames. We danced in Montreal[, Canada] for the first one. We didn’t go to the next ones, and then, um—and then it’ll be Miami. I don’t have a partner. I don’t get to dance. It’s like a four-hour drive from where I live, and I won’t be dancing. It’s just so miserable. I don’t have a partner, and it’s something—you can’t do it alone, you know, and it’s really—you know, it’s hard to reflect on—the 47 years is coming to an end, and I don’t have a say in that. It’s just gonna happen.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;It’s tough [&lt;em&gt;sighs&lt;/em&gt;]. Um, well, let me see. I—I—you already discussed, uh—I saw that you had to—you overcame rheumatoid arthritis, actually, in a profile I was reading online. Um…
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, was it the one in &lt;em&gt;The Orlando Sentinel&lt;/em&gt;?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I think it was, yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;With a picture of me and the dog.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;That’s right.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Then that was the one.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Um, oh…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You’ll see.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I also saw there that you did, um—you were a technical consultant on the rewrite of a DVIDA[6] American Smooth Bronze Syllabus manual. Could…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, yeah, DVIDA.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Could you explain what that is and describe the work you did on that?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, DVIDA is, uh, oh, Dance Vision—D—Dance Vision International—DVIDA—of—Dance Vision International is the company. DA—o I don’t remember what it stands for. A friend of mine, um, Diane Jarmolow, that I used to coach and have known forever, um, she got—she contacted me about helping with the manual, which was very nice. It was great. It was really lovely to be asked, but I’m very technical. People know that I have this profound very deep understanding of dancing, which happened while I lived in New Mexico. Um, I couldn’t dance much. It was, you know, a 60-mile drive to the closest dance studio, which I would do. There[?] was a—a woman there that did some dancing that I could do, but we were only allowed to dance after the studio closed at night, ‘cause the owner didn’t want people seeing us because we didn’t fit the profile—she was the teacher there, and he was afraid that we would scare people off, you know? It’s like wrong level, wrong kind of dancing for what the studio was about, and so two weeknights a week, I would drive to El Paso[, Texas], be there at 10 o’clock at night, and dance ‘til midnight, and drive home and have to be at work at seven in the morning.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, but, um, while I was there, I met this woman who did ballet, and her husband—fiancé was a PhD kinesiologist at New Mexico State University and he wanted a project, but, you know, at the time—this was when they were doing a lot of things with, you know, analyzing on video tape athletic performance, ‘cause they were looking at, you know, runners on treadmills or swimmers in float tanks or cyclists on stationary bicycles, and seeing, you know, how do you optimize the human body in motion—and he didn’t want to do any of that stuff. So what I did was taught his w—his fiancé how to ballroom dance while he analyzed what we were doing, which, basically, no one had ever done before. No one had ever looked at the—the—the actual human body while it was dancing in this way, and n—not just one body, but two—how two bodies worked together, and he did this analysis of it with—with knowing nothing about dancing. So all of the language of dancing that had been used for 80-90 years to teach it had nothing to do with what he wrote about…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Right.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Or what he analyzed. So not, “Here’s what somebody has always said about what we’re doing,” but, “This is what the bodies are doing,” and I—so he wrote about that and then I got all that information, and then I had that, so I could write about dancing in—in the dance world, and I wrote papers that would get published about here’s why the feet do what they do, here’s the way that your hold actually works in the frame—you know, not what Patrick Swayze says about it in &lt;em&gt;Dirty Dancing&lt;/em&gt;…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;But what’s actually going on, and that kind of revolutionized the way that dancing was looked at all over the world, and my—my work got spread all over, um, and so because of that I became well-known for this level of technical understanding, and when Diane needed help with the new manuals they were writing, then I got an email. It’s like, “You willing?” It’s like [&lt;em&gt;claps hands&lt;/em&gt;] yes.” [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;“I’ve been waiting for this.”&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;“Fix the stuff that’s wrong.”&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And so, yeah. I worked on those manuals, and, in fact, my former partner is now working on the new set. He’s up in, uh, Indiana, and he was actually just down here for three days to talk to me about it, ‘cause he’s actually—he’s now the consultant for the next set of stuff that’s being done, um, but yeah, I got a credit in the—in the—in the book and everything, and it’s like “technical consultant,” and it was all this weird stuff. What’s the difference between “brush to” and “brush toward”? What’s the difference between a “brush” and a “collect”? You know, it’s like how to—what’s the difference between “side and slightly forward” and “forward and slightly side,” and it’s like all this really technical stuff, which I’m well-suited to because I love language, you know, from my own issues with language—couldn’t speak for a long time. I love language. I’m a mathematician. So, you know, my—I had a double major at Rollins—mathematics and English—and the dancing is mathematical. The partner dancing is a—is a mathematical construct actually, and then I had all this understanding of what was going on because of this analysis that had been done by this PhD kinesiologist. It’s like, you know—it’s perfect. Love it.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;So cool.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] So, um, could you tell us, uh—so you joined the, uh, [Orlando] Gay Chorus. You talked a little bit about how you got involved. Um, do you have a favorite production that you did that you can recall?
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Um, no [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;It’s—it’s funny. I don’t have a sticky memory for lyrics. Lyrics are so hard for me to learn—that they don’t stick in my brain very well, and, uh, so, you know, people will say, “Oh, we sang this five years ago,” and I’m going, “Really? I was here then. Did we? I don’t remember,” um, but I—I love singing with the chorus. I—I have no interest in doing any of the solo stuff or anything like that. I have zero—I love singing with the chorus, and we do two major concerts a year—the spring and the holiday. Um, I like the spring concerts, but I tend to love the holiday stuff because the music is different, you know? The—the Christmas stuff, the holiday stuff in general—it’s just got this wonderful character, and, uh, learning—learning about music. I mean, I always had to know something about music because of the dancing. I played piano for several years and I—it was the first thing—I didn’t understand at the time, but it hurt. It got to the point where it hurt, and so I quit, and then I was a great believer in &lt;em&gt;I’m young and healthy. Park across campus and walk&lt;/em&gt;, and, uh, at Rollins, I was in the math program. The math courses were on the fourth floor of the [Archibald Granville] Bush Science Center. I always took the stairs. I got to the point where I couldn’t climb the stairs. So I didn’t know what was going on, um, but, you know, how did I get involved with the chorus? My partner quit, and I thought, &lt;em&gt;Well, I won’t be dancing. I need something to do that’s interesting, that will challenge my mind, that will be fun, that will get me out in the world&lt;/em&gt;, ‘cause I don’t have a regular job. I don’t meet people. I don’t, you know, have people at work. I don’t go out to lunch. I don’t meet people. &lt;em&gt;So I’ll join the chorus. It’ll be fun&lt;/em&gt;, and it has been. It’s really lovely, um, but—and I was afraid to sing, ‘cause I hadn’t—I’d been told I didn’t sing well. Well, they didn’t care, you know?&lt;/p&gt;
&lt;p&gt;Now, it’s a little different. The—the chorus actually is[sic] improved dramatically from then. Well, you know, the work of Jim Brown—here at UCF—was our director at the time that I joined, and he did great work with the chorus, and now we have a new director, who’s very, very choral. Very, you know—the sound is gonna be the sound kind of thing, and, uh, I don’t know that I could get in now. You know, if I had—if I tried to join now, I doubt that they would take me. Now, I’m okay. I mean I’ve learned, but, you know, between the two of them, I learned a lot. Understanding a music that’s fundamentally different. I love that. I love learning, and then being with the group and doing.&lt;/p&gt;
&lt;p&gt;So, you know, particular thing that we sing that I like the best? No, no. I mean, every concert there’s something that I end up really loving, which is usually a surprise. It’s not the thing that I think at first that I’m gonna like, and, you know, something that’s not my favorite, you know—sing it anyway, um, and most of the stuff is like, &lt;em&gt;Oh, this is fun or not&lt;/em&gt;, you know? Some things are more fun to sing. Some things—just the sound of them. We did, um, in the last concert before we went to Denver for GALA[7]—one of the things we sang was a song for—“A Prayer for Children,” and it’s an old s—piece. It was written, um, I think about Croatia during the [Croatian] War [of Independence] there, and it’s gorgeous. It’s hard, but it’s so beautiful. Um, when I first joined it was like I had to be surrounded by other people singing my part, and so it was—you know, it’s like, &lt;em&gt;Mm&lt;/em&gt;. I can’t stand next to somebody who’s doing anything different than me. I don’t sing that well, and now, normally, where I get placed is standing next to the altos. I sing bass—I sing low bass. So it’s like bass, baritone—we usually sing the same thing, but not always—and then the altos, and so I’m standing next to an alto and the—in the front, and I can hear the rest of the chorus, and it’s so beautiful sometimes. I mean, there’s pieces that we do—the fun stuff I love. It’s great and fun to sing, but the s—I love the things that the sound of them is—it’s amazing to experience, and that’s what I’ve always looked for in the dance music, you know—the sound of the music that I choose for my own choreography is what I’m interested in, but, you know, chorus is great.&lt;/p&gt;
&lt;p&gt;It’s—it’s always been interesting to belong, you know? There’s—like any other human endeavor and organization, there’s groups that form and factions, and the politics of it and all that. It’s normal. I’m used to that, but at the heart of it, there’s this thing that we’re doing something that matters as a group. Um, when the chorus was formed 26 years ago, you know, the—the small group of people that did that, they were risking, you know, employment. You know, to be associated with a gay group publicly like that, many of them could have been fired for it. Um, it was a brave thing to do then, um, and y—you know, it’s not like that n—now. We belong. It’s okay in Orlando.&lt;/p&gt;
But, you know, this summer’s been kind of insane. We had had our concert, and the—the weekend of the shooting at Pulse there were several things going on. Um, every year right around that time there is the Orange Blossom [Dance] Festival, which is a big country western dance competition, and I always try to go. Um, well, at least one night, go by, dance and visit with people, ‘cause I know a lot of people, and if like—convention friends—you see them once a year, and—‘cause I don’t go to the other stuff, and I’m not a country western dancer, but some of these people do other things. Some of them are involved in the same-sex ballroom, um, and it’s often my birthday, ‘cause my birthday’s June 11&lt;sup&gt;th&lt;/sup&gt;, and so, normally what would happen is I would go on the Saturday. It’s the better night. If you go Friday, people don’t stay up that late ‘cause a lot of them have to get up in the morning and compete—dance with their students or dance in some way, and Saturday’s better. A lot of the competition is over. The stuff on Sunday is different, and so, you know, go there, dance all evening. Around midnight or so, get a group of people and we’ll go out. Go someplace where there is music, um, and—music that you can dance to—partner dance to, and that has, in fact, been Pulse in the past, eh, when it matched up. Latin Night—if it was going on—e could go there and dance. That’d be great.
&lt;p&gt;Um, this year, I went on Friday because Saturday night we had one of our, uh, non-outreach—there’s another word—I—I forget this word every time I go to do it, uh—cabaret. We have three cabaret performances a year. One of them’s at the Parliament House. It’s called “Uncut.” It’s the raunchy one, and then we have the—the, um—the h—February Valentine’s Day one. That’s the love one, and then, the—we have the summer one, and this year, it was early in the summer. It’s often later, and, um—and it happened to be on that Saturday, and since it was my birthday weekend—I wasn’t singing. I—it was like, &lt;em&gt;I’ll go&lt;/em&gt;, and they had these VIP’s tickets with the reception and the dinner and then the thing, and it’s like, &lt;em&gt;I’ll go to that&lt;/em&gt;. So I had the ticket and I went. It was wonderful, had great time, and then it was done and nobody wanted to really go out, and I did not want to drive all the way out to this hotel and see what’s going on because it was late. Any other year, I would have been at the hotel with the dancers and we would have been going to Pulse and arriving about 12:30 and staying until they closed or later—make them stay open and play music. So I would have had, you know, 25-30 people from out of town, who just love to dance, be there with me, and I just, you know—when—&lt;em&gt;I’m tired. I think I’ll go home.&lt;/em&gt; That was the decision.&lt;/p&gt;
&lt;p&gt;So Sunday morning, I wake up. I look at my phone and I—there’s all these text messages. “Are you okay?” “Are you okay?” And I’m thinking, &lt;em&gt;It was one singer. Yes, I know we sing at The Plaza [Live]&lt;/em&gt;, you know, &lt;em&gt;People know we sing at The Plaza. I’m fine. I’m fine. I’m fine&lt;/em&gt;, and then I get into the shower and turn on the radio [&lt;em&gt;laughs&lt;/em&gt;]. It was like, &lt;em&gt;Turn off the shower, go back to the phone.&lt;/em&gt; It’s like, “Oh, my God. I—I had no idea,” you know—listening to the news. I was like, &lt;em&gt;Wow&lt;/em&gt;, you know, nut for being tired, I would have been there. I would[?], uh—bringing people.&lt;/p&gt;
&lt;p&gt;So I don’t—I’m not a Facebook person really, but I looked to see, and I saw that there was gonna be a special Mass. The, um—there’s a gay, Catholic group in Orlando, and the priest who runs that, uh, used to sing in the chorus with us, and so I take my mother to Mass every Sunday—very Catholic—in Winter Park—St. Margaret Mary [Catholic Church] —very affluent—and, you know—and after Mass and I was waiting to see would[sic] they say anything, and they—and they did. Um, it wasn’t hugely specific, but it was, you know—they acknowledged what had happened, and the violence. Not that it was a gay attack or anything, but—but at least they acknowledged it at Mass, and we left immediately from there and went to the—to the place, which is a bar, you know? St. Matthew’s [Tavern at the Orlando Beer Garden]. Is—it used to be I wanna say Revolution—on Mills[Avenue]…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Right.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Next to the [Lesbian, Gay, Bisexual, Transgender Community] Center [of Central Florida]. Alright, that’s where they have Mass, and so we went, and, you know, we s—we went to Mass there, and, you know, at some point in the afternoon, there was a message that came out about—we had been invited to sing at, um, Joy MCC,[8] and I was like, “Absolutely, I’ll be there.” It was massive. When[?] you show up and there’s all these cameras, and they have relegated them to this corner in the back, and there’s[sic] way too many people, and there’s some seating reserved in the front for the chorus, and there’s not enough. There’s so many of us that showed up, and I felt terrible. I had to sit, ‘cause I—I couldn’t stand. My hip hurt, my knee hurt. I couldn’t—I couldn’t stand for the whole thing. I had to take a chair away from somebody else, you know, but—and then, it came time to sing. So we lined up in the front and, um, we had “True Colors” and, um, “You’ll Never Walk Alone,” and we sang, and, um, by the time I got home, you know, I looked at Facebook and there was a video that had been posted. It was CBS News, and the CBS newsman thought he was so clever. He had gotten the camera spot that was right in the center aisle, and so when we went to do “True Colors,” of course, that’s where the conductor stood, and right in front of him was the soloist, Caitlyn[sp], and so he had a completely blocked view [&lt;em&gt;laughs&lt;/em&gt;] of the soloist. He couldn’t get her face—couldn’t get her face, but there’s the camera and there am I.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And out of this like two and a half minute video, about 60 seconds of it is on my face, and this got posted on Facebook, and re-p—tagged, and posted and posted, and by the time I got home, I had messaged from 11 countries, and it was overwhelming. I mean, you know—we didn’t know a lot yet. We didn’t even know really how many people were dead yet. I didn’t know whether or not I knew anybody. I did—nobody well, no close friends, but it’s a small community. You know—you don’t know what to do. You know what there was to do? Sing. As it happens, I don’t have a day job. So when we get asked to go and sing and—I can say, “Yes.” I can show up at one o’clock at UCF across town for something, or drive out to the [Orange County] Convention Center at crack of dawn and not worry about being late to work, or—I could show up. That’s what I could do, and it was fascinating to see.  &lt;/p&gt;
&lt;p&gt;We had the Sunday night there and then Monday night at Dr. Phillips [Center for the Performing Arts] on the lawn, which was not supposed to be what it was, but turned into this thing, and—and it just started happening, and we had GALA [Choruses Festival] coming. We knew—and that was gonna change. Everything was gonna change. So we got invited to the—to sing at the formal thing at Dr. Phillips on the 28&lt;sup&gt;th&lt;/sup&gt;.[9] I was flying out. I was going early. I have an ex-boyfriend that lives in Denver[, Colorado], and four years ago, I got to visit with him. This year, I was going to do the same. Go early, spend some time with him, meet the husband—you know, of 11 years that I had never met, um—and so I wasn’t—I wasn’t at the first concert at Dr. Phillips inside, um, and I had a few days. I mean, there had been so many things. I think Carol said that between June 20&lt;sup&gt;th&lt;/sup&gt;—the 12&lt;sup&gt;th&lt;/sup&gt; and the 28&lt;sup&gt;th&lt;/sup&gt;, there were 20 outreach things that we did, and I lost count how many I did. You know, some of them were just the ensemble things and s—one or two people, but—but, you know, 20 things that the chorus was involved in, and I had like at least nine that I did in those few days, and I got to Denver, and I had time away from all of it, you know? It was no longer in the news every day, and not what everybody’s talking about. Just time—and, uh, people talk about processing. It was like, &lt;em&gt;Oh, this is what that means.&lt;/em&gt; Time to really think—to—to stop and feel, and then GALA would come, and I knew—I knew what it was gonna be like. I mean, GALA’s crazy anyway, and it was gonna be different. We were gonna, you know—kind of like, if you’re gonna be a part of this, you accept an obligation about certain things.&lt;/p&gt;
I’m used to—I’m used to being a public figure. Mm—I’m a—I’m well-known in the world of dancing. In the world of same-sex dancing, I’m the grandfather. I’m known. Um, I was well-known in my work in California. I mean, we didn’t talk about it, but I’ve—I’ve done things that people don’t understand, you know? I worked on—when you type on the computer and it offers you the corrected spelling[10] or look ahead,[11] I developed that for the very first system that ever had it—was the—the satellite control system that I did for NASA in the [19]80s. That didn’t become available for a very, very long time. I developed that. The very first clickable interface to purchase—“online shopping” is what we call it now—I developed that. The—the idea that you can get credit by filling out an online form, that was revolutionary. I did that. I designed that. Um, then when you go to an ATM[12] and you put in your money or your check, and it just reads it and tells you—instead of putting that in an envelope and writing on the envelope, and a person has to open it and count it. I did that—not—not for ATMs. Didn’t fit in an ATM when I did it.
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;But that technology was something I developed. That’s what I worked on. I’ve done all these things with computers that have transformed the world as we know it, and that are now a part of everybody’s existence in the Western world, and how we just interact all the time, and my name is not on any of it. I have no patents. I’m not famous for any of it, but the people who were there, they all knew, you know? I walked into a room of computer nerds in the Bay area. Everybody knew who I was. I was the guy that had won a congressional award for software. There wasn’t anybody else that had done that and never has been, you know? I was the guy that walked up to Steve Jobs and told him he was wrong.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] He was not happy with me. Um, and I—I know what it’s like to be public, and what the chorus was facing was—we were gonna be the face of Orlando—the face of Pulse at this huge thing. When somebody comes walking up and they have to say something to you, or they have to express how they feel, the obligation is listen. Let them. Let them feel what they feel. Let them share what they have to say. Because at that point, it’s no longer about us. People need the space to be able to express, to—to grieve, to process, and we were gonna be their outlet for doing that.&lt;strong&gt;&lt;br /&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;James [A. Rode] was not exactly the kind of director that was used to talking a lot, especially in a performance. The first time he was involved with a performance of the chorus, we sang. He probably said six words to the audience. Not his thing. We were in the waiting area backstage and he spoke to us. We had this set of songs, carefully chosen—changed from what it was supposed to be. I mean, we had—our—our set for GALA was celebratory when we started. Had to change—the message had to change, and some of the music was not music that people wanted to necessarily be singing, um, but it told a story, and he talked to us. “We have an obligation. Find a connection to that music. Relay the message that we’re bringing. It’s hard,” you know, “There’s suffering, there’s pain, and there’s hope. It’s up to us. Create hope, create love.” Like it was beautiful.&lt;/p&gt;
&lt;p&gt;So we all walk onstage and we start to sing, as we [inaudible] the ovation, and, you know, you just have to stand there and take it. I used to teach people, “You just gotta stand there and take it.” I made my staff learn to be acknowledged. It’s not easy holding up. It’s not easy, and what did we do? Well, we have to live in Orlando and sing [&lt;em&gt;sniffles&lt;/em&gt;]. [inaudible] cause is[?] [inaudible], and then, James read his statement to the audience. None of us had a clue what it said, and then—I mean—oh, God. The man’s eloquent, you know? He’s a schoolteacher, he’s educated, he knows how to write. It was good. It was devastating. It was like—and then, “Let’s sing.” It was like, &lt;em&gt;Oh, no. You’ve gotta be kidding.&lt;/em&gt; It’s like—like—I—but, you know, at that point, it didn’t matter. We could’ve stood there and flapped our arms like birds and nobody would’ve cared, and so—but we tried. I mean, by the second verse—it was “You’ll Never Walk Alone”—by the second verse, we—we could maybe sort of sing, and the walkout into that crowd of people.&lt;/p&gt;
&lt;p&gt;I remember being in Washington, D.C., you know, mid-[19]90s in like the second March on Washington [for Lesbian, Gay, and Bi Equal Rights and Liberation]. Being on the subway when I lived in the Bay area—you know, one of gay centrals—it’s like, “No.” You know when you ride on BART,[13] you’re not safe. Doesn’t matter that it’s San Francisco[, California], you know? You—y—y—there’s a way of being circumspect, and I’m—I spent my whole childhood being abused because I was different. I didn’t understand that “different” meant “gay,” but they did. I went[?], you know—I—it was a normal part of my experience to be physically attacked on a regular basis. Thrown into lockers, you know, punched and hit—and that was just normal, and n—there was[sic] no adults who really cared. My mother asked me the other day it was like, “Where—wa—was I affectionate as a mother?” And I said, “Not to me,” And she was shocked—just shocked. It’s like, “I’m the wrong one to ask.” I didn’t let anyone touch me. From—from the day—first day of first grade—new school, you know, didn’t know anybody, new city—and the first thing that happened to me was to be attacked. Yeah, I didn’t let people touch me. Dancing was my way of touch. Other than that, no one touched me, you know? Not hug people, barely would shake hands. Not allowed to touch, and you walk out to this—wanting to hug you. I’m not good at hugging. You have to let people, and I had scheduled my flights that I would actually not stay to the very end. I was so grateful. I couldn’t take it anymore [&lt;em&gt;sniffs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;At GALA, they have “coffee concerts” in the morning. They, um—a longer time slot to do something with. A very small, Canadian group had one of ‘em. It was very crowded. I managed to get a seat. It was marvelous. It was funny. Almost every one of the choruses added something in to acknowledge. you know, It was very—uh, um, I don’t want to seem callous, but it was like, you know, one more—“Thanks,” you know, [&lt;em&gt;laughs&lt;/em&gt;] but—and the Canadians change theirs—program too a little bit, but what was fascinating to me was they had this woman in a hijab singing with them [&lt;em&gt;sniffs&lt;/em&gt;]. She was fascinating. Soaring soprano voice, phenomenally animated—just, you know, capture everyone’s eye when she was onstage, and they—they sang a song in, um, not Farsi, but, um, Arabic, because of her, and, you know, it’s normal, you know? People are leaving the stage and you line the hallways and everybody comes in. Everybody [inaudible]. So I just waited. I waited. I waited.&lt;/p&gt;
&lt;p&gt;We had—we had, uh, you know—people had ribbons that we had made and stickers and the Pulse logos and there was like [inaudible], and I wanted to talk to this woman, and everybody wanted to talk to this woman. She had friends there—all this—and I waited, and finally. Finally, there was a camera crew following her around, and I just waited until she was kind of done and all settled down, and she saw me in the shirt—the shirt, and she looked at me and I looked at her, and I put out my hand and it had one of the Pulse stickers in it, and I said to her, “I want you to have this,” and it was extraordinary. Here’s this woman, who turns out isn’t a woman. She’s—she’s a transsexual in process, who is a convert to Islam, who decided to be Orthodox, found an organization in Canada that would accept her for who she is, you know? Coming to America to a major city after a shooting that’s related to, you know, an Islamic fundamentalist supposedly—not really, but that’s the perception—and as we stood there, we talked—I don’t know—20 minutes. It was amazing, and, you know, the stories that she had to tell. Just m—this is—this is what bravery looks like. I was like, “Let’s get the picture,” you know? I don’t do pictures. I always forget, but I have my picture with her. You know, put it on Facebook. It’s mine.&lt;/p&gt;
There were—there’s been a lot of things. Um, one of the outreaches was at, um, [John F.] Kennedy Space Center, and not many people could go. It was like, workday, Tuesday, all day, have to be able to get on base. Not everybody would pass the minimal clearance requirements, um, but I could go, and, um, I was like, &lt;em&gt;Oh, this’ll be interesting&lt;/em&gt;, you know? &lt;em&gt;I wonder in anybody will know my project&lt;/em&gt;, and that was—it was—and, you know, when I worked with TRW Space and Defense, being gay was not a good thing, um, and when we show up it’s gonna be this auditorium full of people, who— ‘cause they have an organization now. It’s like NASA has an organization for gay people. Different world, and—and, yes, you know—people know the project that I worked on. It’s still a meaningful thing. People actually, you know, there were people who know my father’s name. It was amazing, and that was hard. That was—for me, that was the hardest one to sing there.
&lt;p&gt;There’s still—I just—we just went Sunday to the movie theater, ‘cause Tony Romero—I don’t know what his last name is—invited the chorus and a few other people, ‘cause Ellen [DeGeneres] gave him a showing of &lt;em&gt;Finding Dory&lt;/em&gt;, which I did not see, and it’s like, &lt;em&gt;Okay, this is lovely. Get to go&lt;/em&gt;—it’s changing. We get to reflect differently. We get to look to a future. The obligation to create something meaningful is on those who survive, who are after. It’s like funerals aren’t for the dead. They’re for the living. We’re living. We get to choose what this means. We get to choose what happens. I want—I want there to be a difference. I want the world to wake up and know, and I don’t want it to be because it was a gay club in Orlando, but something has to do it.&lt;/p&gt;
&lt;p&gt;You know, you take the populations of Great Britain, and Australia, Denmark, and Sweden, and, you know, several other countries combined—is less than the population of the United States, and we have, you know, up 50 times the murder rate that they do. It’s not just because we’re stupid; it’s because they have gun laws that are meaningful and we don’t. You know, Australia had a mass shooting[14] and they changed their world. It was sane. We’re insane. We’re living in an insane society. I want sanity. I’m tired of it costing lives.&lt;/p&gt;
&lt;p&gt;I don’t look forward to my birthday next year, ‘cause it’s gonna be, you know, the weekend of the one-year anniversary. I don’t want there to be a one-year anniversary. There will be. I’ll be there. I wish I didn’t have to. It’s so preventable. We have to be responsible for what happens next. I have to be responsible for what happens next.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;clears throat&lt;/em&gt;]. Well, I guess, what sort of, uh—what would you hope the long-term consequences will be for the Orlando gay community, and really just for the city—the larger city or the—just maybe even society from this?
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;You know, [&lt;em&gt;sighs&lt;/em&gt;] it was interesting. Um, after this, it’s like you’re driving around town and there’s rainbow lights everywhere, and like, you know, it was August. W—my brother was in town for the weekend or the day with this wife. They live in Melbourne[, Florida], and we were gonna go to brunch up in Longwood. Driving and getting off at the exit in I[nterstate] 4, it was raining, and it’s—and below it is the banner—“Orlando Untied”—with the rainbow flag. I was looking at it, it’s like [inaudible]. I took a picture out of the window of the car, and we got to the restaurant and, you know, had this wonderful brunch, and leaving the restaurant, they have one of those chalkboard things, you know—two-sided, and on the front side g—walking in is all the specials, and on the back side was the “Orlando Strong”—“Orlando United,” but, you know, I don’t—where was I? Longwood somewhere. Casselberry, and there is the CVS [Pharmacy] with the electronic sign out front that cycles through its set of stuff. One of which was “Orland Strong.” I was like—I think it would be beautiful if what would just happen is that we could be the “City of Rainbows.” W—let’s, you know, that—somehow [&lt;em&gt;laughs&lt;/em&gt;] the gay community got the rainbow flag. It’s like, &lt;em&gt;Wow, that was smart&lt;/em&gt; [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;I don’t know if they were actually planning that far in advance, but it was like, &lt;em&gt;Wow, we co-opted the rainbow&lt;/em&gt; [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;It’s like, &lt;em&gt;That’s awesome&lt;/em&gt;. It’s like “The City Beautiful.” It’s like “The City of Rainbows.” Wow, I would—I would love for all of these city buildings and—and banks and everything else just like keep putting up rainbows. They’re beautiful. We can create all the meaning we want from them. They’re beautiful. That would be a wonderful thing to have happen.&lt;/p&gt;
Um, I would—I want gun control that makes sense. I don’t know that we’re gonna get it. I don’t know how we’re gonna get it, because we—our society is literally insane, but I would like that to be an outcome.
&lt;p&gt;I would like that, you know—we have this political season that we’re dealing with. We’re dealing with the rise of fundamentalism. People don’t understand what that means. Fundamentalism is a particular thing in philosophy. It’s—it’s not just an extreme point of view—that’s orthodoxy. It’s not just that “I’m right and you’re wrong.” It is: “I’m right, you’re wrong,” and the existence of other ideas, other beliefs cannot be tolerated, and must be suppressed or eliminated by whatever means necessary. That’s fundamentalism. We’ve seen it in religions—not just Islam. I mean, you know, American Christianity is full of its fundamentalism. “You will believe the way that I say it’s supposed to be or”—and when, you—political fundamentalism—“I’ll get what I want in this bill or this bill will never happen.” There is no such thing as compromise in fundamentalism. Nationalism is a form of fundamentalism. Brexit is fundamentalism. The rise of these nationalistic parties in Europe—that’s fundamentalism. You know, even the idea that the news doesn’t tell us the facts. They tell us how we’re supposed to feel about what happens. No, you don’t get to tell me how to feel, but somehow that’s become part of news. No, but that’s representive[sic] of fundamentalism. It’s, “You don’t get to have your opinion.” There is “the opinion” and that’s it.&lt;/p&gt;
&lt;p&gt;As long as that’s true, we’re not gonna see gun control. We’re not gonna see a society where it’s truly safe to be gay. We’ve made huge progress, but that doesn’t change the way that people think, or believe—believe is worse. Belief takes no foundation. There’s—doesn’t have to be proved, and anything that stands in the way of it can be discounted.&lt;/p&gt;
&lt;p&gt;We sing, you know—you know, we talk about the—what is our purpose? We’re gonna change hearts and minds from musical excellence. The opportunity that’s been presented to the Orlando Gay Chorus because of this horrific thing is phenomenal. We get an audience that we would never have had, and we get to stand up, and we get to sing, and we get to do it as a gay group, and people get to hear good music, good singing, and it has a message, and we’re gay. I—you know, I talked to the leadership in the chorus and said, “Don’t be afraid. It’s—you’re not—there’s nothing wrong—there’s nothing wrong with capitalizing on this moment.” We’ve said for a long time that we want to stand up and mean something. The opportunity’s been handed to us. The mistake would be to not take it. Say, “Yes.” Do these things. Put the message out there, and do it for the right reasons.&lt;/p&gt;
&lt;p&gt;I said to Tony the other day—the business manager—“You know, there are a lot of survivors in a lot of ways. Most of them can’t—can’t stand up and talk to the world. It’s not a part of who they are,” but he can, and I remember eighth grade. There was this thing happening, you know—one of the kids in school—and I went home and I complained to my mother about it, and she said, “Who did you talk to?” I was like, “No one. Not me,” You know, and she’s, “Well, you know? You should.” I was like, “Why?” It’s like, “Well, because you can.” So the next day, I marched myself into the principal’s office and complained on behalf of somebody who couldn’t. Those who can need to. Tony can stand up and talk to the world about his experience, and maybe change the world’s thinking—little bit by little bit by doing that. he should. He’s not opportunistic. He has a message that needs to be heard, and he’s capable of delivering it, and he can do that on behalf of victims everywhere. He should. The chorus has an opportunity. We should. We can. It’s not opportunistic. Yes, does it move our agenda forward—the agenda we’ve had f—long before this happened? Absolutely, but it’s still the right thing to do, and it’s for the right reasons, and that’s what we should do. We should keep saying “yes” to the opportunities that arise, and over time—it’s already happening—that they’re—they’re not about that anymore. We got to sing with the Second Harvest Food Bank [of Central Florida], because I go to their dinners, and I know the organizer there, and she likes me.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;And after this happened, she said to me, “You sing with the Gay Chorus.” I was like, “Yes, I do.” “I wanna talk to you about it.” I was like, “Not the right one to talk to, but, boy, can I get you in touch with the person who is,” and we got to do this amazing event for an audience who we would otherwise never touch. Changed the perception of a lot of things.&lt;/p&gt;
&lt;p&gt;We got to sing the national anthem[15] at the First Responders’ Breakfast. This is not a group of people who are gonna just suddenly say, “Oh, gosh. We need to have the Orlando Gay Chorus come and sing.” We’re gonna sing for the AFL-CIO.[16] It’s like Jimmy Hoffa’s[17] union.[18]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;We’re gonna sing for them. The gay chorus in Orlando is gonna sing for Jimmy Hoffa’s union.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;That was not gonna happen before, and now, it is. So, you know, what’s gonna come of this? I hope that. I hope lots of things like that. I hope a dialogue, in music for us, that lets people have a different experience of what “gay” means, and then, maybe the world really can change.&lt;/p&gt;
&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Thank you so much for sharing that with us today, Richard. I really appreciate it. Is there anything else you’d like to add? I mean I—that was a great—that was a great place to end, I think.
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;No, you don’t—you don’t want to get me started on Lucy.[19] It’s okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] Read the blog.[20]&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;We can always do a second interview.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Read—read the blog on Lucy.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Did you find my blog?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I did.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;I did.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Well, that’s an interview for another time.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;Oh, yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;This—thank you. You know, it’s like—this’ll go into an archive, and—and who knows? Maybe some researcher a hundred years from now will look at it, but probably, other than that, nothing.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;Aw.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Lamberty&lt;br /&gt;&lt;/strong&gt;That’s okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Cravero&lt;br /&gt;&lt;/strong&gt;It’s fantastic. Well, this is, uh—this has been Geoffrey Cravero with Richard Lamberty in the conference room of the Center for Digital Humanities and Research at UCF in Orlando, Florida, on Tuesday, October 11&lt;sup&gt;th&lt;/sup&gt;, 2016.&lt;/p&gt;
&lt;br /&gt;&lt;div&gt;
&lt;div&gt;
&lt;p&gt;[1] University of Central Florida.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[2] National Aeronautics and Space Administration.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[3] Acquired immune deficiency syndrome.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[4] North American Same-Sex Partner Dance Association.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[5] European Same-Sex Dancing Association (ESSDA).&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[6] Dance Vision International Dancers Association.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[7] Gay and Lesbian Association of Choruses.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[8] Joy Metropolitan Community Church.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[9] Of June.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[10] Spell check.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[11] Typeahead.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[12] Automatic teller machine.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[13] Bay Area Rapid Transit.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[14] Port Arthur massacre.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[15] The Star-Spangled Banner.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[16] American Federation of Labor and Congress of Industrial Organizations.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[17] Born James Riddle Hoffa.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[18] Correction: Jimmy Hoffa was the president of the International Brotherhood of Teamsters (IBT).&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[19] Lamberty’s now-deceased dog.&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[20] http://rexl.org/.&lt;/p&gt;
&lt;/div&gt;
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&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
&lt;li&gt;display the work&lt;/li&gt;
&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;
&lt;/ul&gt;
This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
&lt;li&gt;create derivative works&lt;/li&gt;
&lt;li&gt;perform the work publicly&lt;/li&gt;
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&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;
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                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
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                <text>Boedeker, Hal. "&lt;a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank"&gt;Orlando Gay Chorus marks 25 years&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, October 18, 2016. Accessed October 18, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.</text>
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                <text>Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text>Hyman, Jamie. "&lt;a href="http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/" target="_blank"&gt;Community rises up after mass shooting at Orlando gay nightclub kills 49&lt;/a&gt;." &lt;em&gt;Watermark&lt;/em&gt;, June 16, 2016. Accessed October 18, 2016. http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/.</text>
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                <text>&lt;p&gt;&lt;strong&gt;Schneider &lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;beep&lt;/em&gt;] Today is Thursday, November 17&lt;sup&gt;th&lt;/sup&gt;, 2016. My name is Sarah Schneider and I am conducting an oral history interview with Manny [Emmanuel J.] Agon Kresky of the Orlando Gay Chorus. The interview is being conducted at the UCF [University of Central Florida] Center for Emerging Media in Orlando, Florida.&lt;/p&gt;
&lt;p&gt;So thank you for being here today.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And can you start off by telling us your name please?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, my—my full name is Emmanuel. Emmanuel J. Agon Kresky.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Thank you. And to start off, can you tell us where were you born and how long have you lived in Orlando?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I was born in South Florida. I was born—born in Hollywood, um—Hollywood, Florida. My parents lived in Dania Beach[, Florida]. Um, grew up in South Florida and went to college in [Washington,] D.C. After college, I went back to South Florida. And then moved to Orlando[, Florida] in, um, maybe 1998 or so. 1998 or 1999.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Okay. And how long have you been a part of the Orlando Gay Chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Since, um, early 2000s. So maybe like 2003. I’d have to double check, but I think around 2002, 2003.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;And what brought you to join the chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;] Um, let’s see. I had—I had sung with, um, Candlelight—uh, the Candlelight, uh, Processional over at Epcot. I sang with cast choir there. And after performing with Disney, I kind of wanted to continue singing after the holidays. And I had attended one or two OGC[1] concerts. And, um, I auditioned after maybe the second time seeing them perform.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Okay. And, um, can you tell us about some of your favorite productions or…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…performances you had?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, sure. So the—the—the holiday concerts always[sic] the most popular ones. The ones that people get, uh, most excited about. Um, I think my personal favorite was the one that had the format of a radio show. And so there was an MC[2] and, um, it was like a broadcasted concert. It was like a, um—it was—it was more structured. Um, it was a more structured concert.&lt;/p&gt;
&lt;p&gt;Another one that I—that—that sticks out in my mind was one of the earlier ones. And it was called, um, “From Sissies to Superstars”. And it told the story of Oliver Button. I think that was his name. Oliver Button. And, um, it told of a story of a—of a—of a kid who was a little different. Um, and how he navigated through some challenges in his life.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm. Um, and have you participated in the GALA[3] events?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yes. I go—for whatever reason, I did not go to the ones that were actually closer to home. So there’s one in Tampa[, Florida] and there was one in Miami[, Florida]. Uh, I didn’t go to those. Um, my first GALA festival was in Denver in 2012. And we returned this year, um, to—to Denver for the 2016 festival.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;So you—you have—you’ve been there twice for GALA events.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yes.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yes. Even though I have been in the chorus for longer, for whatever reason I, um, did not join the rest of the chorus members by doing the festival up until 2012.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. And, um, what has your experience at the GALA events be[sic] like—been like? Can you tell me a little bit more about what that event is like?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;2012 and 2016 were very different. Um, and a big part of that was because of Pulse[4]. Um, it was just very, eh—eh, [&lt;em&gt;sighs&lt;/em&gt;]—it was—it was affirming. It was humbling. Um, there were—there were just a lot of random people who’d come up to us. And because they knew that we were from Orlando, they would give us words of encouragement. They would hug us. Um, they would thank us for coming. Um, it was just very—very humbling.&lt;/p&gt;
&lt;p&gt;Um, 2012, being that it was my first GALA, was a different experience, where it was like, “Oh, my god. I can’t believe this is my first year coming. I don’t know why I didn’t go to the one in Tampa. I don’t know why I didn’t go to the one in Miami.” Um, we did a great set. It was just very uplifting to be surrounded by so many likeminded people. And i—in 2012, it was just a more joyous celeb—celebratory kind of feel to it. It was also when I started dating Nick [Nicholas Agon Kresky]. So, um, that will always have a very, um, you know—an important, uh, piece of my heart. Uh, 2012.&lt;/p&gt;
&lt;p&gt;But, yeah. Two very different experiences. Uh, both great experiences. Just very different.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so, getting to Pulse, um, can you tell us how you first heard about what happened?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So, um, I guess it was Sunday morning. Um, I—Nick had already gone—Nick, my husband, had already gone to work at Universal [Studios Florida]. We were having some work done upstairs in our house, so we were sleeping downstairs. For whatever reason, I checked my iPhone from work. Um, I don’t always do that on the weekends. Um, but for whatever reason, I did. I hope my boss isn’t watching this because I—I check my iPhone all the time [inaudible] [&lt;em&gt;laughs&lt;/em&gt;]. Um, so i—the —for whatever reason, I—I—I scroll through, uh, my messages. And I work for an online travel agency. And there was a message from one of our operational, um, departments—is—mi—mentioning that there was an incident. And, um, they were trying to ascertain whether or not any of the travelers that booked through our website were impacted by it.&lt;/p&gt;
&lt;p&gt;And so be—this was before we knew the extent of it. We knew that there was a shooting. We didn’t know that—how many people were injured. How many people were dead. Um, and then—so, um, I read it. I didn’t—again, not knowing that it was a terrorist or it’s somebody who is mentally disturbed, um, I—I knew that the operations people were looking, um—looking into it.&lt;/p&gt;
&lt;p&gt;Um, I didn’t think that anyone that I—I knew would have been at the club at the time of the day—or time of night. Um, and then—so I think I sent out a few emails to my hotel partners saying, “Hey. Um, I heard there was a shooting. I hope every—all of your guests are okay.” And then I—I didn’t really put that much thought into it.&lt;/p&gt;
&lt;p&gt;Um, later that same morning, I started getting texts and Facebook messages from—from my friends outside of Florida asking if I was alright. And, um, you know, wishing that I was safe. And, um, telling like that they hope I’m doing well. And just—you’re kind of like awestruck. It’s like I—why is this happening [&lt;em&gt;laughs&lt;/em&gt;]? Like who—uh, why are people reaching out? Again, not knowing the extent of how many people lost their lives. How many were injured at, um—at Pulse.&lt;/p&gt;
&lt;p&gt;Eh, gr—I grew up in South Florida. Went to school in [Washington,] D.C. So, sad to say, shootings were not unheard of. And so, again, not realizing the extent of the damage that was done to the patrons that were there. Um, to the community. Just mindboggling. And then, um, you know, I started watching the news. The—you know, it’s hard to go back to sleep. Right? So you [&lt;em&gt;laughs&lt;/em&gt;]—you watch the news. And then, um, just kept the TV on. And then, you know, more messages, um, about what’s going on.&lt;/p&gt;
&lt;p&gt;And, uh, I think I worked—I had to work that day, so, um, we were hearing about—I think one of the West Coast cities was having their pride event. And there might have been some hubbub about, um, somebody, eh, going to one of their pride events with maybe ammunition—with guns in their car. Wondering what the extent of this attack was going to be. Again, at—at this time, we don’t—I don’t think we knew that much information on—no—I don’t think we knew the—who the perpetrator was on Sunday afternoon.&lt;/p&gt;
&lt;p&gt;So just very—you know i—it was just not anything that I could relate to. Like 9/11[5], like I was—I was born. I mean I was—I was alive during 9/11. But it was—it was much more remote. Right? Um, and this one hit a lot closer to home. Because while—while I don’t think I knew anyone there that night, I knew that pe—other people did.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. And so can you tell me a little bit about the Orlando Gay Chorus’s response, um, in the days and weeks following the shooting?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So, um, I think Carol Studer,[6] um, and J.D. Casto[7] were just on top of it—on top of everything. So there were many requests for us to, um—to perform at various events. It was—you—there were so many—there was—it was—it was almost impossible if you had a, um—i—if you have a job or other commitments that you could actually make every event. Um, because the chorus was, eh, pretty much in high demand. And, um, y—you know, some were m—more uplifting than others. Right? So there were, eh—the—the ones—the—Cory [Connell]’s outside of Publix [Supermarkets, Inc.] was—was hard because, um, it was unlike some of the other ones where we were trying to raise awareness or create a sense of community or strengthen the sense of community or raise money or something like that. It was like, &lt;em&gt;We’re at somebody’s memorial service&lt;/em&gt;. Um, you know, quite—quite sobering for that.&lt;/p&gt;
&lt;p&gt;Um, so there was—there was Cory’s event. Um, there was the—there was prayer vigil at the cathedral that we go to. The Episcopal cathedral that we—we go to. [Cathedral Church of] St. Luke’s. We went to that. There were two events over at Dr. Phillips Center [for the Performing Arts]. One that was put on by the local arts community, um, and one that was actually, uh, Broadway folks. They came down from New York for a fundraiser. Um, more recently, there was a vigil, um, actually at Pulse. And, um, some of the survivors, uh, w—were—were invited. And it was the first time back at Pulse for many of them. Um, and up until that time, nobody could go through the fence. Um, but that night that we were there, uh, they opened up the fence and we actually, um, sang inside—inside the—the fence.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And what were you feeling and thinking as that was going on? What was that—the atmosphere like at that—what you just described?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I mean we can’t feel—I mean i—it’s like—it’s—it’s—I—I guess the only thing I can equate it to would be if you’re going to—if you’re going to a place of worship and regardless of whether it’s your church or somebody else’s church or synagogue, um, you—y—you j—you just know enough to be respectful. And then you, um, you know, talk in hushed tones. And you can smile at your friends, but you’re not—it’s not necessarily a time to be joyous per se. Or happy per se.&lt;/p&gt;
&lt;p&gt;Um, it was, um—they had—they had murals on the wall. They had, um, eh, i—th—I don’t think it was—it was a permanent mural. It was more like a canvas or paper. I’m not sure exactly what the material was. But people were saying their goodbyes or writing down the names of their loved ones. Um, and it was—we were honored to be there. Uh, but it was very, um—I don’t know if sobering is the word. It’s kind of—I hope your other interviewees are much more articulate than I am [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;I—it was—it was—it was—we were honored to be there. We were honored to be there. And we, um—we—we sang “True Colors”, which is fitting for the event. Um, another one that we didn’t sing that night, but, um, “You’ll Never Walk Alone”. Those seem to be the—the two most requested songs from us. Or—or the ones that we seemed to be the most appropriate for the type of event. [inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and do you have any other moments in those vigils or memorial services that stand out to you? Um, or things about them that you think—or you’d like to share?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;The, um—the—the church we go to—the cathedral—St. Luke’s Cathedral did a—did a wonderful, um—wonderful job, um, of—and I think there—there was media there, so there might be—there might be a t—a tape or something of it. Uh, of that night. But it was sh—they—they had one candle on the altar for each and every single victim. They had 49 candles. Each candle was—was different. No two candles were alike. Um, it was very—i—it was very nice. It was very, um—it was something that only like the cathedral could do because there was a sense of, um, kind of pageantry to it. But so tasteful. And so respectful. And just—just—it was—it—I felt that it was the right, um, um—th—the right, uh, feel to it. If that makes sense.&lt;/p&gt;
&lt;p&gt;Um, later that night, after we had cleared out of the cathedral, they had a vigil on Lake Eola. So this might have been [&lt;em&gt;sighs&lt;/em&gt;] a week. The Sunday after Pulse. Right? A week after. Um, the vigil at Dr. Phillips [Center for the Performing Arts] on the lawn the day after Pulse, um—I—I was not able to make it because I had to work. Uh, Nick [Nicholas Agon Kresky] went, but I was unable to make it. So, um, fo—for me, that was like the big, massive gathering event where you could actually—after leaving the cathedral, we walked over to Lake Eola, which is just maybe a block away. And then you could see the entire border of the lake surrounded with people with candles.&lt;/p&gt;
&lt;p&gt;Um, it was just very nice to see that many people come together. Whether it was the LGBT community. Whether it was the Latinx community, um, coming together. Whether it was just people who wanted to put an end to gun violence. It was just really nice to see the—the city coming together. That probably stuck out the most.&lt;/p&gt;
&lt;p&gt;Um, another one actually that sticks out—not a vigil. Much more, um, joyous, um, was actually Orlando City Soccer [Club]. Like I never thought I enjoyed soccer until we were invited to sing at the halftime show. And they had the entire, um, stadium decked out in a rainbow. So it was one section was red, next one was orange. All the way around. And they had 49 seats up in the bleachers left empty for, um, the victims of the shooting. And there was a candle—or not a candle, but a balloon on each of the seat[sic] to commemorate them. And you could see those balloons from anywhere in the stadium. It was just very—it was very nice to see. Um, I think it was 49 minutes into the game. They actually stopped the game for a moment of silence. So—never was interested in soccer before [&lt;em&gt;laughs&lt;/em&gt;]. It’s like, &lt;em&gt;Wow. I really like soccer now. And I really like this team&lt;/em&gt;. Because I think that was the first, um, major sports event after the Pulse shooting. I think it was the—I think it was the Saturday after Pulse that they did that. Then they had their—their game.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And what did you think about singing in the stadium? What was tha—what’d that feel like—the actual performance element?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, [&lt;em&gt;laughs&lt;/em&gt;] from a—from a technical standpoint, there were some learnings[sic]. Um, there was a—I guess there’s a delay. So I don’t know how we sounded. The people that saw us on TV soun—heard—uh, said th—that, uh—that we sounded—we sounded good. Um, i—it was very welcoming. I never—I’ve never necessarily been the victim of—of—of a hate crime. I’ve never, eh—I don’t believe that I’ve been discriminated before in the past because of my, um, sexual orientation as an adult. And I don’t—in Orlando, I don’t really expect that anyway. Um, but these soccer fans seemed very, very welcoming. And there were just so many rainbow flags that night at the soccer stadium you would have thought it was a Pride event. Um, it was just very uplifting. Very affirming. Uh, very welcoming. Yeah.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And what did you think about, um, the reaction of the community—the local community to what had happened? You touched on this a little bit already…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…but is there anything else you—you had thought or—or felt in the communi—in response—the community’s reaction?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Eh, um, i—it—it’s unfortunate it takes something like this to actually bring people together. Um, but—but in a—in a sense that’s—that’s what happened. People came together. And, um, I think, you know, i—the people at—the people at work kind of gave me my space, um, because [inaudible] go through all sorts of emotions. I think every day for a week I cried at some point. Listening to the radio. Watching TV. Talking to somebody. I would—I would cheer up inevitably. Um, in the car on my way to work. And—and occasionally, I’ll watch a clip or something on YouTube and I’ll start tearing up. People would just say, “Hey. If you need somebody to talk to, I’m here.”&lt;br /&gt;&lt;br /&gt;Um, the week following the incident, I reached out—well, I didn’t take any time off. I just continued my work. But I have some gay partners. I—I work for an online travel agency, so we have, uh, partners that are—that work in hotels. And I reached out to all my—my gay friends [&lt;em&gt;laughs&lt;/em&gt;] that worked in hotels. And it just been m—meet with them—one—one for lunch. Um, you know, ‘cause you never know when somebody’s not gonna be there anymore. So it was a—a nice time to reconnect and kind of, um—kind of reconnect. And then I—kind of like process together. And thank God for Nick. Because y—you know, we have each other to make—to try to make sense of it all. Um, not that we did make sense of it, but th—we have each other to—to lean on, which I was very grateful for.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um, what did you think about reactions to the Pulse shooting from people outside of the local community? So either nationally or even internationally. Um, did you s—did you feel any of that or think about that?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. I—I think w—[&lt;em&gt;sighs&lt;/em&gt;] you know, when I would cheer up in the car or watching TV or—or YouTube, it wasn’t really tears of sadness. I think it was just feeling the love from the other—the other cities. Um, seeing pictures of, you know, the White House decked out in rainbow colors. The Sydney Opera House. All these, um, landmarks. And seeing them as just from the people around the world sending their love to Orlando.&lt;/p&gt;
&lt;p&gt;Um, the other—I work for Expedia. That’s the online travel agency. I’m not sure if you have to edit it—that out. But, um, the other Expedia offices, um, sent us, you know, “We Love Orlando” signs. And they took a picture of their, um—of their team holding up rainbow flags, banners and stuff like that. It’s—it’s quite unfortunate that after—after Pulse, you know, we were doing the same thing for the offices in France. And I think there was—there was[sic] a few with gun violence and terrorist attacks in Europe that we—we did the same for them. Right? Um, because you never think it’s gonna happen to your—your—your own city. Right? There was New York. There was Boston. We might be a big—“big-ish” city, but we’re not the same par as the size of those cities. Right? So you don’t think that we would be a target for—for a terrorist attack.&lt;/p&gt;
&lt;p&gt;Um, but yeah. The—the f—oh, my God. And talk about Festival GALA, you know, just—the love that we got from there—from—from our fellow choruses from around the world. They had these huge banners. Um, “We Are With You, Orlando”. “We Are Orlando”. Just like huge banners. Um, I think one’s at the [Orange County Regional] History Center. But probably—I don’t know. It seems like the length of this—of this room out there in the other room on the—in the foyer area. Um, just lots of love from the other cities.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. And, um, what else did you i—I know you talked about how different 2012 and 2016 were at the GALA events, but can you say more about, um, what the 2016 event was like and—and, um, yeah—how Pulse impacted…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;…that experience?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;…um, we had—we had gone into, um—into rehearsals with a totally different set. Um, and Nick is actually probably a little better versed at talking about what we actually intended to sing originally before Pulse. After Pulse, it’s like, &lt;em&gt;Okay. W—we—this set does not—is not fitting anymore. We need to have a new set. &lt;/em&gt;And we came up with a new set.&lt;/p&gt;
&lt;p&gt;Um, so “True Colors” again. It was probably the song that we sung[sic] most often at the—at the events. And then we ended with, um, “You’ll Never Walk Alone”.[8] And I hope there’s a—I—I know there is on YouTube, um, our director speaking to the audience.[9] Packed audience. Um, when we performed there were people who tried to get in that couldn’t. Um, everyone wanted to see Orlando from what they tell us. But there was—we—we—he spoke about what it was like waking up that morning. Um, similar—similar experience. Like, &lt;em&gt;Why are these people contacting me? Why—why am I getting all these texts? Why am I getting all these Facebook messages?&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;Um, and we were just a mess. The chorus members [&lt;em&gt;laughs&lt;/em&gt;] were just like trying to hold it together. We had gotten through almost every song. We knew that “You’ll Never Walk Alone”, um, was—was gonna be the next song. And it was just—it was—it was very hard to—to—to get through his introduction of that song. Um, and then when we sang, he had invited the entire, um, audience to sing along with us. Because there was no way we were getting through that song without crying if we weren’t already crying. Um, and then we ended on a—on a different song after that to kind of show people that, y—you know, Pulse is not—I think Mayor [John Hugh “Buddy”] Dyer said that Pulse is not going to define us. We weren’t gonna end on a sad song. Right? “You’ll Never Walk Alone” can be a little, um, solitary. It’s a little melancholy. So we ended with up with, uh, “We Are Family”. And then we had pink boas and pink glasses and little things in our hair. And it was just a—a—a—a fun number to end on.&lt;/p&gt;
&lt;p&gt;Um, but yeah. Eh, tha—I think [&lt;em&gt;sighs&lt;/em&gt;], uh, that was, um—eh, I—they—they said that the s—our set was the set that everyone was trying to get into to see.&lt;/p&gt;
&lt;p&gt;And then the other—the other choruses actually—many of them made reference to, uh, the gun violence or homophobia or, um, something along those lines in their own set. And they made—a lot of times, they made mention of it. Um, now that I think about it—because while we performed, we’d also watch other people perform as well.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um, was there anything else you wanted to say about the interactions between you and members of the other gay—uh, the other choruses at that event, you know, outside of the performance?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Was there anything else…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;/strong&gt;       …you heard from people?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, just a lot of—a lot of hugs from random people [&lt;em&gt;laughs&lt;/em&gt;&lt;span style="text-decoration:underline;"&gt;]&lt;/span&gt;. I—so I, um—I’m not always the most “huggy” person [&lt;em&gt;laughs&lt;/em&gt;]. So it’s like, &lt;em&gt;Oh! Why are you hugging me?&lt;/em&gt; Um, but no. It was, um—I—I—I always appreciate when people say, “Can I hug you?” Or “May I…” It’s like, &lt;em&gt;Sure.&lt;/em&gt; You know? I know it’s coming. Um, but yeah. There was[sic] a lot of people who wanted to welcome us. To thank us for being there. Reaffirming.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm. And I’m curious what the, um—Pulse as a place—if it meant anything to you as a place before what happened. And if now i—it has any significance in your mind as a location and site.
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah. So, um, I was, um—I am acquainted with one of the old managers there. Uh, with Ron Legler. I—I met him through Florida Theatrical Association. And so, um, he—he moved to Baltimore[, Maryland] a—a little while ago. I don’t know that I’ve been to Pulse since he left Orlando. Um, so for me, I—I’ve been a few times. Usually as his guest. Um, it’s not a place where I f—I frequented. It was no—my—my place was actually Parliament—uh, not—well, Parliament House nowadays. But, um, back—back when I was younger, um, we used to go to Pleasure Island [Walt Disney World Resort] on Thursdays. So it was usually [&lt;em&gt;laughs&lt;/em&gt;] in—in my twenties—in my late-twenties, it was Pleasure Island on Thursday and Southern Nights on Friday. And then Saturday night: Parliament House. On those rotations that I went out every single night of the weekend. I don’t do that anymore. Um, now it’s like maybe once a month there’s a show over at Parliament House we wanna see. We’ll go to Parliament House.&lt;/p&gt;
&lt;p&gt;Um, so, eh, Pulse kind of opened up—kind of as—as—kind of off of that “go every weekend” kind of phase of my life. Um, but Ron’s partner, Andrew—Andrew Springer, had his birthday party there. So there was a reason to go to Pulse. Right? Um, so if there was a birthday party. If there were friends coming in from out of town, then we might go to Pulse.&lt;/p&gt;
&lt;p&gt;Um, I—I think some of the—some of the stuff that the newscasters said after Pulse could be true for any of the gay clubs. That it was a safe place. That for many in the community, it was, you know, their place of worship if you will. I thought that was a change—it was strange, um—a strange, uh, term to use. But I—I know that a number of people have used gay clubs in general as a—as a—as a—as their place of worship. As their church. Um, so I—I appreciate it for that. Um, for that aspect of it. While it wasn’t necessarily my place of worship, um, I do respect it for being a safe place where people would gather. Where people would feel safe. Um, where people can be their—themselves. Right? Um, yeah.&lt;/p&gt;
&lt;p&gt;And now that I’m older, it’s like I don’t know that I can stay out past midnight [&lt;em&gt;laughs&lt;/em&gt;]. So I—had I been out, I think I would’ve been in bed way before—way before 1:45 at that point.&lt;/p&gt;
&lt;p&gt;But if it was—you know, as you think about how if it wasn’t Pulse and if it was Parlia—and if it was Parliament House. And if it wasn’t 1:45, but it was twelve midnight or something like that, it could have been any one of us. Right? Um, you never know.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, you mentioned briefly, um, Facebook and things like that. People contacting you after it happened. Did you see social media playing any response in—or any, um, part in the time following the shooting in people’s response to the shooting? Or did you feel like that wasn’t really a big part of—of people’s reactions?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Before Pulse, I never knew that there was a feature on Facebook to mark yourself safe. And while I was appreciative of that so I can see which of my friends were, um—were safe, I was like, &lt;em&gt;Oh, my God. Why is this even necessary? Or like what kind of world to we live in that this is necessary that they built this?&lt;/em&gt; Um, I don’t know—eh, you know, I like to think that, for the most part, Facebook is—is neutral. And so I don’t know that they did anything to either, um, promote awareness about Pulse or downplay it. Um, obviously, so much of what we see on Facebook is just who we decide to follow on Facebook. Um, so lo—lots of posts from, um—lots—lots of posts about, um—from—from other—from other cities wishing us well. From other gay choruses wishing us well. Um, lots of that stuff, which was quite uplifting.&lt;/p&gt;
&lt;p&gt;Um, eh, there were th—you know, there were the—the pictures of—of the outside of Pulse. As people were driving by. Um, I—I never visited either the hospital or Pulse while the memorials were up. Before, eh, the [Orange County] Regional History Center started protecting the—the—the stuff left behind. Um, but there was[sic] many pictures of the memorials were laid out. Either—and there was actually—they were laying stuff out on the lawn, too, of Dr. Phillips. Um, so saw many pictures of that on Facebook as well.&lt;/p&gt;
&lt;p&gt;It was helpful to find out, you know—to promote certain things. Like, um, the little arts organizations did the “Beautiful Together” event over at Dr. Phillips. So there was lots of, um, you know, &lt;em&gt;We’re trying to—to—to promote the event. And then so, you know, we’re sharing stuff on Facebook.&lt;/em&gt; Um, [&lt;em&gt;laughs&lt;/em&gt;] I don’t know how much of it you could share for the—for the—“From Broadway with Love[: A Benefit Concert for Orlando]” because I think that the event sold out almost immediately. Um, but there was—there were[sic] lots of mention about who’s coming to the event and who confirmed. And, um, during the event and after the event, lots of pictures of—of—of, you know, the celebrities interacting with the—with the locals, which was nice to see.&lt;/p&gt;
&lt;p&gt;Yeah. But for the most part, I think that—I like to think that Facebook is pretty neut—neutral. And then, uh—it’s just a tool that we use, in that, you know, we’re—we’re—we see [&lt;em&gt;door closes&lt;/em&gt;] what we choose to see and who we choose to follow on Facebook.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Do you have any thoughts about the long-term impact of Pulse, um, and the shooting, whether the impact, um—what—let me—let me s—ask that question again. What would you think the long-term consequences of the shooting might be for the Orlando gay community and for the larger City of Orlando?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, gun control reform I think would be a big one. I—y—you know, the perpetrator wasn’t from Orlando. He came from outside of Orlando. So I think that just educating people I think would help. Um, but, you know—but then, you know, we wonder like, &lt;em&gt;Okay. Are—do we need to go outside of Orlando to educate people there? &lt;/em&gt;Um, you know, when somebody shoots somebody like what’s—in any fashion, it’s like, &lt;em&gt;What the heck’s going through their mind?&lt;/em&gt; Like &lt;em&gt;H—where did this come from? Where did this hate come from? Where’d this ignorance come—came—come from?&lt;/em&gt; And y—you like—we can’t always dictate how people think. I don’t think we should dictate what people think. But I think that we can—we—we can put laws in place that prevent massive harm through—through assault rifles. Through guns. Through gun violence. Whatever. Um, I think they go hand in hand. I think we need more [&lt;em&gt;sighs&lt;/em&gt;], um—I think we need gun control that makes sense. I think we need to—to reform some of the stuff that we have out there. Um, but at the same time, I think we need to continue to educate. Um, part of our mission statement for the—for the Orlando Gay Chorus is about changing people’s hearts and people’s minds. And I think that we need to continue doing that so that this doesn’t happen in the future.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, do you have any other reflections about the Pulse shooting or about your i—involvement in the Orlando Gay Chorus or anything else you’d like to talk about?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I w—I’m appreciative of you—being given the opportunity to do this. Um, the chorus has been—you know, it’s family.  It can be dysfunctional. We don’t always get along. There’s sibling rivalry. Um, but we’re lucky in the sense that we had a family to fall back on. And we had our own support group. I don’t know how many other people, um, have that luxury. Right? Um, that have the ability to—to seek the support of someone as easily as we had it. Um, we’re—we’re able to be there for each other. We’re—we’re definitely very appreciative of that. Um, you know? So i—this would’ve been totally different if it wasn’t for the chorus I think. And if it wasn’t for Nick. Um, yeah.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Well, is there anything else you didn’t talk about that you’d like to share?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I’m sure I’ll think of something as soon as you turn off the camera. But [&lt;em&gt;laughs&lt;/em&gt;] for…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;…right now, I’m good.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Okay. Well, thank you so much for participating and sharing your story with us. We really appreciate it.&lt;/p&gt;
&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Yeah.
&lt;div&gt;&lt;br /&gt;&lt;div&gt;
&lt;p&gt;[1] Orlando Gay Chorus&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[2] Master of Ceremonies&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[3] Gay and Lesbian Association of Choruses&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[4] 2016 Orlando nightclub shooting&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[5] September 11 attacks&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[6] Vice President of Orlando Gay Chorus&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[7] Public Relations and Marketing for the Orlando Gay Chorus&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[8] https://www.youtube.com/watch?v=ClS4TKtZMk4&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[9] https://www.youtube.com/watch?v=U1urPSxm7Gc&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;</text>
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                <text>An oral history interview of Nicholas Agon Kresky, a member of the Orlando Gay Chorus who serves on the chorus’s Music and Artistic Development Committee. The interview was conducted by Sarah Schneider at the University of Central Florida Center for Emerging Media in Orlando, Florida, on November 17th, 2016. Some of the topics covered include joining the Orlando Gay Chorus, his favorite productions, the 2012 Gay and Lesbian Association of Choruses (GALA) festival, the mass shooting at Pulse nightclub, the Orlando Gay Chorus’s response to the Pulse tragedy, the community response to the Pulse tragedy, pet therapy, the national response to the Pulse tragedy, the 2016 Gay and Lesbian Association of Choruses (GALA) festival, support from other gay choruses, the significance of Pulse before and after the tragedy, the role of social media in the aftermath of the tragedy, and the long-term consequences of the Pulse tragedy.</text>
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                <text>0:00:00 Joining the Orlando Gay Chorus and favorite productions &lt;br /&gt;0:02:15 2012 Gay and Lesbian Association of Choruses festival &lt;br /&gt;0:03:22 Mass shooting at Pulse nightclub and its aftermath &lt;br /&gt;0:06:03 Orlando Gay Chorus’s response to Pulse tragedy &lt;br /&gt;0:09:04 Community response to Pulse tragedy &lt;br /&gt;0:10:18 Pet therapy &lt;br /&gt;0:11:55 National response to Pulse tragedy &lt;br /&gt;0:14:05 2016 Gay and Lesbian Association of Choruses festival &lt;br /&gt;0:18:38 Support from other gay choruses &lt;br /&gt;0:19:49 Significance of Pulse before and after tragedy &lt;br /&gt;0:22:43 Role of social media in aftermath of tragedy &lt;br /&gt;0:23:54 Long-term consequences of Pulse tragedy &lt;br /&gt;0:25:45 Closing remarks</text>
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                <text>Oral history interview of Nicholas Agon Kresky. Interview conducted by Sarah Schneider in Orlando, Florida, on November 17, 2016.</text>
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                <text>Kresky, Nicholas Agon. Interviewed by Sarah Schneider, November 17, 2016. Audio record available. &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;, Orlando, Florida.</text>
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                <text>Originally created by Nicholas Agon Kresky and Sarah Schneider and published by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
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                <text>Boedeker, Hal. "&lt;a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank"&gt;Orlando Gay Chorus marks 25 years&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, October 18, 2016. Accessed October 18, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.</text>
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                <text>Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
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                <text>Hyman, Jamie. "&lt;a href="http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/" target="_blank"&gt;Community rises up after mass shooting at Orlando gay nightclub kills 49&lt;/a&gt;." &lt;em&gt;Watermark&lt;/em&gt;, June 16, 2016. Accessed October 18, 2016. http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/.</text>
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                <text>&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Today is Thursday, November 17&lt;sup&gt;th&lt;/sup&gt;, 2016. My name is Sarah Schneider and I’m conducting an oral history interview with Nick [Nicholas] Agon Kresky of the Orlando Gay Chorus. The interview is being conducted at the UCF[1] Center for Emerging Media in Orlando, Florida.&lt;/p&gt;
&lt;p&gt;So thank you for being here today.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Thank you.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And can you start off by stating your name for us?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. My name is Nick Agon Kresky.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Thank you. And could you start off by telling us where you were born and how long you’ve lived in Orlando?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, I was born in Duluth, Minnesota. I grew up in the upper peninsula of Michigan and I moved to Orlando in 2010.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Great. And what brought you to the Orlando Gay Chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, looking for kind of an outlet. Something different. Um, when I was—when I was younger, growing up in—in Michigan, I was brought to Milwaukee Pride as kind of a celebration of my high school graduation. And I got to see the—I think they were the Brew City Chorus. Um, it was LGBT[2] chorus over in Milwaukee.&lt;br /&gt;&lt;br /&gt;And when I moved to Orlando, I was like, “Orlando’s big enough. They should have something.” So I went and I Googled it. And sure enough, there they were. Hm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so can you tell us about some of your favorite productions or performances…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…you’ve done through the chorus.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, my first performance was “Rainbows over Broadway”. It was a 2011 spring concert. And I really enjoyed that one because it was just a—a lot of campy fun. Just kind of ceb—celebrating the community. Um, and then I—I’m not a fan of the music from our “Pillow Talk” performance. I like the cohesion and the—we—it had a great storyline. Lots of, um—lots of [inaudible], so—and I—I like a show with good production.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. Um, and did—I’m not sure if I already—if you already said…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…how long have you been a part of the [Orlando] Gay Chorus?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;I’ve been with the chorus for about five and a half years.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Okay. And, um, have you participated in any of the GALA[3] events?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Uh, yeah. I’ve been in two different GALA events.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Okay. And, um, where were those located?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;They were both in Denver[, Colorado]. So I think 2012 and 2016 as well.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schenider&lt;br /&gt;&lt;/strong&gt;Okay. And can you tell me more about the 2012 GALA event and what your experience was like there?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, in 2012, uh, I had needed a little bit of escape, too. And I’d—I finished relationship[sic] months and months prior. And I’d just kind of started a romantic interest with another chorus member. Um, and then we, uh—yeah. 2012 I guess was just more about learning about the—the gay choral movement. I never knew there was an actual movement. And, um, kind of learning about the sense of community that comes from gay choruses. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so, getting to Pulse. Could…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…you tell me a little bit about how you first heard about the Pulse shooting?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. Um, my husband, Manny, and I were working on renovations at the house. So we’re stuck sleeping downstairs on these little [inaudible] beds. And we started getting f—like random phone calls and text messages. And it’s really early in the morning and we were trying to sleep. I had to work in the morning. I’m like, “I’m old and I’m tired [&lt;em&gt;laughs&lt;/em&gt;].” So I’m checking the messages and everybody’s checking to see if we’re okay. And I mean instantly, your mind is, “What’s—what’s going on?” It’s—that’s when we were going into Facebook and the media. Um, checking CNN.com. You realize that there’s an incident at Pulse happening. And then we’re having to reassure everybody at three o’clock in the morning that we’re okay. Please let us sleep. We did not really know the gravity of the situation ‘til much later.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um, what did you do the rest of that Sunday?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, that Sunday I actually had to turn—go into work. Um, and so I got in there, um—it was a[sic] early morning shift. So, of course, you had all those phone calls. And then you’re like, “I have to report to work.” And I work at a—a local theme park with lots of young people. People that have been out in the clubs all night. So, you know, would they—that’s when they started doing body counts. And we’re sitting in the break room, getting ready to start our day. And we didn’t know who was going to show up and who wasn’t.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what were your thoughts as sort of the rest of the day unfolded and as—in those few days following Pulse?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;It was completely surreal because when you’re out working with guests, you had to ignore that it even happened. It’s—that’s—you know, escapism is all—is all about the theme park industry. And as a—as a[sic] employee, you have to go out there and escape with them. Nothing bad ever happens at a theme park. And so you had to take that part of your brain and—and switch it off. And you’re really walking a fine line of fantasy and reality. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so, um, what was the Orlando Gay Chorus’s response like in those first few days and—and in weeks following?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;It was—it was insane. You just did—out of—out of nowhere, we started just getting emails and messages as—as members, um, from—from our leadership. And we’ve got—we’ve been asked to go in the first—the first night we were asked to do a vigil over at the church [Joy Metropolitan Community Church]. We were asked—um, over at [Joy] MCC. And we were asked not to advertise anything about it on social media because we didn’t really know really how dangerous the environment was going to be. And so this was—it was all kind of under wraps.&lt;/p&gt;
&lt;p&gt;And at that time, it was such a shock for—for myself that I had—had declined the invitation. But then, the following day, when they had decided to go and do the—the performance at, uh, Dr. Phillips Center [for the Performing Arts]. Then I decided, yes. It’s about time just to kind of gauge, you know, what—what community am I walking out into [&lt;em&gt;clears throat&lt;/em&gt;]?&lt;/p&gt;
&lt;p&gt;Um, the chorus’s response was just incredible though. It was very, uh—it was probably the most recognized I’ve ever seen us. You know? We—we’re—we’re all about singing. We’re all about going out and having fun with a message. And now, we’re expected to take all of these cats and herd them. And tell ‘em where to be and how to be. And we—we had just invested in this, um—oh, goodness—Chorus Connection, which is a—a really great app, um, and, uh, kind of organizational software for choruses. And so we were able to just, within an hour or two, respond to a vigil request. And, you know, you all of a sudden have representation. We’d never been that organized [&lt;em&gt;laughs&lt;/em&gt;] before that [inaudible].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mm. And, um, so what was your experience, as a member of the [Orlando] Gay Chorus…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…um, participating in vigils and memorial services and other events?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, it was—it was a mixture of trying to find some sort of self-sooving[sic]—self-soothing and trying to project a—a message of caring and wanting to support the greater community. You know? You’re, eh—you’re, uh—in the end, you’re trying to figure out who’s actually supporting you. Um, and just kind of coming to a realization that, you know, we were all in it together. We were all supporting each other. Whether it be, you know, a person standing three hundred, four hundred people back. Or, you know, a person standing next to you onstage.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what did you think when you, um, participated and—and experienced the reaction of the local community? What did you think about the local reaction?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;It was extremely overwhelming. It—I—I grew up in a really rural, conservative area that’s—I mean I g—I grew up in a time where—or—and in a place where being gay could, you know, send you home in a black bag. Like that was—it was a dangerous time. You don’t talk about it. You don’t act on it. Um, and then I come into this community, where, you know, the—it was like the second night and we’re still trying to figure out how many people and what was going on. And then you have this huge gathering, you know, right on the lawn of the Dr. Phillips Center [for the Performing Arts]. And you look out there and there’s—there’s no more green space. There were so many people there. It was just—it was so surreal to see that level of support for the LGBT community. And then, you know, the city as a whole. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what other moments stand out for you, um, in that time period of—of all the vigils and events and things happening? Do any other moments come to mind?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I think, uh, you notice [&lt;em&gt;laughs&lt;/em&gt;] I won’t say. They had the—they had the, um—at the dogs. They had the, uh—I—I don’t know how many times that I—I was in human services for 10 years. And I really s—believed in pet therapy. I loved it. And I knew that in times of crisis, people would come in with these therapy dogs. And, you know, it was just to kind of bring a little soothing and maybe even kind of just ground you, if just for the moment.&lt;/p&gt;
&lt;p&gt;And I realized the gravity of the situation. And how much of a—how much of a tragedy on our community it is. Again, this was all surreal. I mean, there was—there was no reality to this. And I realized how bad it was when the therapy dogs were there. And they had traveled miles to get there. And they’re walking through the crowd with these dogs. Because this is something I had studied. This is something that I knew. And it felt great because in participating in the—you know, [inaudible] on the dog that’s there. But, again, to realize the reality of the situation that these dogs were there. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, did you—what did you think about or experience in terms of the national, maybe the international—but broader…
&lt;p&gt;&lt;strong&gt;Kreksy&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…reactions to the event beyond just the local community?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, can you rephrase the [inaudible]?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sorry.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…what did you think about the reaction of people beyond Orlando to the Pulse shooting?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, I guess as the chorus traveled, we got to maybe s—witness, uh, a very la—a very large—I guess a greater view of that. I mean you he—you see—you see responses on CNN. You see responses on Facebook. You—and you’re—and you’re watching the feeds and whatnot. But, you know, you realize s—support, but you didn’t really feel it until you walked to the car rental desk. And they look at your driver’s license and they say, “Oh. Orlando.” And then they want to talk about it. And they want to—they’re looking for some sense of closure as well. You don’t realize that it hurt our community. It hurt our city. But it also impacted the nation pretty heavily for the couple weeks that it was running in the media.&lt;/p&gt;
&lt;p&gt;I think we, even after Denver, um—Manny and I—my husband and I went to, uh, California for a couple of days. And, you know, you couldn’t esc—we were trying to just escape Pulse for a little bit. We’re just gonna go have fun and unwind. But when you hand over your—your driver’s license or they ask you to fill in the visitor’s book and then they say, “Orlando,” or then they want to talk about it, you realize that it comes from a place of genuine warmth and kindness. But it’s, again, very overwhelming. You—you—you realize how big this was.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so can you tell me now about the GALA in Denver…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…in 2016—so after Pulse—and what that experience was like?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Whew. That’s—that’s a lot to tell [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, we—in 2—and we’re talking about 2012 or 2016?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, 2—whichever do you like.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;But I…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…I was thinking 2016.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;So in 2012, you know, we were just—we’re the campy little choir with the Mickey [Mouse] ears. And everybody loves to come see Orlando because we bring the fun. And we bring—you know, we bring the little silly with us. And—and, you know, we are—our songs tell a story. It’s a very kind of—you get the warm fuzz and you leave.&lt;/p&gt;
&lt;p&gt;This year—this time when we went, we didn’t—we didn’t even have to sing to—to get accolades. To get warmth through, um—the first day, we were—we were invited to a singalong with a couple of the choruses. And we’re basically just kind of backup. Right [&lt;em&gt;laughs&lt;/em&gt;]? It was walking in, uh, doing—doing our lines and then leave. And the crowd didn’t let us leave. The crowd—cr—crowd wouldn’t even let the concert start. Because we were—we’re the last people to walk into the hall. Nobody announced us. They just saw our shirts. And there was an immediate standing ovation. Just because we were walking [&lt;em&gt;cries&lt;/em&gt;] by. Just because we were walking to the hall.&lt;/p&gt;
&lt;p&gt;You could, um—I mean you could see—just our presence, you could see people crying. You could see them holding each other. And its hard—it—initially, it was hard because we were the group that was invoking tears. But then you realize we were the group that was [&lt;em&gt;clears throat&lt;/em&gt;]—we were the group that was invoking solidarity. [&lt;em&gt;sniffs&lt;/em&gt;] There were—there were banners everywhere that says[sic], you know, “We Stand with Orlando,” “Orlando Strong.” Um, you know, these are probably from people that may have never even been to our city. And there they are standing with us. All supporting us because, you know, their brothers and sisters were attacked.&lt;/p&gt;
&lt;p&gt;It was—we—we performed three different times when really we’re—initially s—we were supposed to only perform once. We were supposed to perform this cheesy little montage that we pulled over from our—our spring show. And it just—within moments of—of the incident, we realized we had to go ch—completely change the whole set. And pull from wherever we could to create something that was, uh, you know—that was heartfelt. That would maybe bring about some sort of healing.&lt;/p&gt;
&lt;p&gt;Um, w—we had—so we had our invitation for the first night. Then we did our performance. Um, and again, the—the—these performances are timed, so the minute you hit the stage, you have x amount of minutes to perform and get off. They moved our set to the end ‘cause they knew they couldn’t time us. They knew that just by walking on the stage we would have to wait for the applause to end. And it was right. We walked in. There was standing room only. We’ve never had that before [&lt;em&gt;laughs&lt;/em&gt;]. I mean we—the—the amount of—of support and warmth that outpoured was just incredible. And then—then there we were again, um, for, my goodness—it was En—was it “Engendered Species”? I can’t even remember. There were so many [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;And, again, it was just our presence that just kept on bringing the crowds of people wanting to feel like they were a part of—of us. And I—and I really hope that, you know, we were able to make that happen for them. That we were able to help them find some kind of closure or some sort of healing as well. Mmhmm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And how did people ac—interact with you from the other choruses on a personal level outside of the actual performance when you met people?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Sure. The—the first night, I was afraid to even wear my Orlando shirt because I knew people would want to talk to us about it. And I personally wasn’t ready. I did not want to—I did not want to be Orlando. I just wanted to be a GALA singer. And then you run out—you run out of clothes. No. I’m kidding [&lt;em&gt;laughs&lt;/em&gt;]. No. Um, I—it just—I saw some of the other chorus members wearing their shirts. Realized it was going to be okay to wear mine. But as soon as I put it on, like random people would hug you. Even people that weren’t even going to the GALA conference, they’re just, you know, on the—the bus with you, trying to get somewhere downtown, want to hug you. And it was—it was—it was wild. I’m a hugger. Um, I—I’m not opposed to human touch. But, oh, my goodness [&lt;em&gt;laughs&lt;/em&gt;]. It was—it was a lot [&lt;em&gt;sniffs&lt;/em&gt;].&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and I’m also wondering if Pulse as a site meant anything…
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mmhmm.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…to you before the shooting. And, um, what, if anything, it represents for you now.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, before the shooting, it was a place where the kids go. And I—I’m really not that old. I’m, um, in my mid-thirties. Uh, but the crowd that attended Pulse was, you know, a younger crowd. A trendier crowd. Maybe a thinner crowd [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Scheider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;But, you know, they were, um—they—it wasn’t usually—it wasn’t typically a place that I would—I would go to. It wasn’t—it wasn’t my home bar I guess. Um, I knew of it. I drove by it. It looked like a great, you know, fun place. And I got—there were times where I—I intended to go and visit just because it was something different. But I don’t know. I felt like I would be a little out of place.&lt;/p&gt;
&lt;p&gt;Afterward, it just became, you know, just a—a living memorial. It just—it sits there and it—it, um—it almost reminds—it almost makes—it’s kind of a mark of this overcoming silly divisions that are even in our own community. In the LGBT community. You know? We create our little cliques. Our little groups. And you realize that, you know, we’re all dealing with the same struggles. And we’re all dressed in the same flesh. And to drive by the building anymore is sh—you know? The first time, it was horrific. You know? I s—I tried to—days—days upon days just avoiding streets to get around it and not having to pass it. But then the first time I passed it, you know, reality sank in that, yep, this is the place. And now, the building itself is almost like a—almost like a mausoleum. It’s—it—it’s hard to look at it. It’s hard to drive by it.&lt;/p&gt;
&lt;p&gt;Um, you know, I—we—we had coworkers from our company that—that had passed away in the tragedy. Um, and it just, you know—it really brings it home every time. You know? How much—how much hatred can really impact a community. And how much destruction can happen because of it. You know? It’s—it’s no longer, you know, the place that you might go on a Saturday. It’s now the site of the worst, you know, massacre in modern American history.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and did social media play any part in your, um, reaction to your experience with the aftermath of the shooting?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, social media became kind of an outlet to form your thoughts. You know? And we—you’re able to edit the words that you’re typing. You’re able to process things as you’re putting it out. So it almost becomes a live journal. Um, it was nice to see the support from others. Um, it also gave an opportunity to—to educate people. Pardon me. Um, you know, they immediately, as with any other, um—as with any other public shooting, you start having these discussions about gun control legislation. And you start having discussions about mental health. You i—it—it runs the whole gamut. And social media just came—became kind of a place to—a safe place to have those kinds of discussions. Mm.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and do have any thoughts about what the long-term consequences might be for the Orlando gay community or for the broader Orlando community or what you might hope the long-term impact of the shooting would be?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Um, the long-term consequences. Initially, I was afraid that we would be stuck going back into our little boxes. Um, and maybe being less out. Um, being less true to ourselves. Uh, obviously, it seems like the—the exact opposite has happened. You know? And [&lt;em&gt;laughs&lt;/em&gt;] you see this meme, you know, “You just pissed off the gay community. Watch out.” That kind of [&lt;em&gt;laughs&lt;/em&gt;]—we get stuff done. Um, and sure enough I—I strongly believe that I—it’s my hope that for our city, we develop a—a tolerance for each other. Um, it’s—it’s a big enough city to get lost in. But it’s small enough to know people. And so, really hoping that this gives us a chance to reach out and get to know people that you normally wouldn’t—you normally wouldn’t associate with. You normally wouldn’t talk with.&lt;/p&gt;
&lt;p&gt;Um, on a broader scale, you know, I—I don’t know how realistic it is, but I really do hope that we begin to fund, you know, better mental health treatment. We begin to look at, um, more sane gun legislation. You know? It’s—if 49 isn’t enough, then, you know, what is?&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and what other reflections have you had about the Pulse shooting or about your involvement in the [Orlando] Gay Chorus or anything else that you’ve been thinking about that we haven’t talked about?
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;Mm. Let’s see. Um, don’t forget h—how your actions affect others. You know? Uh, whether it’s, you know, considering—considering acting out on such a grand scale, uh, as the shooter did, or if it is, you know, just wanting to lash out at somebody, don’t—don’t forget, you know, how—how your actions affect other people. Step outside of the box. Step outside of the tunnel vision. And that’s—I hope that that’s one of our lasting legacies.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, is there anything else we didn’t talk about that you’d like to say or share?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;/strong&gt;            Um, not that I can think of. You know [&lt;em&gt;laughs&lt;/em&gt;]? Thank you.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;/strong&gt;       Okay. Well, thank you so much. We really…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Kresky&lt;br /&gt;&lt;/strong&gt;I appreciate it.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…appreciate you talking with us.&lt;/p&gt;
&lt;div&gt;&lt;br /&gt;&lt;div&gt;
&lt;p&gt;[1] University of Central Florida&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[2] Lesbian Gay Bisexual Transgender&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;[3] Gay and Lesbian Association of Choruses&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;</text>
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                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
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                <text>Cravero&#13;
Alright. Let’s see. Okay. Let’s see. This is Geoffrey Cravero and I’m conducting an oral history with Reverend Peggy Howland of the Orlando Gay Chorus. The interview is being conducted at the interviewee’s residence in Orlando, Florida, on Tuesday, December 13th, 2016.&#13;
&#13;
Peggy, thanks for speaking with us today. If you would, let’s start by having you state your full name and telling us a little bit about where you’re from. &#13;
&#13;
Howland&#13;
Well, officially, I’m the Reverend Margaret E. Howland. But I’m called Peggy. Um, I’m a—a New Yorker. Um, was living in New York City and right around there for 54 years before I came down here to Orlando, um, going almost four years now.&#13;
&#13;
Cravero&#13;
That’s great. What, um—let’s see. What about a little about your family history? What did your parents do?&#13;
&#13;
Howland&#13;
My father was an attorney. Head of a law firm. And, um, my mother had taught school before she started having her five children [laughs]. And, um, we had a very c—comfortable life after three of u—the first three of us were born during the [Great] Depression. And, um, we skimped and saved a lot. And, uh—but then, uh, as my father became, um—got his law degree and became active as a lawyer and a community figure, we—we had a fairly comfortable life.&#13;
&#13;
Cravero&#13;
And, um, how and when did you become involved in, uh, the church?&#13;
&#13;
Howland&#13;
Oh. We went to Sunday school from childhood. My, um—my—my father had been an Episcopalian and my mother a Presbyterian. But they decided on a Methodist church that had a big Sunday school. And, uh, we went to Sunday school all the time. &#13;
&#13;
Uh, but as a teenager, I began to become—I think really partly it was the i—influence of my Sunday school teachers that I became more interested in the Bible. And I—I think I spent all my life searching for love. And, uh, I—I think—I think my mother wasn’t able to show, uh, love in a very overt way. Uh, because I always had the feeling I was trying to get my mother to love me. But God loved me. And I began as a—especially as a teenager, I began to have this overwhelming conviction of the love of God for me and for all people. And, um—and I fell in love with the Bible, uh, and the stories. &#13;
&#13;
And eventually, uh—it was a time when a woman—I mean there were no women ministers. Um, and I didn’t even—we were Republicans in our family. And we didn’t, uh—we—people talked about women’s rights. Equal rights for women. And I didn’t know if I was in favor of that because I had been taught by some pretty conservative Christians that, um, women were supposed to be in a different position than men. Course, I don’t believe that any more. Uh, I think God loves us all the same. And, uh—and I think it’s a misinterpretation of the Bible, uh, to make—and—and—and failing to see the, um, teachings of Jesus  and the example of Jesus. It—and—and even the example of St. Paul  and others in the Bible, uh, for whom women, eh—Christianity liberated women and gave them an opportunity to be part of—of this message of—of God’s love, uh, for people.&#13;
&#13;
And, um, i—it was—it was slow. I was slow growing into that. But at—at the University of Pennsylvania, uh, where I went to school, uh, I was able to major in the Lands of the Bible. I majored in Oriental Studies. Basically, the Near East. And I studied Ancient, um, Art. And Literature. And History. And Language. And Civilization of Egypt. And Mesopotamia. And Palestine. All the lands, uh, of the Bible. And s—I studied Greek and Hebrew to read the Bible in the original languages. And, uh, it was—it was just, uh—I was just so in love with the Bible and of the message of God’s love, uh, for people.&#13;
&#13;
It was a long time before I fully began to understand God’s love for everybody. Um, when we were young, uh, we didn’t know anything about gay and lesbian. That was, uh—it was—it was so much in the closet. So hidden that you never saw it. And, uh—but as a woman minister—as one of the very first, uh, women—wo—uh, women me—in the ministry in the Presbyterian Church, uh—as we began—as—it was a long time. It was maybe 20 years after I was ordained that women began to be more, uh—it began to be more common for women to be clergy. And, uh, as we would meet in support groups and—and, uh, sharing with one another, it began to be very clear to us—it was in the early seventies that, uh, churches began to get concerned about whether homosexuals were allowed to be ordained. Um, which people thought was, you know—they began to think, Well, we shouldn’t—we should be kind to other people. But ordain them? Um, and, uh—and nobody ever thought marriage [laughs].&#13;
But, uh—but the women clergy began to see that gay people were being treated the same way we had been treated. Um, I mean people—people said very rude and crude things to me about they didn’t, you know—they didn’t believe—that God was—the Bible was against us. Wi—they didn’t believe that—that God would call a woman to be—to preach. But I knew from the very beginning that it wasn’t my idea [laughs].&#13;
&#13;
Cravero&#13;
[laughs].&#13;
&#13;
Howland&#13;
That it was God’s idea. Because I—I really believed that God had led me, uh, in this direction. Uh, so it didn’t matter what they said. And—and I, uh, often have thought about the words of, uh, Susan B. Anthony , who in 1848, was among the women who asked for the right to vote. And they didn’t get it until 1920, long after Susan B. Anthony was dead. And she had—she had gone to congress every year of her life, um, ask—asking and working for the right to vote. And she didn’t live to see it but she said, “Failure is impossible.” And this is what I began to t—tell my gay friends. “Failure is impossible [laughs].” &#13;
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Uh, even though y—they couldn’t see that there would any time be acceptance, um—in the beginning, I used to worry that people would think that I was gay because I knew that the gay clergy—people that I knew were gay weren’t—were still in the closet. And I was never—I was never outing them. And they—I knew that they couldn’t speak up in public. But I could. And I felt—I began to feel a little angry about it for a while. Why do I have to do this all the time? People will start thinking I’m gay. And then it got to the point where I didn’t care if they did. And now I think I even consider it a compliment if somebody thinks I’m gay. Because, um—especially—I—I mean the gay people that I’ve known in the church have been very active through—in the Presbyterian Church nationally in terms of helping to open up, uh, ordination to women. Uh, I was a representative for my Presbytery to testify, um, at our general assembly, where we finally approved the ordination of gay and lesbian and transgender people. &#13;
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And, um—and also was active—very active in working up in New York State, uh, for, uh, the—the state to approve the, uh, marriage of, uh, gay people. And I can remember just before the final vote of the senate in New York—and I was up there in my clerical collar, uh, at this[sic] senate hearings. And, um, demonstrating. And one of the men who was there—I think it was an Episcopal deacon, uh, said to me that he and his partner were married. They’d been married in Canada and they lived in New York. And I found out then that there were already 9,000 couples in New York—gay couples who were married legally and recognized by the State of New York because they’d been married somewhere else. Because the state would—would—while they wouldn’t allow anybody to be married in New York, they’d let—they’d recognize marriages from elsewhere. And so then, New York State voted, uh, to approve the, uh, marriage of—of gay and lesbian couples.&#13;
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And, uh, then, shortly after that, I came to Florida and started working on it down here. And when I came to Florida, uh, my friends were appalled that I was leaving. I was kind of appalled, too. But I kne—I knew that I needed to take care of myself. And I was able to find a retirement community that I could come to here that I could afford. And so I said to them a—as I was leaving I would say, “I’m being sent as a missionary to a racist, sexist, homophobic, gun-totin’ state.” And they would laugh. And I would laugh. But after I got here, I gradually began to realize this was my mission here. &#13;
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And, um, I—I—I—I couldn’t believe at the age of 80, when I came here, I could still sing. Because a lot of my friends were losing their voices. And, um, I—the first Sunday I was here—and I went to the Park Lake Presbyterian Church—uh, they had a notice in the bulletin about the Park Lake Gay-Straight Partnership meeting that next week. And, uh, I was thrilled. Um, and we have this marvelous small group of—of gay and straight people who—we have a partnership and we try to help educate the church, um, and other people about this. And—and last year we had our first marriage in the church of t—uh, two men. Then we had a wonderful celebration. And I—far as I know, we’re the only Presbyterian church so far in this Central Florida Presbytery that has had a gay marriage, uh, in the church. And it was a—it was great.&#13;
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Um, but I—one of my friends introduced me to someone—we were at a gathering of FAVO. The Faith Arts Village of Orlando, which our church sponsors, uh, in a—in an old converted motel, uh, next door to the church. Um, it’s a marvelous, uh, thing. The first Friday of every month. And I was there and I was having—having something to eat sitting outside. And I got introduced to this guy who was a member of the Orlando Gay Chorus. And I said—and, uh, I said, “Oh.” I said, “I’ve gotta find someplace to sing, um, here in Orlando. Because I’m afraid if I don’t keep singing, I’ll lose the ability to sing. Because so many of my friends my age can’t sing anymore.” And he says, “You can join the Orlando Gay Chorus.” And I said, “You have women?” And they said, “Yes.” I said, “Do you have to be gay?” He said, “No.&#13;
&#13;
Cravero&#13;
[laughs].&#13;
&#13;
Howland&#13;
Everybody can sing.” So that was in the summer. First summer here. And at Christmastime I went to the holiday show that the chorus had at the Plaza Live. And I—I bought a—a ticket that cost a little more so I could get in early. And I went and sat in the front row. And I can see on the stage standing on the risers there were some people sitting on the risers, who obviously weren’t able to stand. And so they were allowed to sit. And there were people with white hair. And there were young and very old. There were men and women. There were—there were—I already knew there were gay and straight and trans. And black and white. And really, really fat people. And really skinny people [laughs]. And, uh, then I began to—at the end they came—they came down the steps right in front of me and walked out. And I saw them helping a woman down the steps who obviously had cerebral palsy. And I thought, I can belong to this group. &#13;
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And so we had the auditions in January, um, three years ago. And, uh—and I became a member of the chorus. And it’s been just amazing. On the—there are two of us that are 83 years old in the chorus. We’re the two oldest. And, um, I’m very proud of that [laughs].&#13;
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Cravero&#13;
[laughs].&#13;
&#13;
Howland&#13;
But that’s—that’s what I found in this community. Uh, a loving, caring, thoughtful, kind, talented group of people of every sort who—who sing. And who work hard. And, uh, they’ve been so helpful and accepting of me. And in the beginning—in the beginning, I couldn’t stand the noise. I was—I—I—there’s so much—there—these young people, they—they make a lot of noise [laughs].&#13;
&#13;
Cravero&#13;
[laughs].&#13;
&#13;
Howland&#13;
I thought, I—I don’t know if I can last through this. But I have. And, um, they’re so helpful and—and kind. And they’re really like a family to me. Um, it’s been wonderful. And, uh, especially the last couple years, um, with our new, um, artistic directors. The quality of the chorus—it only be can’t—only became a soprano, alto, tenor and bass a couple years before I came here. F—s—it’s going on for 26 years now. And there’s still some of the original men who founded the chorus in it. &#13;
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Uh, what courage these men had 26 years ago, uh, to come out. Uh, and that—to me, that’s what really has brought about, uh, the—the acceptance, um—full acceptance of people. Uh, it’s pretty good here in the Orlando area. Although there’s still problems some places. But, um, the—the one thing that has made it possible is the courage of gay and lesbian and trans people, uh, to come out. Uh, straight people being allies, um, is important but—but it’s nothing like the courage of these people who know, uh—I remember the first time I went to—in—in 2003, I had become so active with the LGBTQ organizations and the Presbyterian Church, um—in 2003, I went to a—a huge, uh, gathering—a conference called “Witness Our Welcome”. It was held at the University of Pennsylvania, which is my—my alma mater. And, um, it was people of all faiths, um, different religions, uh, gay and le—LGBT groups coming together. And I was a little scared to go because I didn’t quite know how I would relate to—to gay people, uh, you know, on a wider basis [laughs]. And I remember going—oh—oh, there were people out there with their signs. Their hateful signs. Uh, but I remember they had worship every evening in an Episcopal cathedral, uh, right near the campus. And I remember thinking when I went to those services, This is the most joyous worship I had ever been part of in my whole life. Because here were people who knew that God loved them. And they were in a safe place. And they were able to worship with such joy. And, uh, to me, that—that changed everything for me.&#13;
And now I have [laughs]—I have gay friends that are Jewish. That are Wiccan. That are any religion or no religion. And they’re all wonderful. And I even have friend that are drag queens [laughs].&#13;
&#13;
Cravero&#13;
[laughs].&#13;
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Howland&#13;
Which is kind of fun [laughs].&#13;
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Cravero&#13;
Do you have, um—well, can you talk a little about what role you have in the chorus? And maybe, um, talk about, uh, one of your favorite early productions before, um, the Pulse tragedy. And we’ll talk a little bit about post afterwards.&#13;
&#13;
Howland&#13;
Um, [sighs].&#13;
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Cravero&#13;
[clears throat].&#13;
&#13;
Howland&#13;
Well, I’m a soprano. I have been an alto all my life. But I’ve sung in—I’ve sung in choirs. Um, and for years I’ve been an alto. And, uh, after I retired from full-time pastoral ministry, um, back in 1998, um—18 years ago now—uh, I found—I didn’t—I didn’t sing in a choir or anything for a while. But I had been participating in a—in a church near where I lived in White Plains, New York. And, uh, they had a group that was getting ready to go to Africa—to Kenya to sing. And, uh, they wanted to sing back to the, uh—the Kenyans, when you come, they always sing for you. They sing and dance. And so we wanted to sing back to them. And so we—we practiced for a year. And I got into this group to go to Kenya for three weeks. &#13;
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And, um, I guess I was singing soprano ‘cause that’s kind of what they needed. And after I came back from Kenya I decided to join the church choir. And they needed sopranos. And so I became a soprano. And I had never been able to sing that high before. But I tr—we had a marvelous soprano soloist. And I would imitate her. I would try to sing like—like she did. And I was having a marvelous time.&#13;
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So when I came here and I au—I auditioned for the Orlando Gay Chorus, um, they dec—they thought, Yes. You’re a soprano. We’ll make you a soprano 2. ‘Cause we have soprano 1 and 2, alto 1 and 2, et cetera. And, uh, so I sing soprano and when we s—divide I sing the low soprano part. And every once in a while, I get to sing the high part, too. &#13;
&#13;
Cravero&#13;
[laughs].&#13;
&#13;
Howland&#13;
And I can sing higher notes than I ever could before. And I’m 83. And it amazes me. We even had a, uh—we—we have these cabarets every once in a while. And twice now, I’ve sung a solo in one of our cabarets. The first year I sang “I Could Have Danced All Night” from My Fair Lady.  And, uh, then last year—in fact, it was the night before the Pulse. On June 11th[, 2016], we had this cabaret at the Orlando Museum of Art. And I sang “We Kiss in a Shadow” from, uh, The King and I.  And—as a solo. And ah—it was just wonderful because I—here I was at my age singing solos. And I’m even working on one for the next time.&#13;
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Um, but after the—after the concert—and the thing is, I was able to do it because the people in the chorus were so affirming. And telling me how great it sounded. So I—so I didn’t have to be scared any more. I didn’t have to be nervous any more. &#13;
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And, uh, that night I had a friend come with me to the Museum of Art. And after it was over, we were hungry. And we were looking for a pizza place. And we didn’t, uh—we thought, Where—where’s a place that’s open that’s—that we can get to? And finally, we decided to go down to—we went down South Orange Avenue past the Pulse to McDonald’s and had hamburgers. And this is—this is just a couple hours before the thing happened. And so at midnight, we’re coming back past the Pulse back to home here. And I—I couldn’t believe it the next morning when I—when I woke up and looked at my phone. And people were saying—and my friends were saying, “Are you safe?” “Are you safe?” “I’m safe. Are you safe?” And, um—and that’s why every single morning since then—every morning when I wake up I—I—I—I remember the Pulse. And think about that morning for six months now.&#13;
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I was telling you how I got into the chorus. And, uh, it’s—it’s been a marvelous experience. I never in my life ever before memorized all these songs. And then we have choralography they call it, where we—we, you know, do motions and things and—while we’re singing [laughs] all in concert together. Uh, and our productions are not just—i—we’re not just standing there singing like a choir. We’re participating in many different ways. Um, and it’s a real great show and production. &#13;
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And, uh, I guess I’m really grateful to the Disney people who came to Orlando and helped make Orlando the kind of area where, uh, the arts and all the different kinds of production and everything, uh, were really, uh, i—it was just a place that would attract, uh, creative, uh, wonderful people. And it’s such a place of music and art her in—in Orlando. And i—it’s—it’s just so wonderful how the chorus has become a part of that in the city. The—the chor—the concerts we just had this past weekend, Glad Tidings over at the Plaza Live, we were sold out both nights. And people said it was the best show ever. &#13;
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And one of the things that’s happened, uh, since—since I’ve been here it’s been happening, but it started before I came here. The Orlando Gay Chorus never was just men. Women came. Lesbians came and wanted to be part of it. And they weren’t really—I don’t think they were really welcomed at first, but they insisted. And—but for 25—for—well, 20, maybe 22, 23 years, it was an—a TTBB : just the tenor and bass, uh, chorus. It was a—it was a men’s chorus that had some women in it, who were singing with men’s voices. They were singing tenor parts. We—we even had a woman who was a bass. And, um, just a couple years before I came here, it became soprano, alto, tenor and bass.&#13;
		&#13;
And, um, s—it’s been harder getting as many women in. Uh, and the difference has been y—you know what gay men’s choruses sound like. I remember the first time I hear—I’ve heard gay men’s choruses in different cities. And they have this strong men’s sound. And—which is wonderful. But, um, with the soprano and alto being added to it, uh, and with our—with the current director we have, James [A.] Rode, and Harold Wright, who is his assistant, they are working for something other than the loud gay men’s voice. Instead, uh, it’s much more—the music is much more nuanced. We sing softly. Uh, we sing expressively. Uh, we sing tenderly. Uh, as well as loud [laughs]. We—we do all kinds of—of singing.&#13;
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And, uh, the chorus has grown in its maturity musically within the last few years. Uh, and I’ve seen it happen. Because I think the first year I was here, we were still a gay men’s chorus in tone. Uh, and, um—and we’re—we’re becoming more—more nuanced. But—but in the last—the last year, even my friends—my musical friends say to me, “Wow. You’re so much better. You’re fabulous.” And I think it’s—it’s really because of the leadership and direction that we’ve had that’s helped us all to find our voices. &#13;
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And we have al—we have—we have some men altos and women tenors. And—and, uh, uh, it’s been a—a wonderful experience. I’m not sure I remember what I’m supposed to be answering.&#13;
&#13;
Cravero&#13;
Oh, I—I think you covered it.&#13;
&#13;
Howland&#13;
Okay.&#13;
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Cravero&#13;
And plenty [laughs]. Well, you did mention, um, when you first heard about Pulse that morning. Could you talk a little bit about, um, what you did that Sunday: the day after the tragedy? And…&#13;
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Howland&#13;
Well, it was the day of the tragedy. &#13;
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Cravero&#13;
Right.&#13;
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Howland&#13;
I mean it happened—it started at two minutes after two that morning. And at five o’clock, they were still—I don’t if they were really starting to really get the people out of there. I mean the bodies were still in there. And, um, we—we got a call, um, I—I don’t know—we—we just have this amazing communication [laughs] now with our cellphones. And, um, I heard that we were to be at the, um—the church. The, um, Metropolitan Community Church. The Joy Metropolitan Community Church, uh, which you may know is basically a gay and lesbian organiz—uh, church. Uh, and we were to be there for a service at six o’clock. And I guess we were supposed to be there at five. Uh, and to come in our, uh—in one of our wardrobe things that we wear. And, uh—and sing. And I guess they were waiting to see how many of us showed up and who showed up as to exactly what we would sing. And we didn’t have an accompanist. So some of it was gonna be things that were acapella. &#13;
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Um, and, um, I had—I had a flat tire on the way there. I—I—I must have hit the curb or something. And I had a flat tire. But thankfully, people in the house fixed the ti—they changed my tire for me. And I got to the church in time. And there was standing room only at the Metropolitan Community Church. Um, there—there were people outside. They broadcast[sic] the service to the outside. And now this—this had happened two o’clock in the morning. That day at six o’clock at this service, there were Metropolitan Community Church pastors from all over Florida. From Tallahassee. And Sarasota. And Miami, who were there for that service. I mean they just came right away. And some of our members had been standing out in lines trying to give blood that afternoon. As there were people—people were standing in line for eight hours that day to give blood. And—and—and then a lot of them came back the next day and gave blood. &#13;
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Um, we—there wasn’t room for us all to sit down in the church. Uh, so a lot of the chorus members were standing along the side. And we sang two numbers that we didn’t need to have, um accompaniment for. W—we sang—and these were songs that we had just sung in our concert, uh, that—that spring, just a short time before. It was “True Colors” and “You’ll Never Walk Alone”. And those two songs we sang a hundred times after that. Uh, we started having from that day—and—and the very next night was, uh—in the evening was this candlelight vigil with 6,000 people there at the Dr. Phillips Performing Arts Center  in front of it. Between City Hall and there I could still see that huge, huge crowd of people. And the experience of—of being there. &#13;
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And at one point, as it was getting dark, they—they began to toll the bells. They began to toll the bell 49 times. And each time they would read the name of someone who had died. And—and there was a man standing next to me. He heard one of the names and he just collapsed. And his friends picked him up and held him. And, uh, people were lighting their candles and listening to the bells and to the—and to the names being—being read. It—there—there were—this—th—there was a woman—there was a woman there who was one of the ministers at the Mother Emanuel Church  in Charleston, [South Carolina], where they had the—where nine people had been killed by a gunman just a year before. And this was just—i—it was just a little before—I think that very week they were having a first anniversary. And she came down here to be with us. And the, um—there was also a prayer given by a Muslim imam. &#13;
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And what I saw that day, the very day after this happened, was—were three things. I saw love. I saw solidarity. And I saw unity. And that’s what they were talking about: “Orlando United”. “Orlando Strong”. And it—it was such a moving thing to be part of an experience and see a city that just came together over this. And—and that day when it happened. On that Sunday. I—I’ve always said that I’m a New Yorker. And I’m proud to be a New Yorker. I’m a Yankee fan. Uh, but I was proud to be an Orlandoan that day. And I—and I—given me such a sense of being part of this community, that is united and strong. And loving and supportive. &#13;
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And—and I know that there’s people here who, uh, still want to, uh, ridicule and condemn gay people. But, uh—but I think there’s less of them. And I think people are opening up. One of the a—amazing things that’s happened, because I live here in this retirement community, just last night a woman said to me, “You know, I have a daughter who’s gay.” I have another friend—at—the people—because they knew here that I’ve been singing with the Orlando Gay Chorus, there were people who said to me—I remember one woman in tears who said to me, “My granddaughter’s gay. I’m so worried for her.” Because when they realize that—that this attack at the Pulse, uh, hit home to gay people.&#13;
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And—and, of course, I sing with the Orlando Gay Chorus. We went the following month in July—the beginning of July—only three weeks later—out to Denver, Colorado, for the GALA Festival. The Gay and Lesbian Association of Choruses. And we had choruses from all over the world. Mainly from the United States, but other places, too. And, um, people there were—were hugging and kissing us [laughs] all the time. They would say—they would see that we were from Orlando and they’d say, “May I hug you?”&#13;
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Um, but all around the world people felt this. The same way as my friend whose granddaughter was gay here. And other people who live here who have gay family members who are, uh—who just fear for them, uh, because of this. Uh, and it brought back all the—the tender, um, uh, heart-wrenching, uh, experiences that people have had. And, of course, now with the new president-elect , um, making, uh, bigotry seem more powerful, um, people are feel—feeling the same thing again.&#13;
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But I—I am so proud of—of the gay community here. And I’m proud, uh, to be considered part of it as an ally. And to be totally accepted, uh, by them. And it’s given me—there were—in the beginning of living here, uh, at what I call here “the Old Folks Home”, I—I was—I did not often wear my t-shirts that say “Orlando Gay Chorus” on them. Uh, because I didn’t want to offend people. But I don’t care anymore. And, uh, I want them to be—if it offends them, fine. We’ll talk about it. And, uh, I want to—I really think I’ve become known here, uh, as—as, uh—as somebody who’s a member of the Orlando Gay Chorus. And, um, I’ve met employees here who are gay. Um, people still are pretty much in the closet. Uh, anybody who’s gay here at this old folks home. But, um—and I’m not outing anybody, but I’m outing myself as an ally. And if they think I’m gay, that’s fine, too. That’s alright. &#13;
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Cravero&#13;
Um, [clears throat] as you, uh—well, you were speaking about some of the vigils. As you reflect on some of your experiences with the vigils, um—well, how many did you participate in afterwards? And is there anything that—that particularly stands out to you from those?&#13;
&#13;
Howland&#13;
Well, I probably have participated in 20 or 30 of them. We’ve had 50 or 60. Uh, some, uh—we have four ensembles in the chorus. And some of the—some of the vigils have been done by ensembles because they were the easiest ones to get together. Uh, a lot of them have come just at a few moments notices. Um, I, uh, was—I participated—I had to leave town for 10 days, uh, at the end of June. In between the time the Pulse happened and the GALA Festival out in Denver. Uh, I went to Portland, Oregon, where the Presbyterian Church General Assembly was meeting. And, uh, I’m a very active, uh, participant in, um, uh, working with the Presbyterian Peace Fellowship and other organizations. And with the, uh—the LGBTQ organizations as well out there. Uh, and so I spent a lot of my time telling people out there about, uh, Orlando. So I missed a bunch of the, uh, important outreaches that we had. The memorials. The vigils. &#13;
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Um, there have been so many of—different kinds. Some of them were fundraising. We sang “True Colors” and—and, uh, “When you walk through the storm."  We sang both of those, uh, a great deal. And some other songs as well. Some of us—p—people just carried their—their shirts. We had our Billboard shirts that we usually sing in. And whatever the wardrobe was gonna be people just carried it in their cars so that they’d be available at a moment’s notice. &#13;
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And I’m—you know, I’m handicapped. I’m—I’m elderly. I use a walker and a cane. And I’m—the—PJ Galas Finster is our, um, stage manager for all kinds of things. And he would always make sure wherever we sang that there was a way—there were people to help me up steps if I had to get up steps. Uh, there was a place I could sit or I would sit in my walker seat. Uh, we—they always arranged to include me in it. And, uh, it was a lot of effort many times to get a parking place and to be able to move, uh, to where we were supposed to sing [door closes]. Uh, it was a tremendous effort for me to keep walking, uh, when I—when I didn’t feel like walking. And, um, because I am physically challenged. But, uh, eh, they—the people in the chorus have done so much to help include me. &#13;
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Um, some of the things—we had a thing out at, um—at UCF . It was—I think it was the School of Social Work. Maybe there were two different schools together that had a memorial service after people came back to school in—in September. And that was moving. To hear people tell the stories. We sang, um, over at the [Orange County] Convention Center, uh, on International Drive for a first responders breakfast. Um, oh, I had to walk a mile to get to that. Um, the Convention Center’s so huge. I had a terrible time. I couldn’t even find the place. And then when I found it, I had to walk forever inside the building to get to where we were singing. &#13;
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But then, to be there, uh—the singing—we were gr—we were so grateful that we were able to be there and sing. And give some su—support to them. But then, to hear the stories that were told of what these first responders did for which they were being honored. They were giving out awards that day. Uh, and a bunch of them were for people who were at the Pulse. Uh, and to hear what they went through in, um—and what they did, uh, to, uh—at a danger to themselves. And, um, there was one police—I—I don’t know that he was honored f—for this, but one of the police, uh, responders has—the last I heard, he was still suffering from PTSD  from all that he saw—that he just can’t—that he—he—he dreams about it at night. He can’t get it out of his mind. He’s been unable to work. &#13;
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Um, people don’t realize—a—and—and the stories the doctors—th—the doct—the doctor who had the bloody shoes that he’s never given up and never cleaned. The bloody shoes while he was operating on people. Um, there were so many things that we heard from other people. And, um, I don’t—I don’t—tell—tell me—tell me, have I answered…&#13;
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Cravero&#13;
Oh, absolutely.&#13;
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Howland&#13;
[laughs].&#13;
&#13;
Cravero&#13;
Yeah. You’ve—you’ve covered questions I would—I didn’t even have to ask [laughs].&#13;
&#13;
Um, what would you, uh, hope that some of the long-term consequences would be for not only the Orlando gay community, but maybe for the larger city or even the, you know, larger society as a whole, uh, from—from this tragedy?&#13;
&#13;
Howland&#13;
Well, I hope people will be kindler[sic]—kinder and gentler. I—I have been so impressed with the spirit that Orlando has had. I mean I just k—keep seeing this “Orlando Strong”, or y—or—course being right down here in Downtown South, where it all happened, um—eh, the—the signs all over the place about “Orlando Strong”. &#13;
		&#13;
I mean even—even I wore—I was wearing a Pulse shirt yesterday. I wore my Pulse shirt for the—for the, um, six-month anniversary. And an old woman [laughs] said to me, “Oh. Can—are those still available? Do you think I could get one?” And—and I—I wear t-shirts all the time around here. I’m probably the o—only what that does. I mean occasionally other people wear t-shirts. But I happen to love t-shirts. And—and so I’m very comfortable in them. So I don’t dress up every day. I wear t-shirts. I love t-shirts. And, um, so I have all my t-shirts for solidarity. Uh, and I guess maybe people are able to respond to me because of that. &#13;
		&#13;
But, um, I just—I’m impressed. And I’ve seen a spirit in Orlando. I mean even the fact that this past weekend at our concerts that we had of the Orlando Gay Chorus—our holiday concert, um—it—the—it was packed. Full—full house. Both—both times. And there’s—the people who are going out of their way to stand up for the community and for the gay community and for inclusion—people are becoming prouder of who they are. And prouder of their support and solidarity and unity. &#13;
		&#13;
And, uh, I think even some of the ultra-conservative Bible Belt people, um, are growing in their understanding. And—and realizing—eh, eh—some of my friends here, um—here at the old folks home ha—were so shocked when they heard about the Pulse. That these young people needed a safe place to be. It was a safe place for them. And they were kind of shocked and chagrinned that young people would need a safe place. But—but we have it here. We have the Zebra Coalition  and the Hope and Help Center [of Central Florida].  Uh, all the different groups here in Orlando that are working for—helping people that have—they’re homeless because they’re gay. And I—I think people are coming together more. I—I hate to have to say that a terrible thing like this has been responsible for it, but I think the response of the community is—is strengthening who we are. And I—I hope it can extend more to the rest of the country.&#13;
&#13;
Cravero&#13;
I think you’ve covered all of the questions I had for you. Is there any, uh, other final thoughts or anything else you’d like to add that we haven’t discussed yet?&#13;
&#13;
Howland&#13;
I think—I think that even though I’m at a stage in my life where things are becoming much more physically difficult for me, um, that the courage that this has given to me, um, is something that I’m grateful for. Uh, and I—I hope I can—I hope I can continue doing as much as I can, uh, for as long as I can. Um, but I—I—I can at least say things and write things. Just today, there came out in the email—I happened to be on the development committee of the Presbyterian Peace Fellowship—that I’ve been an active, uh, participant in, uh, on the serving on the national committee and, uh—for 48 years. Um, we have an advent appeal for funds, uh, eh, in the month before Christmas. And we were doing emails every few says, uh, this month. And I wrote the one last week that came out today in the email. And I wrote it about gun violence. &#13;
&#13;
That’s another thing that I see happening. I see the gay community really getting behind the whole, um, end gen[sic] vi—uh, gun violence movement. And for my—for my little, uh, story that I wrote for the email that came out this morning, um, I told them how every morning I wake up thinking about the Pulse. And if I wake up every morning thinking about that, what is going through the minds of the families, uh, from Charleston[, South Carolina], from Sandy Hook [Elementary School]? These families that lost those precious children. Um, how many people throughout our country are, uh, experiencing these flashbacks, these memories that tug at their hearts? Um, eh, that will never leave them their whole lives of what has happened to them. Uh, and how we all have to, uh, get into this—it—it’s absolutely necessary that we get rid of these assault rifles and that we—we work hard on gun violence. And making sure that—that this—that i—it’s—it’s happening every single day in this country. And we have to do something about it. &#13;
		&#13;
And I’m—I’m—I’m happy that, uh, the gay community, that’s a strong community and has a lot to—to, uh—a lot of power and a lot of voice now, um, will—will get into this battle, too, to end gun violence.&#13;
&#13;
Cravero&#13;
Peggy, thank you so much for sharing your experiences and thoughts with us today. Um, this has been Geoffrey Cravero with Peggy Howland on Tuesday, December 13th, 2016.&#13;
&#13;
Howland&#13;
Thank you.</text>
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            <name>Accrual Method</name>
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              <elementText elementTextId="634124">
                <text>Item Creation</text>
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                <text>Cravero, Geoffrey</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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              <elementText elementTextId="634127">
                <text>Ahlquist, Karen. &lt;a href="http://www.worldcat.org/oclc/62281651" target="_blank"&gt;&lt;em&gt;Chorus and Community&lt;/em&gt;&lt;/a&gt;. Urbana: University of Illinois Press, 2006.</text>
              </elementText>
              <elementText elementTextId="634128">
                <text>Boedeker, Hal. "&lt;a href="http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html" target="_blank"&gt;Orlando Gay Chorus marks 25 years&lt;/a&gt;." &lt;em&gt;Orlando Sentinel&lt;/em&gt;, October 18, 2016. Accessed October 18, 2016. http://www.orlandosentinel.com/features/os-orlando-gay-chorus-25-years-20150611-story.html.</text>
              </elementText>
              <elementText elementTextId="634129">
                <text>Ogles, Jacob. "&lt;a href="http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning" target="_blank"&gt;Pride in Orlando Will Take on New Meaning&lt;/a&gt;." &lt;em&gt;The Advocate&lt;/em&gt;, October 6, 2016. Accessed October 18, 2016. http://www.advocate.com/pride/2016/10/06/pride-orlando-will-take-new-meaning.</text>
              </elementText>
              <elementText elementTextId="634130">
                <text>Hyman, Jamie. "&lt;a href="http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/" target="_blank"&gt;Community rises up after mass shooting at Orlando gay nightclub kills 49&lt;/a&gt;." &lt;em&gt;Watermark&lt;/em&gt;, June 16, 2016. Accessed October 18, 2016. http://www.watermarkonline.com/2016/06/16/community-rises-mass-shooting-orlando-gay-nightclub-kills-49/.</text>
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                <text>&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Today is Friday, November 14&lt;sup&gt;th&lt;/sup&gt;, 2016. My name is Sarah Schneider and I am conducting an oral history interview with Patrick Herman of the Orlando Gay Chorus. The interview is being conducted at the interviewee’s residence in Orlando, Florida. Thank you for being here and talking with us today.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, you’re welcome.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, can you please state your name for us?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, um, my name is Patrick Herman. Um, and like you said, I—I, uh, sing for—with the, uh, Orlando Gay Chorus. And have been doing it for six years. And, um—and it’s just a really great experience. Uh, it’s probably one of the—yeah, I look forward to it every week. Just rehearsals and the shows. So, you know, it’s really all about singing I think mostly. It’s really why I joined. I think that’s why most people joined. So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And so can you tell us where you were born and how long you’ve lived in Orlando?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Oh, uh. Well, um, I go way back. I’m, you know—this year I’ll be 60. So, uh, I was born actually in, um [&lt;em&gt;clears throat&lt;/em&gt;]—in Washington, D.C. You know? I was, uh, one of s—six children. You know? I have six si—siblings. But I was the third of the six. And—and we lived in, uh, you know, uh—in Washington, D.C. My dad was in the army. And so, uh, it was one of the many places we lived. Uh, because he was in the service, we traveled a lot. So—so before I, um—before I graduated from college, um, I had traveled, uh, to numerous places and lived in many states.&lt;/p&gt;
&lt;p&gt;So, um, how I ended up in Orlando was, um, that I did have family in Florida. And when I graduated from, uh, Penn State&lt;a title="" href="#_ftn1"&gt;[1]&lt;/a&gt;, um, you know, I decided I would live—you know, move to where I had family in Florida, which was, uh, uh, near Tampa. Which—New Port Richey. So, um—so—and then, um, it wasn’t—then I actually, uh—when I was there, I actually, uh, got a job and went back to school. And then got another degree. And ended up in, uh, Fort Lauderdale. And moved there for about twenty-some years. And then needed a change. So Orlando was the, you know—the ne—it was a—it had a job offer and I took it. So that was 12 years ago.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um, how long have you been part of the Orlando Gay Chorus?
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, well, I—I joined probably about six years ago. Um, you know, looking for something to do that I’ve done before. When I was in, uh, Fort Lauderdale, I was also in a chorus there, too. The Fort Lauderdale Gay Men’s Chorus. And, um—and I enjoyed that a lot. You know? Something about, you know, being a part of a group and—and, um, singing, which, you know, i—I think, uh, that, you know, just that experience alone is, uh, an amazing, great experience for anybody.&lt;/p&gt;
&lt;p&gt;You—and so when I moved here, you know, I—I, uh—I eventually looked up doing, uh, the chorus here as well. The only difference is—is this is a mixed chorus, where the one in Fort Lauderdale that I had experience with was, you know, an all-male chorus. So—but it’s been great. Just, uh, getting to know all the people.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And can you tell us about one of your favorite—or some of your favorite productions or performances that you’ve done?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Oh, um. Well, they do two shows a year. And, um, the chorus does like a spring show and they also do a Christmas show. And—and, um, hmm. You know, it’s hard to say because usually it’s—usually you just, uh, like it just because of the music that you’re doing. You know? You start to find, you know, there’s a lot of songs that you really enjoy doing.&lt;/p&gt;
&lt;p&gt;So—when I first started doing it, I was—you know, I got a lot more involved and was actually, you know, in the front [inaudible] row of dancers, too. I said, “Well. Let me try that as well.” And, uh, so it was sort of funny because, um, they, um—the direct—the—let me think—the person that was, uh, in charge of the dance troupe, um—the one that, uh, did most of the choreography, uh, would tell me that basically, uh, you know, when you c—when you’re not as knowledgeable at dancing, they usually just put something in your hand and—and then—and so you’re—so I found myself with something in my hand a lot [&lt;em&gt;laughs&lt;/em&gt;]. But otherwise, um—so I did that for a while, but then I realized that, um—that it was just taking up a lot of my time. So I went back to just, you know—just singing and not pf—you know, dancing or anything like that.&lt;/p&gt;
&lt;p&gt;But, um, yeah. There’s been a lot of good shows actually. Um, I can’t particularly say one was better than the other. But it’s really just the songs, you know, that I like.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and, uh, have you participated in the GALA&lt;a title="" href="#_ftn2"&gt;[2]&lt;/a&gt; events?
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Oh, yeah. I’ve been in three of them. And, eh, from—if you’ve ever, uh, heard anybody talk about them, they’ll tell you that they’re really a life-changing experience. And—and, uh, when you go there, it—it’s—it’s like—it’s like a celebration. It’s really a festival. But—and it’s not a competition or anything like that. It’s really just like coming together with, uh, likeminded people that really enjoy, um, performing.&lt;/p&gt;
&lt;p&gt;And, um—but, um, one of the most amazing things that I’ve found being in the GALA is just the accolades that you get. I mean, you—you know, here we perform in maybe f—in front of like, uh, uh, a[sic] audience of maybe 800 people. Five to 800 people. There you have full[sic] house, um, of 2,500 people. And—and they give you standing ovations every song. And just—it—it’s just amazing. I mean you come out of, uh, the theater after a performance and you’re—and you’re met with r—you know, people lining up along the—you know, the hallways and the—and the passages out. Just applauding you all the way out. I—it—it—it’s—it’s quite unreal [&lt;em&gt;laughs&lt;/em&gt;]. It’s—it’s—we have our own little world of, um—of people that just really appreciate what they do. You know? So—and when you’re really good, then y—y—you know, the accolades are amazing. I mean—but just full houses, you know, the whole time. And—and s—it’s like thousands of people. More than, uh, like whatever scene that they show here. You know? So—I can’t even describe it. It’s just great. You know? Just that whole experience.&lt;/p&gt;
&lt;p&gt;So [&lt;em&gt;sighs&lt;/em&gt;] yeah. It’s always fun. I’ve done three and, um—over a period of time. And the last two have been in the same city. So that—that was fun ‘cause I got to go back and see, um, people that, you know—that I knew from that city as well.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Mmhmm. And…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…do you—are you comfortable sharing what city that was in?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, well, with—the last, um, two GALAs have been in Colorado. Denver, Colorado. And, um, so tha—I just happened to have been dating somebody that—long distance that w—w—his hometown was in Denver. So I spent a lot of time in Denver seeing him. A—and so like half and half doing the show and half’s, you know, seeing my friend. So it was kind of nice.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And where was the other, um…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Oh…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…[inaudible] at?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;…the other one was, um—it was when I was with, uh, uh, the Fort Lauderdale [Gay Men’s] Chorus. Um, that was in Tampa[, Florida]. And that was my first. And—and so that’s when I first got the taste of like having, um, you know, those accolades and the—and the large crowds of people that, you know—that fill theaters.&lt;/p&gt;
&lt;p&gt;So it’s just—I mean I—I think that was the amazing thing is—I mean is, you know, you’re with a group of talented people here in Orlando. But can you imagine being in—in a place where the talent just comes from all over the world? I mean d—y—you—you see—uh, I—I get, you know—the one thing I find that—that’s so amazing is that, you know, it’s a—it’s a whole bunch of people from all walks of life. You have men, women. You have s—you have all, um, you know, uh, genders. And, um, you have colors of, you know, all races and colors. And—and—and we’re all—we all get along. And we all just, you know—just build on—I mean, um, the world could really learn from, you know—if everybody could just be a chorus, that would be amazing. You know?&lt;/p&gt;
&lt;p&gt;So when you—when you see that and you see that—that old, young, men, women, all, you know—a—all just come together. Just—just without—it’s like a—a peaceful time. And, I mean, I—I—that’s I think why it’s so amazing. You know? And that’s why I—I even like the chorus here. And just doing the chorus here. You know? It’s a group of people that comes with many different religions and all kinds of different backgrounds. But we, you know—we really enjoy just doing this whole performance for—for the people that we like and love in our families. So, uh, i—that’s the experience that you really get from it I think.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so I’d like to talk about Pulse and, uh…
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Okay.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…I was wondering, um, how you first heard about Pul—the Pulse shooting.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, I was, um—you know, let me think about that one because, uh—what was I doing? I have—I think what it was is, um, I—I woke up and, you know—you know how people—you get on Facebook. That’s kind of the first thing you do. Or you—y—you know, you—and—and that’s where you start seeing what’s—has happened in the last day or so. You know? I think that, you know, our social media is really like just y—you can just find out things that are happening in like d—not—you know, immediately. And so we live in a culture now where we have the technology to just hear about something that happened like the night before.&lt;/p&gt;
&lt;p&gt;Uh, and so I think—think that’s where I was. I think I was just like looking through Facebook and—and I saw that there had been some—something that hap—had happened. And, um, you know, so, uh—I just—I’m trying to remember like, you know, exactly what—what it was. I think it was pretty much Facebook if I recall. You know? Or my friend. My one friend that usually calls me or something if I haven’t gotten on Facebook and maybe told me or something. I don’t exactly remember.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And do you remember what your reaction was or what your thoughts were when you first heard?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, well, you know, I think that a—at that time, when—when the news was coming out, we weren’t quite sure, like, you know, the extent of, like, what had happened. Everybody was kind of like, you know, just, um, uh—just—just l—um, how would you put it? Um, just in the dark about, like, you know, uh, how many people wha—w—you know? What was involved. Who was in there. All we knew that what it was—was a shooting. We didn’t know, like, who it was. You know? I think at that point in time I think I didn’t n—stop looking at the news. And—and just watched the whole time.&lt;/p&gt;
&lt;p&gt;I also have a roommate who’s younger. He’s about twenty-some years old. And i—and just to see him go through that. You know? That—because he’s a, you know—he—he would be someone that would have gone to the Pulse. Um, I stopped really going out to clubs a long time ago. They—so this was pretty much a young person club. And so, um, he knew more people. He was more connected. And so I kind of lived like a little bit vicariously through his experience and what was going on. And, uh—and really just, um, you know, uh, uh—like I said, I wasn’t—I didn’t know people in the club, but I knew people that knew people. And—and in a small town like this, you kind of know—everybody’s kind of connected. So you kind of feel for even your friends. You know? I mean we all had kind of a story to tell about like, um, who we knew and how—what they were going through pretty much.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, and so you mentioned you watched the news. Was there anything else in particular you did on that Sunday? Um, do you remember what—what you did the rest of the day?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Mm. N—no. I don’t even recall. I just know that we were just—you know, just trying to find out, you know, um, like, you know, if—how many people were—were sur—you know, were—were hurt. And if there—how many survivors there were. And—and you really found yourself just getting totally involved in finding out. Like, I mean, I think I—I watched every news story that came out. And—and saw all the, um, you know, the—th—the interviews of the people talking about what they were going through. So I think that we were all kind of like just doing that at that point in time.&lt;/p&gt;
Um, the [Orlando Gay] Chorus hadn’t really gotten involved in anything yet. But the—so we, you know—when we would go to rehearsals like the following Wednesday or something like that, then we, you know—then things would—we’d, you know—people would tell their stories of like who and what they, you know—they knew. But, um, I don’t actually recall anything more than just looking and—and getting so involved with like every detail of like what was happening. You know? So…
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;So can you talk a little bit about the, um—the [Orlando Gay] Chorus’s response to the shooting and what sort of happened with the Orlando Gay Chorus in the days and in the weeks following?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Well, I mean, for me i—i—i—it seemed like, um, we were all—the chorus was kind of taking a new direction. You know? I mean, it had always been a chorus that did outreaches, I mean, you know, to the community at large. I mean we’ve always done that. We—you know? We’ve always performed at—at certain places. Like, um, you know, there’s an elderly care facility that we’ve performed at. And we’ve done [Come Out With] Pride [Orlando] events and those kind of things. And—and we’ve done—and we’ve kind of geared ourselves towards—like just doing the national anthem. You know? We—when someone needed that in—i—you know, in their group or something.&lt;/p&gt;
&lt;p&gt;Um, the outreaches hadn’t been, you know—I mean, you know, we—now that we have a new director, we—we’re starting to—and we had some other people that really get totally involved in outreaches. So, um—so the outreaches before the Pulse were just, you know—basically just, you know, like, “Yeah. We’ll do a—we’ll do your wedding ceremony or something like that. Or we’ll—we’ll do a song for, you know—for, uh—for the, uh—like if you want the—the, you know—the, um, national anthem or something.&lt;/p&gt;
&lt;p&gt;But then after Pulse, um, we f—we found that the—they’re—they start to do, uh, vigils. You know? And, um, I think that that’s what—and—and I hadn’t gone to any of the—the first ones. Mostly because they were kind of telling us, you know, that, um—that, uh, c—they—the city was sort of waiting for—for a time when they could have an organized one where they could have like, um, security there. And they were kind of concerned about, uh, you know, the s—community in general. And putting guys—you know, doing something like this, um, that wasn’t like an official thing that they could s—you know, make sure that they had the manpower. ‘Cause they—I think, uh, at this point they were sort of stressed out that the—the police department, you know—trying to, you know, look into, you know, what was happening with the, um—what—with the shooting. And if there was, uh, you know, anything else. Th—so they couldn’t guarantee the safety of—of ‘em.&lt;/p&gt;
&lt;p&gt;But the—what ended up happening was the first vigil that was, um—was announced, um, ended up to[sic] become, uh, a huge one. And I—I kind of stayed away from ‘em because we were all kind of concerned like that, you know, that—you know, that they wouldn’t have the, uh, you know—the, uh, security in place. So—so I didn’t really get involved with the first or[sic] one. But then, um—but when they did decide to have an official one, then—then I did that one. But, um—but the first one, you know, I—I watched from, you know, the—the videos afterwards. And it became like the—the—the one that they did at Dr. Phillips [Center for the Performing Arts] became—that became the—sort of the—the—the one that was representing our city all around the world.&lt;/p&gt;
&lt;p&gt;Um, you know, uh, um, after that, then i—you know, uh, they—they started doing the memorial services and stuff, too. It wasn’t that long after, you know, that. And that’s when, um, we started to go and—and do these like small things at, um—for some of the people that were in there. Uh, I, uh—I was—I was feeling kind of, I mean, that—the whole thing about doing a memorial service is—is sort of—you feel almost displaced. Like i—it’s a surreal feeling, you know, that—you know, that—and—and you’re not quite sure—I mean, ‘cause, you know, a chorus is really a—a group that’s there to entertain. We were never, you know—we—that—to take on the role of—of being, uh, um, somebody that, uh, sh—that is comforting the community was certainly something I wasn’t really prepared for.&lt;/p&gt;
&lt;p&gt;So it—so after a while, um, it—I found that it’s—it—that, um, it was kind of, um—it started to wear—weigh on me a little bit I think. Um, and—and the whole, you know, I mean, and—and I don’t know. I just think that you’ve—you’ve found—I found myself, um—and I didn’t—I—like I—that I couldn’t find someone that I could communicate with on what was happening to me. You know? When we—you know, h—i—i—it—it sort of—you start to feel kind of a guilt or something.&lt;/p&gt;
&lt;p&gt;Um, that—the reason I say that is because, um, you know, p—before the Pulse, you know, we—we were a small group that, you know, struggled to be known in the community. And then, uh—and then a lot of, uh, organizations started asking us to come to do something for them. You know? Um, and not necessarily of—of—of—of a vigil or—or memorial. But just something representing, you know, the LGB[T] community. And one of the—and that’s when, um, we got one of the most amazing, um, uh, events that, you know, I thought I ever like really sang at—was, you know—I mean there—there are two that, eh, you—you did ment—you did ask me what, you know, there—if there were a couple things that stand out, um, um, uh, being in the chorus. And the one, and this is—this i—was before the Pulse—was that the Dr. Phillips Center [for the Performing Arts] had asked us at—to perform songs for them. And it was a concert called “A Salute to the American Flag”. And to me, that was just—at that—that—that’s up there with the GALA Choruses. I mean, you know, to be—to represent, um, the—to be a part of the Dr. Phillips, um—I mean, uh, the, uh, Orlando Philharmonic [Orchestra], um—those are the ones that asked us to—to be part of this, uh, “Salute to the American Flag”.&lt;/p&gt;
&lt;p&gt;So we did this concert at the Bob Carr [Theater]. And, uh—and we had like over like a hundred peop—of our chorus members there. And—and a—at—you know, what was really cool was after the reviews came out for this show, they—they actually said that we were like just an amazing group. I mean this was the reviews from the Sun [Orlando?] Sentinel saying that we sounded amazing. And they even thought that the—that the—the Orlando Philharmonic didn’t have the quality that—that they could’ve had. I think they criticized the way the director did some of the songs. But, you know—but our part was like amazing. So that was the one, uh, that, eh—show that just really stood out for me. I mean just…&lt;/p&gt;
&lt;p&gt;And then, um—and the other performance was because of the Pulse and what had happened. And it was, um, that we got to sing halftime for the [Orlando City Soccer Club] soccer game. And so there was like—there’s 36,000 people, you know, at halftime listening to a couple songs we did. And we did this one beautiful rendition of, um—of, uh, Cyndi Lauper’s&lt;a title="" href="#_ftn3"&gt;[3]&lt;/a&gt; color—you know, “True Colors” song. Um, so I—I—I have to say, you know, I’m 60 years old and it’s take—it just—I, you know—that alone stands out as the most ama—one of the most amazing things that anybody that’s like gay could ever imagine is to be out and open in—in a na—on a national level. And just being able to—to be who you are and—and have just all these people just accepting you.&lt;/p&gt;
And so after that—after I had done that—you know, right after we did that halftime show, you know, I—a—and then even just like s—standing there and having some beers and watching the game, it was just totally the most fun. But I got[sic] to tell you, I felt so—so guilty. And I couldn’t even explain why. It’s just, you know, here’s some—something that happened that—where—where some people lost their lives. And it took that much to—I mean just—I mean I shouldn’t, you know, i—i—can you imagine just the f—the guilt you feel? To have something so amazing, but the lo—but at the price of losing, uh, all these people.
&lt;p&gt;And so [&lt;em&gt;laughs&lt;/em&gt;], um, when that happened, I—you know, there wasn’t anybody I could reach out to. I mean I had a friend that really—you know, one of my best friends, like I couldn’t get him to understand, you know, why, you know, I was feeling this way. And, you know, like when you have something like that happen and you can’t really have [&lt;em&gt;sniffs&lt;/em&gt;]—and you don’t have anybody to talk to. So—so I called my friend [&lt;em&gt;laughs&lt;/em&gt;]. I have a good friend in the area that—and like I said, you know, a—and I told her what happened. You know? That a—all this. You know? Tha—these amazing things that happened. But y—you know I—‘cause you know if you grow up 60 years, you never what di—e—experience—you’re always like in the shadows. You never tell people like what your life is like. You know? This—this is what it’s been for s—you know, all my life. And—and so when you’re in groups like this, like the chorus or anything then—and you’re like at festivals, you kind of have these great experiences. But I never would have thought that, you know—that, you know, been a—been able to sing at like the soccer games or stuff like that. That, you know—I mean that was so…&lt;/p&gt;
&lt;p&gt;So I asked my friend, Marian[sp]—so Marian[sp], Joe[?] and—came over. And that’s when we went over to one of the, um, candlelight vigils that—that they were holding downtown at the Pulse. And so it was nice to have my friends with me to—to just kind of get me through that—that part of the guilt I think. You know? I mean that’s—that’s kind of what it’s been like. But then that’s a long time ago, so I’ve kind of recovered [&lt;em&gt;laughs&lt;/em&gt;]. So kind of like that. Anyway [&lt;em&gt;sighs&lt;/em&gt;].&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;And, um [&lt;em&gt;sniffs&lt;/em&gt;], what have your thoughts been about—these are here if you want them—um, what have your thoughts been about the r—reactions of, um, the community to—to what’s happened?
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Oh, I th—I think that the community in general has been incredible. I, um—not only the community, but the whole world. I mean, you knew, uh, th—um, when we were at the last GALA [Choruses Festival], um, it was really one of those GALAs that, um, was after the Pulse. So—so we were—they were kind of telling us i—in, you know—at the rehearsals that don’t—“Be prepared because, you know, you’re going to get a lot of, uh, uh, you know—y—you—the response you’re going to get at GALA is going to be different than what you’re used to s—being.”&lt;/p&gt;
&lt;p&gt;And so when you come f—from a community, you know, that—where something like this has happened, you know, um—like say for example, what happened in Paris&lt;a title="" href="#_ftn4"&gt;[4]&lt;/a&gt;. You know? That sort of thing. You know? The—the world seems to really have come together. I mean and it—when we—what happened in Paris seems to be what was happening to us now. You know? The—the shooting at the nightclub. And then, you know, now—and then what—what we had to experience. You know? You, um—so like the chorus was kind of saying, “When you go to the GALA, you know, just be prepared that, you know—that, um, they—people—the community around you—and—and not only Orlando, but, you know, just every c—every community, um, is going to respond in some manner.”&lt;/p&gt;
&lt;p&gt;I mean we—you know, on Facebook alone, you know, tha—there were so many re—positive responses from all over the world, you know, that, um—and we were still getting them even now. You know? I mean there are choruses that are—that are sending us, you know, like—like they’re—they’re having fundraisers and—and sending us, you know, um, uh, funds to help our chorus here. You know? Th—through the next show and all of that. But—and it’s—i—it’s all really re—as a result of the Pulse. I mean it’s just, you know, um, the—everything. The mayor’s [John Hugh “Buddy” Dyer] been great. And, you know, it’s just been just a—a—a—a real, uh, unity that’s—has happened, um, for—for us. And—and so I—I think the chorus is—us—a little part of that, too. You know? I think that we’re just kind of like a—a—a group that, you know,—that, um—that everybody’s kind of, uh, uh—how would I put it? Sharing their experiences with or something, which is kind of an outlet. You know? Kind of an outlet for them I suppose. I don’t know. But, uh. Yeah.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Was it—was there anything else specific you noticed in the reaction of other people—other choruses at the GALA event?
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Oh, yeah. I mean when—when we did go to the GALA, uh, they—it—it was, um—it was, uh—it was like a—when you’d go and see like a sho—y—we’d be part of a show, w—we were part of the, uh—the opening ceremonies show, where we kind of just, uh, came up onstage and sang like maybe the last song of—of a—of a—of a song that we were doing with, uh, you know, i—with the other groups. Um, we ended up getting these amazing standing ovation[sic], you know, that just lasted for th—the longest of times. I mean it was, uh, a—a—and when the director started t—talking about, you know, um, the events that occurred up until the time, you know, the—the—all the vigils that we were doing and the memorial services i—i—you know, it was, uh—everybody just kind of stood up. You know?&lt;/p&gt;
&lt;p&gt;And then—and then, as even if we would walk through like the, eh—I don’t know if you’ve ever been to Colorado. The—there’s a m—a pedestrian mall, where all the theaters are on one side and there’s like, um—there’s a couple theaters on the other side. But—and then there’s like kind of a parking garage that’s—has some floors on it. Well, the—the—the Cor—the Colorado choruses had all got[sic] together and they just m—um, um, they sang a song, um, and—of, uh—and—and I’m trying to remember. I think it was “America the Beautiful” actually. And they—and then they draped, you know, banners over the—the, um—the, uh, railings that showed that they were su—you know, in support of—of what had happened in Orlando. So they—they had their America—“Orlando Strong” banners hanging as they sang this “American the Beautiful” song. I mean, you know, there’s one thing about songs, it just brings everybody like together. It’s just—it’s just a moving experience. So that—that was just one of the many things.&lt;/p&gt;
&lt;p&gt;And any—everywhere you went, you know, there was always—because we wore like little banners that said we were from Orlando. So everywhere you went like we—all throughout the event, you know, you’d get—you’d get just hugs and, you know—that they were think[sic] of you—think of you. And—and, you know, just—just well-wishes. You know? I [&lt;em&gt;sighs&lt;/em&gt;]—yeah. It was k—quite an experience I have to say. But, um, yeah.&lt;/p&gt;
&lt;p&gt;It’s hard to kind of go on with it, you know? I don’t know if anything like that happens, you’re like—you know, you want your life to go on. You wanted things to—to be settled and to go. But, um—but we s—we still, you know, w—I think we—we’ve changes as a group now. And we’re kind of a group that’s out there for people if they need something. You know? We’re—we’re not just like—we’re—we’ve become like sort of a support group for other groups in town or something. You know? It’s hard to explain. Um, you know?&lt;/p&gt;
&lt;p&gt;So—and I don’t want to bring up politics, but they—they have a—they did ask a lot of us to, um, you know—if this is not a—an official outreach for the chorus, but they did ask a lot of us if they—if we wanted to sing for the, uh, president and—when he comes to town on Sunday. So there’s gonna be a bunch of us over there s—s—singing the national anthem. Not me. I didn’t get that email in time [&lt;em&gt;laughs&lt;/em&gt;]. But, you know, I’m kind of so happy for my, you know—that my friends that are—had an opportunity to be part of the, uh, election, um, thing that’s happening. So if you get a chance, go over to—to Kissimmee[, Florida] and think the president’s gonna be there.&lt;a title="" href="#_ftn5"&gt;[5]&lt;/a&gt; And we’re gonna be singing the national anthem. I mean the, you know—some singers that I know. Not official. Um, oh gee. See, it’s just—just a volunteer thing. So—so that’s kind of exciting for them.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, do you have any thoughts about what Pulse as a place means to you? I don’t, um, know if it had any significance for you before or…
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Well…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;…does it now?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;…that’s a good question. What Pulse, um—what Pulse, uh, mean to me—I mean I—you know I had—I—I had been there before. I mean probably w—like, uh, 10 years ago. I probably went there a few times. You know? And, um, it—it was really, uh, just a—a place to, you know, socialize. Um, you know, uh, the night that—of the tragedy though, I—ey—they, uh—I had heard that it was like Hispanic night, which meant that they would have been doing some like cool dancing. ‘Cause I don’t know if you’ve ever been to like, uh, a place where, uh—where h—you know, they, uh—you know, it’s a kind of Spanish—Spanish—Hispanic music thing. They dance a lot differently than, uh—than regular disco clubs or whatever. ‘Cause, I mean, I—I used to go to the places in Miami. You know? And, I mean, they’re—they—they do salsas and, um, you know—I—I don’t know all the—all the ty—types of dances that they do. But it’s—it’s quite fun. You know? Because it’s—it’s—it’s like couple dancing in a way that, you know—that’s more, you know, where you touch each other as opposed to just, uh, disco music, where you don’t.&lt;/p&gt;
&lt;p&gt;So that—I could imagine it would’ve been fun. And if I—actually, to tell you the truth, if I had known that it was like, uh, Hispanic night, I probably would’ve gone just for the dancing. If—if I could find someone to go with, you know, at the time. But—but, uh, no. I—it—for a long time, it hadn’t been any place I would have gone because it’s just, um—there was just a younger crowd. You know? So—though, I mean, I—I’m sure there were people my age there [&lt;em&gt;laughs&lt;/em&gt;]. I’m just not a club person these days. So—but I’m—yeah [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, so do you have any thoughts about what you might see as the long-term consequences of the Pulse shooting for—for this community or maybe even broader to the country?
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Well, like always—I always hope that, you know, these kind of things can make differences when it comes to like, you know, um, gun control. That sort of thing. That’s really where I hope it goes more than anything. I mean—I mean we just—you know, as a s—as a country, we—I think we, you know—I mean there’s a lot of—you know, being an election year, too, which, uh, makes a big difference—but, um, i—i—i—you know, i—i—there’s all[sic] so much argument[sic] about like h—how and—how we use guns. And—and w—why they go into the wrong hands. And—and, you know, what can we do about it? You know? And I—and I know there—that—that, um—that there’s a lot of disagreement on, you know, like how—how guns should be handled. You know? And—and especially assault rifles. I mean—I mean just that—just i—you know, i—anybody that’s read what happened at the Pulse with—with—with these people that use these assault rifles—I mean these are very destructive. I mean they—they—the, uh, early responders didn’t even know like if they could even get into the building. They didn’t even know how many people were actually in the building. You know? The amount of gunfire that goes off like during that time is incredible. And it—and not only that, but those guns are very destructive. And so, you know, when you’re shot with like a—a—an assault rifle, you’re—you have damage to you—to your body. More so than just, you know—just a gun that just, you know, shoots like a little—little—li—s—ho—you know, handgun.&lt;/p&gt;
&lt;p&gt;A—and it just doesn’t make any sense why—why our country, you know, w—what this love affair is with these assault rifles. And—and I know for a fact that—that, you know, there was a law not long ago that—tha—that kind of, eh, kept these kind of guns out of, uh—out of people’s hands. But then, I—I guess, you know, like all—eh, some laws, they—they—they just have a certain period of time. And then they—they, you know, become null and void or something. You know? So I—I’m just hoping that—that, you know, we can as a society adhere—can just find ways—you know, you can get guns on the internet. You can get guns at gun shows. And you don’t even need to have a background search. I mean that’s what I’m kind of hoping. You know? It’s—it’s really about that. You know?&lt;/p&gt;
&lt;p&gt;Um, you know, if you’ve read anything about the sh—the guy that—that was in the shooting, you know that he was somebody that just had like really issues. You know? Like more mental issues. So, um, I don’t know. I mean I just—that’s what I would like to see really.&lt;/p&gt;
&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Um, so do you have any other reflections about the Pulse shooting or your experience as a member of the [Orlando] Gay Chorus that we haven’t talked about or haven’t covered?
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, gosh. We talk—covered quite a lot. Haven’t we [&lt;em&gt;laughs&lt;/em&gt;]? Uh, w—well, um, like I said, um, you know, uh, the Pulse was—was really a tr—a—a tragedy. And though I didn’t really know anybody like, um, personally, I did know people who did know people. Um, and I just—you know, I just feel s—sorry for any community that ever would have to go through something like this. You know? Um, and the—th—and the reality is—is—is that, you know, un—until the world changes, you know, we’re gonna have this sort of thing. It’s gonna come and it’s gonna happen occasionally. You know? Like different places around the world.&lt;/p&gt;
&lt;p&gt;I mean this—this is nothing compared to what’s happening overseas. So—but, uh—but—so that’s why it’s kind of nice to have like the chorus to have, you know—to put some positive part into your life. And so that’s kind of, you know—I’m looking forward to the show. Come—it’s—it’s on December 10&lt;sup&gt;th&lt;/sup&gt;[, 2016]. Um, a little—a little, uh, fu—uh, you know, uh, a little, uh, sales pitch there [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;So yeah. So we’re really just—you know, what I think what it is is I think we’re all just getting back to our lives now. You know? And so that’s, um—you know, it’s been a quite—quite a few months since it’s happened. And—and, um, so it’s nice to just kind of give back and, you know, look forward to—to being a part of that group again. And doing s—something that’s more entertaining and fun and, uh—and positive. So I think that’s really a part of it—i—is that re—you know, you had the tragedies—tragedies, but you also have a lot of things to look forward to. So I’m really looking forward to it. That—that sort of thing. So…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Alright. Is there anything else you wanted to share?&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, no. I think that’s pretty [&lt;em&gt;laughs&lt;/em&gt;]…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;…mu—much it. Yeah. It’s quite a[sic] ordeal [&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;[&lt;em&gt;laughs&lt;/em&gt;].&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Um, no. You know? It’s just this. I think, you know, like, um, yeah. I guess the one thing that I would like to say about, um, the chorus is i—it does, uh, benefit people that like, you know—you know, that we come together a lot. That I’m certainly gul—you know, happy that—that I have something that—you know, that—that is very community-oriented. I think that’s really the, uh—one of the things that I really enjoy about it—is that it—is, uh—is that it puts me back into the community. Something that, you know—that—when you’re working every day and you—and y—all your life is pretty much just work and—a—that’s nice to have that outlet. Yeah. So. An—an—an—and I’ve done—an—I’ve had a lot of nice experiences. So—but…&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Schneider&lt;br /&gt;&lt;/strong&gt;Great. Well—well, thank you so much. Thanks for talking with us. We really appreciate it.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Herman&lt;br /&gt;&lt;/strong&gt;Thank you. Thanks.&lt;/p&gt;
&lt;div&gt;&lt;br /&gt;&lt;div&gt;
&lt;p&gt;&lt;a title="" href="#_ftnref1"&gt;[1]&lt;/a&gt; Pennsylvania State University&lt;/p&gt;
&lt;/div&gt;
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&lt;p&gt;&lt;a title="" href="#_ftnref2"&gt;[2]&lt;/a&gt; Gay and Lesbian Association of Choruses&lt;/p&gt;
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&lt;p&gt;&lt;a title="" href="#_ftnref3"&gt;[3]&lt;/a&gt; Cynthia Ann Stephanie Lauper&lt;/p&gt;
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&lt;p&gt;&lt;a title="" href="#_ftnref4"&gt;[4]&lt;/a&gt; November 2015 Paris attacks&lt;/p&gt;
&lt;/div&gt;
&lt;div&gt;
&lt;p&gt;&lt;a title="" href="#_ftnref5"&gt;[5]&lt;/a&gt; President Barack Obama visited Osceola County Stadium in Kissimmee, Florida, on November 6, 2016, in support of Democratic nominee Hillary Clinton’s final push to win Florida.&lt;/p&gt;
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                  <text>The Watermark Collection</text>
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                  <text>Since 1994, &lt;em&gt;The Watermark&lt;/em&gt; has been the cornerstone source of LGBTQ+ (Lesbian, Gay, Bisexual, Trans, Queer/Questioning, and others) centered news for the Central Florida region. Founded by Tom Dyer in Orlando, the publication began generating bi-weekly issues beginning August 31, 1994. Since then, &lt;em&gt;The Watermark&lt;/em&gt; has consistently published newspaper style issues every other Thursday. Gaining traction, the publication expanded in 1995 to include Tampa and, in 1997, &lt;em&gt;The Watermark&lt;/em&gt; became a permanent piece of LGBTQ+ culture when the publication initiated the first large-scale Gay Days Weekend event, the Beach Ball at Disney’s Typhoon Lagoon. Before 1999, the publication printed 20,000 copies every week, distributing them to over 500 locations between its two major cities. Following 1999, the publication launched watermarkonline.com shifting to an online publication style. In 2016, Rick Claggett purchased &lt;em&gt;The Watermark&lt;/em&gt;.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/" target="_blank"&gt;RICHES Program&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.floridalgbtqmuseum.org/%20" target="_blank"&gt;GLBT History Museum of Central Florida&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.watermarkonline.com/"&gt;The Watermark&lt;/a&gt;</text>
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                  <text>Smith, Robert</text>
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                  <text>Cepero, Laura</text>
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                  <text>O'Neal, Rhiannon</text>
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                  <text>Greene, Quintella</text>
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                  <text>Rodriguez, Sharon</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;a href="http://www.floridalgbtqmuseum.org/%20" target="_blank"&gt;GLBT History Museum of Central Florida&lt;/a&gt;</text>
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                  <text>"&lt;a href="http://www.watermarkonline.com/aboutcontact/" target="_blank"&gt;About/Contact&lt;/a&gt;." WatermarkOnline.com, accessed July 11, 2016. http://www.watermarkonline.com/aboutcontact/.</text>
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                <text>The Watermark, Vol. 2, No. 2, January 25, 1995</text>
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                <text>Watermark, Vol. 2, No. 2</text>
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            <description/>
            <elementTextContainer>
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                <text>Gay culture--United States</text>
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                <text>The second issue of volume two of &lt;em&gt;The Watermark&lt;/em&gt; was published on January 25, 1995, and focuses on community issues with the LGBTQ+ (Lesbian, Gay, Bisexual, Trans, Queer/Questioning, and others) movement. The main topics discussed in this issue are Iran's persecution of gay nightclub patrons, West Palm Beach voters' defeat of a proposal that sought to remove gay rights protections from municipal law, the Metropolitan Business Association's (MBA) Second Annual Expo, a federal court's ruling allowing a veterans group to bar the LGBTQ+ community from marching in Boston's St. Patrick's Day Parade, and Scott Laurent Galleries. This issue also includes letters to the editor, theater and film reviews, restaurant reviews, and comic strips, as well as culture, artful living, travel, marketplace, and classifieds sections.&lt;br /&gt;&lt;br /&gt;Since 1994, &lt;em&gt;The Watermark&lt;/em&gt; has been the cornerstone source of LGBTQ+ centered news for the Central Florida region. Founded by Tom Dyer in Orlando, the publication began generating bi-weekly issues beginning August 31, 1994. Since then, &lt;em&gt;The Watermark&lt;/em&gt; has consistently published newspaper-style issues every other Thursday. Gaining traction, the publication expanded in 1995 to include Tampa and, in 1997, &lt;em&gt;The Watermark&lt;/em&gt; became a permanent piece of LGBTQ+ culture when the publication initiated the first large-scale Gay Days Weekend event, the Beach Ball at Disney’s Typhoon Lagoon. Before 1999, the publication printed 20,000 copies every week, distributing them to over 500 locations between its two major cities. Following 1999, the publication launched watermarkonline.com shifting to an online publication style. In 2016, Rick Claggett purchased &lt;em&gt;The Watermark&lt;/em&gt;.</text>
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                <text>Original 32-page newspaper: &lt;a href="http://www.watermarkonline.com/" target="_blank"&gt;&lt;em&gt;The Watermark&lt;/em&gt;&lt;/a&gt;, Vol. 2, No. 2, January 25, 1995: Publications Collection, &lt;a href="http://glbthistorymuseum.com/joomla25/index.php?lang=en" target="_blank"&gt;GLBT History Museum of Central Florida&lt;/a&gt;, Orlando, Florida.</text>
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                <text>&lt;a href="http://www.adobe.com/products/reader.html" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.UCF.edu/omeka/collections/show/203" target="_blank"&gt;The Watermark Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                <text>Digital reproduction of original 32-page newspaper: &lt;a href="http://www.watermarkonline.com/" target="_blank"&gt;&lt;em&gt;The Watermark&lt;/em&gt;&lt;/a&gt;, Vol. 2, No. 2, January 25, 1995.</text>
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                <text>Bahia Shrine Temple, Orlando, Florida</text>
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              <elementText elementTextId="633762">
                <text> Iran</text>
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              <elementText elementTextId="633763">
                <text> West Palm Beach, Florida</text>
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                <text> Walt Disney World, Lake Buena Vista, Florida</text>
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                <text> Boston, Massachusetts</text>
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              <elementText elementTextId="633766">
                <text> Duke University, Durham, North Carolina</text>
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                <text> Denver, Colorado</text>
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                <text> United Kingdom</text>
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              <elementText elementTextId="633769">
                <text> Kansas City, Missouri</text>
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                <text> Gaborone, Botswana</text>
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              <elementText elementTextId="633771">
                <text> Daytona Beach, Florida</text>
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                <text> Scott Laurent Galleries, Winter Park, Florida</text>
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                <text> Bartsch, Carol</text>
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                <text> Sheehan, Patty</text>
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                <text> Johnson, D. J.</text>
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                <text> Brenner, Harmony</text>
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                <text> Anderson, Mark</text>
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                <text> Maines, Ted</text>
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                <text> Bray, Dan</text>
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                <text> Gustetter, April</text>
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                <text> Peterson, Keith</text>
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                <text> Emmer, Sarah</text>
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                <text> Fowler, G. K.</text>
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                <text> Schultz, Nan</text>
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                <text> Badal, Sharon</text>
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                <text> Sloan, Rosanne</text>
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                <text> Saran, Joe</text>
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                <text> Almeida, David</text>
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                <text> Provencher, William André</text>
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                <text> Dean, Brandon</text>
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                <text> Wilde, Diane</text>
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                <text> Vassel, Yvonne C. T.</text>
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                <text> Hartman, Keith</text>
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                <text> Bechdel, Alison</text>
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                <text> Orner, Eric</text>
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                <text> Porter, Jill</text>
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                <text> Holland, Robert</text>
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                <text> Messmer, Katie</text>
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                <text> Kenney, Tera</text>
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              <elementText elementTextId="633809">
                <text> Williams, Mike</text>
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            <description/>
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            <description/>
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              <elementText elementTextId="633817">
                <text>eng</text>
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          <element elementId="122">
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            <description/>
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                <text>History Teacher</text>
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            <name>Provenance</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="633819">
                <text>Originally published by &lt;a href="http://www.watermarkonline.com/" target="_blank"&gt;Watermark Media&lt;/a&gt;.</text>
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            <description/>
            <elementTextContainer>
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                <text>Copyright to this resource is held by &lt;a href="http://www.watermarkonline.com/" target="_blank"&gt;Watermark Publishing Group&lt;/a&gt; and is provided here by &lt;a href="http://riches.cah.UCF.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only.</text>
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                <text>&lt;a href="http://glbthistorymuseum.com/joomla25/index.php?lang=en" target="_blank"&gt;GLBT History Museum of Central Florida&lt;/a&gt;</text>
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                <text>Smith, Robert</text>
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              <elementText elementTextId="633824">
                <text> Cepero, Laura</text>
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            <elementTextContainer>
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                <text>&lt;a href="https://richesmi.cah.UCF.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                <text>&lt;a href="http://glbthistorymuseum.com/joomla25/index.php?lang=en" target="_blank"&gt;GLBT History Museum of Central Florida&lt;/a&gt;</text>
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                <text>"&lt;a href="http://www.watermarkonline.com/aboutcontact/" target="_blank"&gt;About/Contact&lt;/a&gt;." WatermarkOnline.com, accessed July 11, 2016. http://www.watermarkonline.com/aboutcontact/.</text>
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        <name>Bruce Jenner</name>
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                <text>The eighth issue of &lt;em&gt;The Watermark&lt;/em&gt; was published on March 5, 1995, and focuses on community issues with the LGBTQ+ (Lesbian, Gay, Bisexual, Trans, Queer/Questioning, and others) movement. The main topics discussed in this issue include Olympic athlete Greg Louganis (b. 1960), the incarceration of gay Christian activist Mel White, U.S. Supreme Court case &lt;em&gt;Romer v. Evans&lt;/em&gt;, the selection of Michael Slaymaker as the new executive director of the Hope and Help Center of Central Florida, an amendment proposal in Alachua County that would prohibit county commissioners from passing ordinances that would protect civil rights based on sexual orientation, the military's violations of its "Don't ask, don't tell" (DADT) policy, gay adoption, and legal and medical issues related to human immunodeficiency virus infection and acquired immune deficiency syndrome (HIV/AIDS). This issue also includes various advertisements, letters to the editor, film reviews, comics, a travel section, a calendar of events, and personal classifieds.&lt;br /&gt;&lt;br /&gt;Since 1994, &lt;em&gt;The Watermark&lt;/em&gt; has been the cornerstone source of LGBTQ+ centered news for the Central Florida region. Founded by Tom Dyer in Orlando, the publication began generating bi-weekly issues beginning August 31, 1994. Since then, &lt;em&gt;The Watermark&lt;/em&gt; has consistently published newspaper-style issues every other Thursday. Gaining traction, the publication expanded in 1995 to include Tampa and, in 1997, &lt;em&gt;The Watermark&lt;/em&gt; became a permanent piece of LGBTQ+ culture when the publication initiated the first large-scale Gay Days Weekend event, the Beach Ball at Disney’s Typhoon Lagoon. Before 1999, the publication printed 20,000 copies every week, distributing them to over 500 locations between its two major cities. Following 1999, the publication launched watermarkonline.com shifting to an online publication style. In 2016, Rick Claggett purchased &lt;em&gt;The Watermark&lt;/em&gt;.</text>
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                <text>The ninth issue of &lt;em&gt;The Watermark&lt;/em&gt; was published on January 6-19, 2000, and focuses on community issues with the LGBTQ+ (Lesbian, Gay, Bisexual, Trans, Queer/Questioning, and others) movement. The main topics covered in this issue include a letter from the editor</text>
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                <text> and astronomer and gay rights activist Frank Kameny (1925-2011). This issue also includes various advertisements, film reviews, a calendar of events, organizations and meetings, an astrology section, and personal classifieds. Finally this issues includes &lt;em&gt;The Waterfront&lt;em&gt; supplement, which featured articles about Parliament House, The Factory at Garage, and the sale of Viagra on the black market, as well as a gossip column, a nightlife column, music reviews, comics, maps of LGBTQ+ businesses in various Florida cities, and a sex talk column.&lt;br /&gt;&lt;br /&gt;Since 1994, &lt;em&gt;The Watermark&lt;/em&gt; has been the cornerstone source of LGBTQ+ centered news for the Central Florida region. Founded by Tom Dyer in Orlando, the publication began generating bi-weekly issues beginning August 31, 1994. Since then, &lt;em&gt;The Watermark&lt;/em&gt; has consistently published newspaper-style issues every other Thursday. Gaining traction, the publication expanded in 1995 to include Tampa and, in 1997, &lt;em&gt;The Watermark&lt;/em&gt; became a permanent piece of LGBTQ+ culture when the publication initiated the first large-scale Gay Days Weekend event, the Beach Ball at Disney’s Typhoon Lagoon. Before 1999, the publication printed 20,000 copies every week, distributing them to over 500 locations between its two major cities. Following 1999, the publication launched watermarkonline.com shifting to an online publication style. In 2016, Rick Claggett purchased &lt;em&gt;The Watermark&lt;/em&gt;.&lt;/em&gt;&lt;/em&gt;</text>
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                  <text>&lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;</text>
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                <text>Program of the Seminole Soil Conservation District, 1948</text>
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                <text>The Program of the Board of Supervisors of the Seminole Soil and Water Conservation District for 1948. The organization began in 1948 with a goal to assist in agricultural interests. Over the years, the Seminole Soil and Water Conservation District began to also concentrate on the development and management of recreational enterprises. Their interests also entailed solving issues concerning soil and water resources. In the 1948 program, the Seminole Soil Conservation District discusses agriculture and plans to confront issues pertaining to water control, land use, soil depletion, wind and water erosion, pasture development, and woodland and wildlife management. The nine page program is signed by R.F. Cooper, C.A. Wales, T.L. Lingo, R.T. Milwee, and Tom McLain, Jr.</text>
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                <text>Original 9-page typewritten report by the Board of Supervisors of the Seminole Soil and Water Conservation District,1948: Folder SSWCD Statistical and Historical Information, 1948-1977, &lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;, Sanford, Florida.</text>
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                <text>&lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;</text>
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                <text>This resource is not subject to copyright in the United States and there are no copyright restrictions on reproduction, derivative works, distribution, performance, or display of the work. Anyone may, without restriction under U.S. of state copyright laws:&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;&lt;li&gt;create derivative works&lt;/li&gt;&lt;li&gt;perform the work publicly&lt;/li&gt;&lt;li&gt;display the work&lt;/li&gt;&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;&lt;/ul&gt;This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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                <text>Helms, Douglas. "&lt;a href="https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/about/history/?cid=nrcs143_021384" target="_blank"&gt;Hugh Hammond Bennett and the Creation of the Soil Conservation Service&lt;/a&gt;." &lt;em&gt;Journal of Soil and Water Conservation&lt;/em&gt; 65, no. 2, March/April 2010, 37-47. https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/about/history/?cid=nrcs143_021384.</text>
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                <text> Rasmussen, Wayne D. &lt;a href="http://www.worldcat.org/oclc/795510987" target="_blank"&gt;&lt;em&gt;Taking the University To The People: Seventy-five years of Cooperative Extension&lt;/em&gt;&lt;/a&gt;. Ames: Iowa State University Press, 9189.</text>
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                <text> Shofner, Jerrell H. "&lt;a href="https://ucf.digital.flvc.org/islandora/object/ucf%3A25480/datastream/OBJ/view" target="_blank"&gt;Roosevelt's 'Tree Army'&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 65, no. 4, April 1987, 433-465. https://ucf.digital.flvc.org/islandora/object/ucf%3A25480/datastream/OBJ/view.</text>
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                <text> DeFreese, Duane E. "&lt;a href="https://www.jstor.org/stable/20700248?seq=1#page_scan_tab_contents" target="_blank"&gt;Florida and the Environment: From 'La Florida' to Global Warming: 2008 Jillian Prescott Memorial Lecture&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 87, no. 4, Spring 2009, 465-483. https://www.jstor.org/stable/20700248?seq=1#page_scan_tab_contents.</text>
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                <text>Work Plan of the Seminole Soil and Water Conservation, 1948</text>
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                <text>The Work Plan of the Board of Supervisors of the Seminole Soil and Water Conservation District for 1948. The organization began in 1948 with a goal to assist in agricultural interests. Over the years, the Seminole Soil and Water Conservation District began to also concentrate on the development and management of recreational enterprises. Their interests also entailed inventory and evaluations for land uses and solving issues concerning soil and water resources. The purpose of the 1948 work plan was to outline the approach to problems as stated in the program from that year. The seven page work plan discusses issues such as land use, cropland, erosion, pastureland, water control, soil improvement, crop rotation, woodland and wildlife management, farm planning, and the use of conservation surveys.</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
            <description/>
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                <text>Transmittal of Schedule of Assistance of the Board of Supervisors of the Seminole Soil and Water Conservation District, 1951</text>
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            <name>Alternative Title</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634347">
                <text>Seminole Soil and Water Conservation District Transmittal of Schedule of Assistance, 1951</text>
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            <name>Subject</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634348">
                <text>Seminole County (Fla.)</text>
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              <elementText elementTextId="634349">
                <text> Environmental protection--Florida</text>
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          <element elementId="41">
            <name>Description</name>
            <description/>
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              <elementText elementTextId="634350">
                <text>Transmittal of Schedule of Assistance of the Seminole Soil and Water Conservation District for 1951. The organization began in 1948 with a goal to assist in agricultural interests. Over the years, the Seminole Soil and Water Conservation District began to also concentrate on the development and management of recreational enterprises. Their interests also entailed inventory and evaluations for land uses and solving issues concerning soil and water resources. In the Transmittal of Schedule of Assistance from 1951, Walter W. Shaffer writes to Homer L. Osborne and states the kinds of assistance that would be made available by the Soil Conservation Service to the Seminole Soil Conservation District such as a Soil Conservationist, a Drainage Engineer, a Soil Scientist, an Engineer Aid, and a Conservation Aid. The two page document contains a planting materials list including Pensacola Bahia, early Hairy Indigo, ordinary Hairy Indigo, Blanket Indigo, Crotalaria Intermedia, aeschynomene, multiflora rose, Crotalaria Lanceolata, Coastal Bermuda Grass Stolons, and Pangola Grass Stolons. The document is signed by Walter W. Shaffer and Colin D. Gunn.</text>
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          <element elementId="51">
            <name>Type</name>
            <description/>
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              <elementText elementTextId="634351">
                <text>Text</text>
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          <element elementId="48">
            <name>Source</name>
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              <elementText elementTextId="634352">
                <text>Original 2-page typewritten report by the Board of Supervisors of the Seminole Soil and Water Conservation District,1951: Folder SSWCD Statistical and Historical Information, 1948-1977, &lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;, Sanford, Florida.</text>
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            <name>Requires</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634353">
                <text>&lt;a href="http://www.adobe.com/products/reader.html" target="_blank"&gt;Adobe Acrobat Reader&lt;/a&gt;</text>
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          <element elementId="104">
            <name>Is Part Of</name>
            <description/>
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              <elementText elementTextId="634354">
                <text>Folder SSWCD Statistical and Historical Information, 1948-1977, &lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;, Sanford, Florida.</text>
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              <elementText elementTextId="634355">
                <text> &lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/204" target="_blank"&gt;Seminole Soil and Water Conservation District Collection&lt;/a&gt;, Seminole County Collection, RICHES of Central Florida.</text>
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          <element elementId="103">
            <name>Is Format Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634356">
                <text>Digital reproduction of original 2-page typewritten report by the Board of Supervisors of the Seminole Soil and Water Conservation District, 1951.</text>
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          <element elementId="38">
            <name>Coverage</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634357">
                <text>Seminole County, Florida</text>
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          <element elementId="39">
            <name>Creator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634358">
                <text>Shaffer, Walter W.</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634359">
                <text>&lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;</text>
              </elementText>
              <elementText elementTextId="634360">
                <text> Shaffer, Walter W.</text>
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          <element elementId="90">
            <name>Date Created</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634361">
                <text>ca. 1951</text>
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            </elementTextContainer>
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          <element elementId="94">
            <name>Date Issued</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634362">
                <text>ca. 1951</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="42">
            <name>Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634363">
                <text>application/pdf</text>
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          <element elementId="112">
            <name>Extent</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634364">
                <text>1.47 MB</text>
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          <element elementId="113">
            <name>Medium</name>
            <description/>
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              <elementText elementTextId="634365">
                <text>2-page typewritten report</text>
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          <element elementId="44">
            <name>Language</name>
            <description/>
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              <elementText elementTextId="634366">
                <text>eng</text>
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          <element elementId="122">
            <name>Mediator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634367">
                <text>History Teacher</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="124">
            <name>Provenance</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634368">
                <text>Originally created by the &lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt; and Walter W. Shaffer .</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634369">
                <text>This resource is not subject to copyright in the United States and there are no copyright restrictions on reproduction, derivative works, distribution, performance, or display of the work. Anyone may, without restriction under U.S. of state copyright laws:&lt;ul class="one_column_bullet"&gt;&lt;li&gt;reproduce the work in print or digital form&lt;/li&gt;&lt;li&gt;create derivative works&lt;/li&gt;&lt;li&gt;perform the work publicly&lt;/li&gt;&lt;li&gt;display the work&lt;/li&gt;&lt;li&gt;distribute copies or digitally transfer the work to the public by sale or other transfer of ownership, or by rental, lease, or lending.&lt;/li&gt;&lt;/ul&gt;This resource is provided here by &lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt; for educational purposes only. For more information on copyright, please refer to &lt;a href="http://www.leg.state.fl.us/statutes/index.cfm?submenu=3#A1S24" target="_blank"&gt;Section 24 of the Florida Constitution&lt;/a&gt;.</text>
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            <name>Accrual Method</name>
            <description/>
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                <text>Donation</text>
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          <element elementId="133">
            <name>Curator</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634371">
                <text>Baker, Holly</text>
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          <element elementId="134">
            <name>Digital Collection</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634372">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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          <element elementId="135">
            <name>Source Repository</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634373">
                <text>&lt;a href="http://www.conserveseminole.org/" target="_blank"&gt;Seminole Soil and Water Conservation District&lt;/a&gt;</text>
              </elementText>
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          </element>
          <element elementId="136">
            <name>External Reference</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="634374">
                <text>Helms, Douglas. "&lt;a href="https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/about/history/?cid=nrcs143_021384" target="_blank"&gt;Hugh Hammond Bennett and the Creation of the Soil Conservation Service&lt;/a&gt;." &lt;em&gt;Journal of Soil and Water Conservation&lt;/em&gt; 65, no. 2, March/April 2010, 37-47. https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/about/history/?cid=nrcs143_021384.</text>
              </elementText>
              <elementText elementTextId="634375">
                <text> Helms, Douglas. "&lt;a href="https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/home/?cid=nrcs143_021380" target="_blank"&gt;Eroding the Color Line: The Soil Conservation Service and the Civil Rights Act of 1964&lt;/a&gt;." &lt;em&gt;Journal of Soil and Water Conservation&lt;/em&gt; 65, no. 2, Spring 1991, 35-53. https://www.nrcs.usda.gov/wps/portal/nrcs/detail/national/home/?cid=nrcs143_021380.</text>
              </elementText>
              <elementText elementTextId="634376">
                <text> Rasmussen, Wayne D. &lt;a href="http://www.worldcat.org/oclc/795510987" target="_blank"&gt;&lt;em&gt;Taking the University To The People: Seventy-five years of Cooperative Extension&lt;/em&gt;&lt;/a&gt;. Ames: Iowa State University Press, 9189.</text>
              </elementText>
              <elementText elementTextId="634377">
                <text> Shofner, Jerrell H. "&lt;a href="https://ucf.digital.flvc.org/islandora/object/ucf%3A25480/datastream/OBJ/view" target="_blank"&gt;Roosevelt's 'Tree Army'&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 65, no. 4, April 1987, 433-465. https://ucf.digital.flvc.org/islandora/object/ucf%3A25480/datastream/OBJ/view.</text>
              </elementText>
              <elementText elementTextId="634378">
                <text> DeFreese, Duane E. "&lt;a href="https://www.jstor.org/stable/20700248?seq=1#page_scan_tab_contents" target="_blank"&gt;Florida and the Environment: From 'La Florida' to Global Warming: 2008 Jillian Prescott Memorial Lecture&lt;/a&gt;." &lt;em&gt;Florida Historical Quarterly&lt;/em&gt; 87, no. 4, Spring 2009, 465-483. https://www.jstor.org/stable/20700248?seq=1#page_scan_tab_contents.</text>
              </elementText>
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      <tag tagId="48813">
        <name>Aeschynomene</name>
      </tag>
      <tag tagId="577">
        <name>agriculture</name>
      </tag>
      <tag tagId="48811">
        <name>Blanket Indigo</name>
      </tag>
      <tag tagId="48802">
        <name>Coastal Bermuda Grass Stolons</name>
      </tag>
      <tag tagId="47737">
        <name>Colin D. Gunn</name>
      </tag>
      <tag tagId="12162">
        <name>conservation</name>
      </tag>
      <tag tagId="48812">
        <name>Crotalaria Intermedia</name>
      </tag>
      <tag tagId="48815">
        <name>Crotalaria Lanceolata</name>
      </tag>
      <tag tagId="17367">
        <name>drainage</name>
      </tag>
      <tag tagId="48809">
        <name>early Hairy Indigo</name>
      </tag>
      <tag tagId="12025">
        <name>engineer</name>
      </tag>
      <tag tagId="17045">
        <name>engineering</name>
      </tag>
      <tag tagId="2957">
        <name>farmers</name>
      </tag>
      <tag tagId="12113">
        <name>farming</name>
      </tag>
      <tag tagId="48808">
        <name>Homer L. Osborne</name>
      </tag>
      <tag tagId="48814">
        <name>Multiflora Rose</name>
      </tag>
      <tag tagId="48810">
        <name>ordinary Hairy Indigo</name>
      </tag>
      <tag tagId="48803">
        <name>Pangola Grass Stolons</name>
      </tag>
      <tag tagId="15594">
        <name>Pensacola Bahia</name>
      </tag>
      <tag tagId="33705">
        <name>planters</name>
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      <tag tagId="48805">
        <name>planting materials</name>
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      <tag tagId="400">
        <name>Sanford</name>
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      <tag tagId="304">
        <name>Seminole County</name>
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      <tag tagId="47661">
        <name>Seminole Soil and Water Conservation District</name>
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      <tag tagId="24367">
        <name>soil</name>
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      <tag tagId="48799">
        <name>Soil conservation</name>
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      <tag tagId="48795">
        <name>Soil Conservation Service</name>
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      <tag tagId="48816">
        <name>Soil Conservation Service Nurseries</name>
      </tag>
      <tag tagId="48800">
        <name>soil scientist</name>
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      <tag tagId="48768">
        <name>SSCD</name>
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      <tag tagId="47662">
        <name>SSWCD</name>
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      <tag tagId="48798">
        <name>State Conservationist</name>
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      <tag tagId="3423">
        <name>United States Department of Agriculture</name>
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      <tag tagId="6887">
        <name>USDA</name>
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      <tag tagId="48807">
        <name>Walter W. Shaffer</name>
      </tag>
      <tag tagId="47667">
        <name>water control</name>
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