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                  <text>Central Florida Music History Collection</text>
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                  <text>Music History Collection</text>
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                  <text>Music--Florida</text>
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                  <text>Orlando (Fla.)</text>
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                  <text>Cassadaga (Fla.)</text>
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                  <text>Hialeah (Fla.)</text>
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                  <text>Maitland (Fla.)</text>
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                  <text>New Smyrna Beach (Fla.)</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
&#13;
Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                  <text>Knickerbocker, Carl</text>
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                  <text>eng</text>
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              <name>Coverage</name>
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                  <text>Cassadaga, Florida</text>
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                  <text>Hialeah, Florida</text>
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                  <text>Maitland, Florida</text>
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                  <text>New Smyrna Beach, Florida</text>
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                  <text>Orlando, Florida</text>
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              <name>Curator</name>
              <description/>
              <elementTextContainer>
                <elementText elementTextId="517976">
                  <text>Cepero, Laura</text>
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                <elementText elementTextId="517977">
                  <text>Cravero, Geoffrey</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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              <name>External Reference</name>
              <description/>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/48139297" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;An Anthology of Music in Early Florida&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville: University Press of Florida, 1999.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/21196990" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;A History of Music &amp;amp; Dance in Florida, 1565-1865&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Tuscaloosa: University of Alabama Press, 1991.&lt;/span&gt;</text>
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                <elementText elementTextId="518329">
                  <text>&lt;span&gt;Morris, Alton Chester. &lt;/span&gt;&lt;a href="Morris,%20Alton%20Chester.%20Folksongs%20of%20Florida%20and%20Their%20Cultural%20Background.%201941." target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Folksongs of Florida and Their Cultural Background&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. 1941.&lt;/span&gt;</text>
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                  <text>DeVane, Dwight, et al. &lt;a href="http://www.worldcat.org/oclc/821216900" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Drop on down in Florida: field recordings of African American traditional music 1977-1980&lt;/em&gt;&lt;/a&gt;. 2012.</text>
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                  <text>McLean, Will. &lt;a href="http://www.worldcat.org/oclc/39518212" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Florida Sand: Original Folk Songs of Florida&lt;/em&gt;&lt;/a&gt;. Tallahassee: [The Author], 1964.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank" rel="noreferrer noopener"&gt;Blues Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/145" target="_blank" rel="noreferrer noopener"&gt;Classical Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank" rel="noreferrer noopener"&gt;Orlando Philharmonic Orchestra Collection&lt;/a&gt;, Classical Collection, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/143" target="_blank" rel="noreferrer noopener"&gt;Folk Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/154" target="_blank" rel="noreferrer noopener"&gt;Hip Hop Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank" rel="noreferrer noopener"&gt;Jazz Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank" rel="noreferrer noopener"&gt;Rock Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/227" target="_blank" rel="noreferrer noopener"&gt;Jesse Cutler Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                <text>WUCF Artisodes #175: The Power and Passion of Music</text>
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                <text>The Power and Passion of Music Artisode</text>
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              <elementText elementTextId="683201">
                <text>Orlando (Fla.)</text>
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              <elementText elementTextId="683202">
                <text> Concerts</text>
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                <text> Music--United States</text>
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                <text> Music--Juvenile--United States</text>
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                <text> Ukulele players</text>
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              <elementText elementTextId="683206">
                <text> Ukulele music</text>
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              <elementText elementTextId="683207">
                <text> HistoryMiami</text>
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                <text> Beatles</text>
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                <text> Opera</text>
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                <text> Ho, Daniel</text>
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                <text>This edition of WUCF Artisodes highlights a Central Florida singer with a passion for opera, a Grammy-winning ukulele player who loves music for more than beautiful sounds, Student Artist of the Week, Santiago Escobar, and an exhibition on The Beatles at HistoryMiami. WUCF-TV is a Public Broadcasting Service television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursday at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts - whether it's in their backyard or on a Broadway stage. This episode originally aired as "WUCF Artisodes #175: The Power and Passion of Music" on November 19, 2015.</text>
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              <elementText elementTextId="683212">
                <text>Audio/video recording of The Power and Passion of Music, WUCF-TV Artisode, November 19, 2015.</text>
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            <name>Source</name>
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                <text>Original 24-minute and 42-second audio/video recording of The Power and Passion of Music, &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;, Orlando, Florida, November 19, 2015: WUCF-TV, University of Central Florida.</text>
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            <name>Requires</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="683215">
                <text>&lt;a href="http://get.adobe.com/flashplayer/" target="_blank"&gt; Adobe Flash Player&lt;/a&gt;.</text>
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              <elementText elementTextId="683216">
                <text>&lt;a href="http://java.com/en/download/index.jsp" target="_blank"&gt; Java&lt;/a&gt;.</text>
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            <name>Is Part Of</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="683217">
                <text>&lt;a href="http://video.wucftv.org/video/2365606372/" target="_blank"&gt;WUCF Artisodes #175: The Power and Passion of Music&lt;/a&gt;</text>
              </elementText>
              <elementText elementTextId="683218">
                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES Program</text>
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            <description/>
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              <elementText elementTextId="683219">
                <text>Denver, Colorado</text>
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              <elementText elementTextId="683220">
                <text> Dr. Phillips High School Visual and Performing Arts Magnet, Orlando, Florida</text>
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              <elementText elementTextId="683221">
                <text> Eau Gallie High School, Melbourne, Florida</text>
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              <elementText elementTextId="683222">
                <text> Grammy Museum, Los Angeles, California</text>
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                <text> HistoryMiami, Miami, Florida</text>
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                <text> Honolulu, Hawaii</text>
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                <text> New York, New York</text>
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                <text> Orlando, Florida</text>
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                <text> Opera Colorado, Denver, Colorado</text>
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              <elementText elementTextId="683229">
                <text> Pan Am Press Room, John F. Kennedy International Airport, New York, New York</text>
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                <text> University of Central Florida, Orlando, Florida</text>
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                <text> WUCF-TV, University of Central Florida, Orlando, Florida</text>
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                <text>&lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;</text>
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                <text>Rivera, Angela</text>
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              <elementText elementTextId="683235">
                <text>Zink, Annamarie</text>
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                <text>The Beatles</text>
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                <text>Dotson, Bill</text>
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                <text>Black Keys</text>
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                <text>Saldo, Carrie</text>
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                <text>Hiles, Catherine</text>
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                <text>Koepke, Cherity</text>
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                <text>Ho, Daniel</text>
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                <text>McGinty, David</text>
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                <text>Castranova, Dwayne</text>
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                <text>Strauss, Eric</text>
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                <text>Harrison, George</text>
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                <text>Bellas, Giselle</text>
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                <text>Heston, Grant J.</text>
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                <text>Hucome, Jamie</text>
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                <text>Cook, Jennifer</text>
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                <text>Wolf, Jennifer</text>
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                <text>Brady, John</text>
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                <text>Lennon, John</text>
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                <text>Zamanillo, Jorge</text>
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              <elementText elementTextId="683262">
                <text>Hamel, Joshua</text>
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                <text>Valez, Kandra</text>
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                <text>Salkowski, Keith</text>
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                <text>Benjamin, Kristin</text>
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                <text>Fuchs, Kyle Mahoney</text>
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              <elementText elementTextId="683267">
                <text>Bobby, Leah</text>
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              <elementText elementTextId="683268">
                <text>Laitman, Lori</text>
              </elementText>
              <elementText elementTextId="683269">
                <text>Hall-Brown, Maria</text>
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                <text>Greenwald, Mark</text>
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                <text>Lundstrom, Mark</text>
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                <text>Matier, Megan</text>
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                <text>Herring, Mike</text>
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                <text>Meza, Nancy</text>
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                <text>Kelly, Paul</text>
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                <text>McCartney, Paul</text>
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                <text>Kastan, Peter</text>
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                <text>Anderson, Polly</text>
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                <text>Charles, Ray</text>
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                <text>Starkey, Richard</text>
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                <text>Wagner, Richard</text>
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                <text>Echeverria, Rita</text>
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                <text>Borgman, Ryan</text>
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                <text>Retherford, Ryan</text>
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                <text>Escobar, Santiago</text>
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                <text>Jimenez, Serena</text>
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                <text>Murray, T.L.</text>
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                <text>&lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;</text>
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                <text>Vidal, Yoandy</text>
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                <text>2015-11-19</text>
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            <description/>
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              <elementText elementTextId="683291">
                <text>2015-11-19</text>
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            <description/>
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&#13;
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. &#13;
&#13;
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.&#13;
&#13;
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.&#13;
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                <text>Walser, Robert. &lt;a href="http://www.worldcat.org/oclc/48138450" target="_blank"&gt;&lt;em&gt;Running with the Devil Power, Gender, and Madness in Heavy Metal Music&lt;/em&gt;&lt;/a&gt;. Hanover, NH: University Press of New England, 1993. .</text>
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&#13;
Although the term “classical music” did not appear until the early 19th century, it has been used describe art music rooted in the liturgical and secular traditions of Western music that date back to the 11th century. Classical music began with the Gregorian chants of the Medieval Era (500-1400), which developed into organum and the beginnings of harmony. During the Renaissance Era (1400-1600), composers were largely devoted to choral writing and a polyphonic style. The Common Practice Period (1600-1910), which uses conventionalized sequences of chords and obeys specific contrapuntal norms, includes the Baroque Era (1600-1760), which witnessed the creation of tonality, changes in musical notation, and new ways to play instruments; the Classical Era (1730-1820), when variety and contrast became more pronounced within a piece due to its lighter texture and clarified structure; and the Romantic Era (1780-1910), in which a backlash against the social and political norms of the Age of Enlightenment and the Industrial Revolution led to music that was more nationalistic, as well as discontent with musical formulas and conventions.&#13;
&#13;
The Common Practice Period led to the Modern and Contemporary Period (1890-present). This period includes the Modern and High Modern Era (1890-1975), in which musical language evolved with new approaches to harmonic, melodic, sonic, and rhythmic aspects of music. During the High Modern Era, neo-classical and serial music emerged. The Contemporary or Postmodern Era (1975-present), includes modernist, postmodern, neoromantic, and pluralist music. Postmodernism is not a distinct musical style, but a reference to music of the Postmodern Era, which challenges boundaries, embraces contradictions, and encompasses pluralism and eclecticism.&#13;
&#13;
Central Florida has enjoyed classical music from its resident professional symphonic orchestra, the Orlando Philharmonic Orchestra, since it began 1993. The orchestra presents several different types of programming, including the Super Series, which includes five classical concerts featuring guest artists, chamber music concerts as part of its Focus Series, and outdoor pop concerts that are free to the public. The Orlando Philharmonic kept opera alive in Central Florida when the Orlando Opera closed in 2009, performing several times a year. The Orlando-based Florida Symphony Youth Orchestra has been one of the nation’s prominent youth orchestra since it opened in 1957. The FSYO placed 2nd in the 28th International Youth and Music Festival in Vienna in 1999.</text>
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                <text>Bach Festival Society of Winter Park. &lt;a href="http://www.worldcat.org/oclc/34614819" target="_blank"&gt;&lt;em&gt;Bach Festival Society of Winter Park: Founded in 1935 : 60th Anniversary, 1995&lt;/em&gt;&lt;/a&gt;. [Winter Park, Fla.]: [The Society], 1995.</text>
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Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
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Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                <text>Conductor, multi-instrumentalist, composer, designer, and educator Benoit Glazer, believes art and music belong to everyone. When he isn't conducting Cirque du Soleil's &lt;em&gt;La Nouba&lt;/em&gt;, he runs Timucua, which is an in-home concert series that is free to the public. Cirque du Soleil's &lt;em&gt;La Nouba&lt;/em&gt; is performed at the La Nouba Theater in Downtown Disney, located at 1478 Buena Vista Drive in Orlando, Florida. Timucua is located at 2000 South Summerlin Avenue in Orlando.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #157: Music, Passion &amp;amp; All That Jazz" on January 15, 2015.</text>
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                <text>Heward, Lyn, and John U. Bacon. &lt;a href="http://www.worldcat.org/oclc/62593700" target="_blank"&gt;&lt;em&gt;Cirque Du Soleil: The Spark: Igniting the Creative Fire That Lives Within Us All&lt;/em&gt;&lt;/a&gt;. New York: Currency Doubleday, 2006</text>
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                  <text>Blues Collection</text>
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                  <text>Blues Collection</text>
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                  <text>Music--United States</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of blues music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&lt;br /&gt;&lt;br /&gt;During the middle to late 19th century, African-American ex-slaves and their descendants in the Deep South began playing a style of music that evolved from Black Spirituals and chants, work songs, field hollers, rural fife and drum music, revivalist hymns, and European folk and country dance music. It was characterized by its call-and-response narrative pattern, blue notes, and specific chord progressions, of which the 12-bar blues was the most common. By the turn of the century, blues music was being performed in regions such as Louisiana, the Mississippi Delta, the Piedmont region, and Texas, typically by a solo musician on acoustic guitar, harmonica, or piano. Initially, a traditional blues verse was made up of a single line repeated four times, until the common AAB pattern was established in the early 20th century.&lt;br /&gt;&lt;br /&gt;In 1912, W. C. Handy, an African-American minstrel show band leader, published "Memphis Blues," which helped popularize the genre by transcribing and orchestrating it in a symphonic-like style. Handy is also credited with giving the blues its contemporary form, and was crowned the "Father of the Blues." The unexpected success of Mamie Smith’s "Crazy Blues," eight years later, caused record labels to begin producing “race records," featuring blues singers such as Ma Rainey and Bessie Smith. Most of the blues pioneers from the 1920s performed solo with an acoustic guitar. Among the most recognized are Robert Johnson, Blind Lemon Jefferson, Son House, Leadbelly and Charlie Patton.&lt;br /&gt;&lt;br /&gt;As blues spread from the Deep South, it took on regional characteristics and styles. The Mississippi Delta blues featured slide guitar and a rootsy, sparse style. The Piedmont blues used an elaborate ragtime-based rhythm and fingerpicking technique. The Memphis blues, popular in vaudeville and medicine shows, was influenced by jug bands, incorporating unusual instruments such as washboard, kazoo, jug, mandolin, and fiddle. Urban blues forced performers to become more elaborate, as they had to adapt to a larger, more varied audience. Boogie-woogie consisted of piano-based blues derived from barrelhouse and ragtime in Chicago. Big band blues emerged out of Kansas City and incorporated elements of jazz and swing. West Coast blues was heavily influenced by a swing beat, and popularized by Texas musicians who moved to California. Electric blues came out of Chicago, Memphis, Detroit, and St. Louis in the 1950s, using electric guitars, double bass, drums. and harmonica performed through a microphone, amplifier and PA (public address) system. By the beginning of the 1960s, the most popular genres for young Americans were rock and roll and soul music, both rooted in African-American blues.&lt;br /&gt;&lt;br /&gt;Buried in the Deep South, Central Florida has had a long blues tradition, and a number of notable blues musicians had roots in Florida, including Tampa Red, Bo Diddley, Ray Charles, "Diamond Teeth Mary" McClain, Gabriel Brown, Noble "Thin Man" Watts, Willie Green, Blind Blake, Little Mike and the Tornadoes, Barrelhouse Chuck, and the Allman Brothers Band. Muddy Waters wrote a song for his 1977 album, &lt;em&gt;Hard Again&lt;/em&gt;, entitled "Deep Down in Florida," in which he mentions Newberry and traveling to Gainesville to see an old friend. Waters met his third wife while performing at the popular blues dance hall, the Cotton Club, in Gainesville. The club opened in 1948 and had regular performances by such future famous blues musicians as James Brown, B.B. King and Ray Charles. The Wells’ Built Hotel and Casino, which is now an African-American history museum, is located in the historic African-American community of Parramore in Downtown Orlando. The hotel hosted many notable African-American musicians and celebrities during the Segregation era. Guitar Slim, Ray Charles, Ivory Joe Hunter, B. B. King and Bo Diddley were among the bluesmen traveling along the Chitlin' Circuit who were guests at the hotel and performers at the casino.</text>
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                  <text>&lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Bradenton, Florida</text>
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                  <text>Cepero, Laura</text>
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                  <text>Cravero, Geoffrey</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>DeVane, Dwight, Blaine Waide, Peggy A. Bulger, Doris J. Dyen, and David Evans. &lt;a href="http://www.worldcat.org/oclc/856993560" target="_blank"&gt;&lt;em&gt;Drop on Down in Florida: Field Recordings of African American Traditional Music 1977-1980&lt;/em&gt;&lt;/a&gt;. Atlanta, Ga: Dust-to-Digital, 2012.</text>
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                  <text>Oakley, Giles. &lt;a href="http://www.worldcat.org/oclc/3082016" target="_blank"&gt;&lt;em&gt;The Devil's Music: A History of the Blues&lt;/em&gt;&lt;/a&gt;. New York: Taplinger Pub. Co, 1977.</text>
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                  <text>Palmer, Robert. &lt;a href="http://www.worldcat.org/oclc/6864668" target="_blank"&gt;&lt;em&gt;Deep Blues: A Musical and Cultural History of the Mississippi Delta&lt;/em&gt;&lt;/a&gt;. New York: Viking Press, 1981.</text>
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                <text>WUCF Artisodes Short: Daniel Heitz</text>
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                <text>Daniel Heitz first took the stage at the Alley blues club in Sanford, Florida, when he was 11 years old. Over the next six years, he became one of the most impressive classical blues guitarists in Central Florida.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #145: The Call of Music" on October 2, 2014.</text>
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                <text>Original 5-minute and 25-second audio/video recording of Daniel Heitz, &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;, Sanford, Florida, October 2, 2014: WUCF-TV, University of Central Florida, Orlando, Florida.</text>
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                <text>&lt;a href="http://java.com/en/download/index.jsp" target="_blank"&gt; Java&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank"&gt;Blues Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES of Central Florida.</text>
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                <text>&lt;a href="http://video.wucftv.org/video/2365335036/" target="_blank"&gt;WUCF Artisodes 145: The Call of Music&lt;/a&gt;, WUCF-TV, University of Central Florida, Orlando, Florida.</text>
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                <text>&lt;a href="http://video.wucftv.org/video/2365333735/" target="_blank"&gt;WUCF Artisodes Short: Daniel Heitz&lt;/a&gt;, WUCF-TV, University of Central Florida, Orlando, Florida.</text>
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                <text> The Alley, Sanford, Florida</text>
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                <text>&lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;</text>
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                <text>Williamson, Karl</text>
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            <elementTextContainer>
              <elementText elementTextId="534483">
                <text>ca. 2015-01-29</text>
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                <text>2014-10-02</text>
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                <text>2014-10-02</text>
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                <text>McPherson, Gary. &lt;a href="http://www.worldcat.org/oclc/64554616" target="_blank"&gt;&lt;em&gt;The Child As Musician: A Handbook of Musical Development&lt;/em&gt;&lt;/a&gt;. Oxford: Oxford University Press, 2006.</text>
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                <text>&lt;a href="http://www.wucftv.org/local-programs/artisodes/" target="_blank"&gt;”WUCF Artisodes&lt;/a&gt;.” WUCFTV.org. http://www.wucftv.org/local-programs/artisodes/ (Accessed March 30, 2015).</text>
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&#13;
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. &#13;
&#13;
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.&#13;
&#13;
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.&#13;
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>Altschuler, Glenn C. &lt;a href="http://www.worldcat.org/oclc/51518334" target="_blank"&gt;&lt;em&gt;All Shook Up: How Rock 'n' Roll Changed America&lt;/em&gt;&lt;/a&gt;. Oxford: Oxford University Press, 2003.</text>
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                  <text>Studwell, William E., and D. F. Lonergan. &lt;a href="http://www.worldcat.org/oclc/41090615" target="_blank"&gt;&lt;em&gt;The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s&lt;/em&gt;&lt;/a&gt;. New York: Haworth Press, 1999.</text>
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                <text>WUCF Artisodes Short: Enmanuel Chacin</text>
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                <text>One of Central Florida's most unique and talented drummers/percussionists, Enmanuel Chacin, shares his thoughts on what he considers to be the blueprint of life: music. Chacin, who is blind, grew up in Caracas, Venezuela, where he claims the culture is driven by drums and percussion.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #161: We've Got the Beat" on February 12, 2015.</text>
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                <text>Original 5-minute and 31-second audio/video recording of Enmanuel Chacin, &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;, Orlando, Florida, February 12, 2015: WUCF-TV, University of Central Florida, Orlando, Florida.</text>
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                <text>&lt;a href="http://java.com/en/download/index.jsp" target="_blank"&gt; Java&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank"&gt;Rock Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES of Central Florida.</text>
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                <text>Price, Jim. &lt;a href="http://www.guidedogs.com/site/PageServer?pagename=stories_echacin" target="_blank"&gt;"Enmanuel Chacin&lt;/a&gt;." Guidedogs for the Blind. http://www.guidedogs.com/site/PageServer?pagename=stories_echacin (Accessed March 30, 2015).</text>
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&#13;
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”&#13;
&#13;
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.&#13;
&#13;
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.&#13;
&#13;
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.&#13;
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                  <text>Alkyer, Frank. &lt;a href="http://www.worldcat.org/oclc/319491298" target="_blank"&gt;&lt;em&gt; DownBeat--the Great Jazz Interviews: A 75th Anniversary Anthology&lt;/em&gt;&lt;/a&gt;. New York: Hal Leonard, 2009.</text>
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                  <text>Gioia, Ted. &lt;a href="http://www.worldcat.org/oclc/36245922" target="_blank"&gt;&lt;em&gt;The History of Jazz&lt;/em&gt;&lt;/a&gt;. New York: Oxford University Press, 1997.</text>
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                  <text>Ward, Geoffrey C., and Ken Burns. &lt;a href="http://www.worldcat.org/oclc/42404676" target="_blank"&gt;&lt;em&gt;Jazz: A History of America's Music&lt;/em&gt;&lt;/a&gt;. New York: Alfred A. Knopf, 2000.</text>
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                <text>Noble "Thin Man" Watts (1926-2004) was a blues and jazz saxophonist from DeLand, Florida, who worked with some of the biggest names in jazz, blues, and rock, including Buddy Holly (1936-1959), Dinah Washington (1924-1963), Jerry Lee Lewis (b. 1935), Lionel Hampton (1908-2002), Chuck Berry (b. 1926), Johnny Mathis (b. 1935), and the Everly Brothers. Watts moved back to DeLand in the mid-1960s, where he remained until his death in 2004. The "Thin Man" Watts Jazz Festival began earlier that year and has continued to grow in the years since.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts.</text>
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                <text>Dahl, Bill. "&lt;a href="http://www.allmusic.com/artist/noble-thin-man-watts-mn0000408965/biography" target="_blank"&gt;Noble 'Thin Man' Watts&lt;/a&gt;." AllMusic.com. http://www.allmusic.com/artist/noble-thin-man-watts-mn0000408965/biography (Accessed March 31, 2015).</text>
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                <text>African American Museum of the Arts. "&lt;a href="http://www.wattsjazzfest.com/" target="_blank"&gt;Thin Man Watts Jazz Fest&lt;/a&gt;." WattsJazzFest.com http://www.wattsjazzfest.com/ (Accessed March 31, 2015)</text>
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                <text>"&lt;a href="http://www.wucftv.org/local-programs/artisodes/" target="_blank"&gt;WUCF Artisodes&lt;/a&gt;." WUCFTV.org. http://www.wucftv.org/local-programs/artisodes/ (Accessed April 6, 2015).</text>
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&#13;
The roots of jazz music began in the fields of the American South, as African-American slaves sang “call-and-response” work songs and “spirituals” to help them get through the brutal hours of forced labor. As Europeans immigrated to American cities in the late 19th century, they brought their musical traditions with them, and soon African-American musicians, such as Ernest Hogan and Scott Joplin, combined these styles with polyrhythmic African music, creating ragtime. New Orleans was an especially diverse cultural melting pot and became a place for musical experimentation by the early 1910s. European music merged with blues, folk, marching band music, and ragtime, creating a new genre called “jazz.”&#13;
&#13;
By the 1920s, the First Great Migration brought millions of African Americans to the urban Northeast and Midwest. Young, white Americans became enamored with jazz and blues music and the genre was soon being played on radio stations, at dancehalls, and in homes across the country. New York City, Kansas City, and Chicago began to establish their own styles of jazz. Big band swing became the most popular style of American music in the 1930s and 1940s.&#13;
&#13;
The most definitive feature of jazz is improvisation. The Great Depression forced many bands to cut down in size, leaving more space for intricate melodies and room for exploration. Bebop, which emerged in New York in the early 1940s, was aimed at a listening audience, rather than a dancing one, and became known as “musician’s music.” Bebop paved the way for Afro-Cuban and Latin jazz in the 1950s, when musicians, such as Dizzy Gillespie and Duke Ellington, incorporated Latin rhythms by playing with Cuban musicians in New York. The popularity of rock music in the 1960s and 1970s led to jazz-rock fusion, which combined improvisation with rock rhythms and amplified instruments. By the 1980s, smooth jazz emerged, creating a commercial form of the genre that drew criticism from many purists, who felt that the musicians were more concerned with making money than creating art with substance.&#13;
&#13;
Although Florida might not be as closely associated with jazz as cities like New Orleans, Chicago, and New York City, it has made significant contributions nonetheless. Afro-Cuban jazz developed simultaneously in New York City and Havana in the early 1940s, and Florida’s Cuban immigrants had a profound cultural impact on areas like Miami and Tampa. Since its foundation in 1979, the annual Jacksonville Jazz Festival has become one of the most popular jazz festivals in the country, featuring some of the top names in the genre, such as Dizzy Gillespie, Miles Davis, Count Basie, George Benson, and Herbie Hancock. The Clearwater Jazz Holiday began around the same time and has also evolved into a major international jazz festival. In addition to the legendary Sam Rivers, who moved to Orlando in the early 1990s and continued to perform until his death in 2011, Florida has been the home to a number of prominent jazz musicians, including Cedric Wallace, Ira Sullivan, George Tucker, Nathen Page, Alfred “Pee Wee” Ellis, Jackie Davis, Rich Matteson, Jeff Rupert, and the University of Central Florida’s Jazz Professors.&#13;
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Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
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Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                <text>When he comes home from his job as a roofer, Joe Muni of New Smyrna Beach crafts custom guitars using recycled wood. Every guitar is unique and many contain portraits within the body. Customers can either select from wood collected by Muni or bring their own wood, often with sentimental value, to Desolation Row Guitars and he will turn it into a functioning instrument. Desolation Row Guitars is located at 507 Ball Street in New Smyrna Beach, Florida.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #151: Musical Masterpieces" on November 13, 2014.</text>
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                <text>Bogdanovich, John S. &lt;a href="http://www.worldcat.org/oclc/63245366" target="_blank"&gt;&lt;em&gt;Classical Guitar Making: A Modern Approach to Traditional Design&lt;/em&gt;&lt;/a&gt;. New York: Sterling Pub. Co, 2007</text>
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&#13;
Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
&#13;
Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                <text>Mathieson, Kenny. &lt;a href="http://www.worldcat.org/oclc/46804780" target="_blank"&gt;&lt;em&gt;Celtic Music&lt;/em&gt;&lt;/a&gt;. San Francisco, CA: Bachbeat Books, 2001</text>
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&#13;
Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
&#13;
Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                <text>In the hopes of lifting patients' spirits, students from the University of Central Florida's (UCF) College of Medicine have brought music into the hospital. Their therapeutic performances have had a positive impact on patients at Nemours Children's Hospital in Orlando, Florida.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #139: Music Music Music" on Jul7 31, 2014.</text>
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                <text>Hanser, Suzanne B., and Suzanne B. Hanser. &lt;a href="http://www.worldcat.org/oclc/43762816" target="_blank"&gt;&lt;em&gt;The New Music Therapist's Handbook&lt;/em&gt;&lt;/a&gt;. Boston: Berklee Press, 1999</text>
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&#13;
Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
&#13;
Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/48139297" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;An Anthology of Music in Early Florida&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville: University Press of Florida, 1999.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/21196990" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;A History of Music &amp;amp; Dance in Florida, 1565-1865&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Tuscaloosa: University of Alabama Press, 1991.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Morris, Alton Chester. &lt;/span&gt;&lt;a href="Morris,%20Alton%20Chester.%20Folksongs%20of%20Florida%20and%20Their%20Cultural%20Background.%201941." target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Folksongs of Florida and Their Cultural Background&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. 1941.&lt;/span&gt;</text>
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                  <text>DeVane, Dwight, et al. &lt;a href="http://www.worldcat.org/oclc/821216900" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Drop on down in Florida: field recordings of African American traditional music 1977-1980&lt;/em&gt;&lt;/a&gt;. 2012.</text>
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                  <text>McLean, Will. &lt;a href="http://www.worldcat.org/oclc/39518212" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Florida Sand: Original Folk Songs of Florida&lt;/em&gt;&lt;/a&gt;. Tallahassee: [The Author], 1964.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank" rel="noreferrer noopener"&gt;Blues Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/145" target="_blank" rel="noreferrer noopener"&gt;Classical Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank" rel="noreferrer noopener"&gt;Orlando Philharmonic Orchestra Collection&lt;/a&gt;, Classical Collection, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/141" target="_blank" rel="noreferrer noopener"&gt;Jazz Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank" rel="noreferrer noopener"&gt;Rock Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                <text>WUCF Artisodes Short: Mr. Richard </text>
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                <text>For many parents in Orlando, Florida, Richard Peeples, also known as Mr. Richard, is a big-time musical talent, thanks to his popularity with their children. Peeples and his band, the Pound Hounds, entertain children with what he describes as "whimsical pop rock." Henry Stone was a record company executive and producer in Miami, who recorded Ray Charles, James Brown, KC and the Sunshine Band, and was responsible for many disco recordings. The segment looks at a documentary being filmed about the recording legend. The Artisode also includes brief segments on recording artist Justin Hayward and the Moody Blues, an upcoming documentary on Bing Crosby, WUCF's Student Artist of the Week, Michael Romaniello, and the Jungle Book on Broadway. &lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes originally aired as "WUCF Artisodes #171: Mr. Richard" on September 10, 2015.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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The Orlando Philharmonic Orchestra, located at 812 East Rollins Street Suite 300 in Orlando, was inspired by the closing of the Florida Symphony in 1993. The orchestra performs in more than 125 concerts each season. In June of 2013, the Philharmonic made plans to purchase the Plaza Live, located at 425 North Bumby Avenue in downtown Orlando, for office space, a rehearsal hall, a music library, and a music hall.</text>
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                <text>Originally created by &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt; and published by &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;.</text>
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                <text>Copyright to this resource is held by &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&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>Fawkes, Richard, and Robert Powell. &lt;a href="http://www.worldcat.org/oclc/811246350" target="_blank"&gt;&lt;em&gt;The History of Classical Music&lt;/em&gt;&lt;/a&gt;. Hong Kong: Naxos Audiobooks, 1997.</text>
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                <text>Goulding, Phil G. &lt;a href="http://www.worldcat.org/oclc/26159166" target="_blank"&gt;&lt;em&gt;Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works&lt;/em&gt;&lt;/a&gt;. New York: Fawcett Columbine, 1992</text>
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        <name>classical music</name>
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                  <text>Collection of digital images, documents, and other records depicting the history of folk music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
Folk music varies by country and region, but is typically described as acoustic-based music that embraces the life and struggles of the common man and the events of everyday life. “Folk” comes from the term “folklore,” which was derived by William Thomas in 1846, to describe “the traditions, customs, and superstitions of the uncultured classes.” Although the definition of folk music is elusive, the International Folk Music Council defines it as “the product of a musical tradition that has been evolved through the process of oral transmission. The factors that shape the tradition are: (1) continuity which links the present with the past; (2) variation which springs from the creative impulse of the individual or the group; and (3) selection by the community which determines the form or forms in which the music survives."&#13;
&#13;
Before sound recording and reproduction allowed people to listen to recorded music, songs were often passed down through oral traditions, creating variants. Cecil Sharp, considered by many to be the founding father of the folklore revival in early 20th century England, believed that competing variants of a traditional folk song created a process of natural selection, eventually creating a more perfect version, shaped by the community. By the end of the 1930s, American folk music had become a social movement, and by the 1960s, folk genres varied as much as the definition of the term itself.&#13;
&#13;
The Library of Congress attempted to capture as much North American field material as possible in the 1930s and 1940s, working through the vast collections of collectors such as Alan Lomax and Robert Winslow Gordon. On behalf of the Works Progress Administration (WPA), teams of writers and scholars across the United States collected materials about the places they saw and the people they met. Fieldworkers from the Florida Folklore Project, in conjunction with the Florida Federal Writers' Project, the Florida Music Project, and the Joint Committee on Folk Arts of the Work Projects Administration, concentrated on enclaves known for preserving ethnic traditions, documenting African-American, Arabic, Bahamian, British-American, Cuban, Greek, Italian, Minorcan, Seminole, and Slavic cultures throughout Florida. Florida is home to two significant folk festivals, including the annual Will McLean Music Festival, which is held at the Sertoma Youth Camp in Brooksville, Florida; and the Florida Folk Festival, an annual festival of music, food, and traditional arts to highlight and celebrate Florida's many folk cultures and traditions.</text>
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                  <text>&lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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              <name>Language</name>
              <description/>
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                  <text>eng</text>
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              <name>Curator</name>
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                  <text>Cepero, Laura</text>
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                  <text>Cravero, Geoffrey</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>DeVane, Dwight, Blaine Waide, Peggy A. Bulger, Doris J. Dyen, and David Evans. &lt;a href="http://www.worldcat.org/oclc/856993560" target="_blank"&gt;&lt;em&gt;Drop on Down in Florida: Field Recordings of African American Traditional Music 1977-1980&lt;/em&gt;&lt;/a&gt;. Atlanta, Ga: Dust-to-Digital, 2012.</text>
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                  <text>Karpeles, Maud, and A. H. Fox Strangways. &lt;a href="http://www.worldcat.org/oclc/1292970" target="_blank"&gt;&lt;em&gt;Cecil Sharp: His Life and Work&lt;/em&gt;&lt;/a&gt;. [Chicago]: University of Chicago Press, 1967.</text>
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                  <text>Lloyd, A. L. &lt;a href="http://www.worldcat.org/oclc/429559" target="_blank"&gt;&lt;em&gt;Folk Song in England&lt;/em&gt;&lt;/a&gt;. New York: International Publishers, 1967.</text>
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                  <text>Lornell, Kip. &lt;a href="http://www.worldcat.org/oclc/56942443" target="_blank"&gt;&lt;em&gt;The NPR Curious Listener's Guide to American Folk Music&lt;/em&gt;&lt;/a&gt;. New York: Berkley Pub. Group, 2004.</text>
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                  <text>McLean, Will. &lt;a href="http://www.worldcat.org/oclc/1599000" target="_blank"&gt;&lt;em&gt;Florida Sand; Original Songs and Stories of Florida&lt;/em&gt;&lt;/a&gt;. 1969.</text>
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                  <text>Morris, Alton Chester, and Leonhard Deutsch. &lt;a href="http://www.worldcat.org/oclc/20853347" target="_blank"&gt;&lt;em&gt;Folksongs of Florida&lt;/em&gt;&lt;/a&gt;. Gainesville: University of Florida Press, 1990.</text>
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                  <text>Seeger, Ruth Crawford, Larry Polansky, and Judith Tick. &lt;a href="http://www.worldcat.org/oclc/46909473" target="_blank"&gt;&lt;em&gt;"The Music of American Folk Song" and Selected Other Writings on American Folk Music&lt;/em&gt;&lt;/a&gt;. Rochester, NY: University of Rochester Press, 2001.</text>
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                <text> Music--United States</text>
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                <text>Sandy Shugart became the President of Valencia College, one of the country's largest colleges, in 2000, and led them to win the prestigious Aspen Prize for Community College Excellence in 2011. As a folk artist and poet, Shugart believes these seemingly unrelated endeavors are integral aspects of his life journey.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #159: Music is Life" on January 29, 2015.</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/143" target="_blank"&gt;Folk Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES of Central Florida.</text>
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                <text>Ordway, Denise-Marie. "&lt;a href="http://articles.orlandosentinel.com/2014-01-18/features/os-valencia-president-folk-music-20140118_1_garden-theatre-valencia-college-folk-music" target="_blank"&gt;Valencia President Sandy Shugart shows musical side&lt;/a&gt;." The Orlando Sentinel, January 18, 2014. http://articles.orlandosentinel.com/2014-01-18/features/os-valencia-president-folk-music-20140118_1_garden-theatre-valencia-college-folk-music (Accessed March 30, 2015).</text>
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&#13;
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. &#13;
&#13;
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.&#13;
&#13;
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.&#13;
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>Altschuler, Glenn C. &lt;a href="http://www.worldcat.org/oclc/51518334" target="_blank"&gt;&lt;em&gt;All Shook Up: How Rock 'n' Roll Changed America&lt;/em&gt;&lt;/a&gt;. Oxford: Oxford University Press, 2003.</text>
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                  <text>Studwell, William E., and D. F. Lonergan. &lt;a href="http://www.worldcat.org/oclc/41090615" target="_blank"&gt;&lt;em&gt;The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s&lt;/em&gt;&lt;/a&gt;. New York: Haworth Press, 1999.</text>
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                <text>After performing for years as the "Piano Man" on numerous cruise ships, Ted White grew tired of travel and built a unique musical contraption. Since then, Ted performs regularly on the beach on his bicycle/keyboard that he built to resemble a grand piano. &lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #130" on May 15, 2014.</text>
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                <text>Mason, Bim. &lt;a href="http://www.worldcat.org/oclc/24907210" target="_blank"&gt;&lt;em&gt;Street Theatre and Other Outdoor Performance&lt;/em&gt;&lt;/a&gt;. London: Routledge, 1992.</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of rock music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
Rock music is uniquely American, emerging in the late 1940s and 1950s, with the influence of African-American blues, jazz, boogie woogie, and gospel, mixed with predominantly white country and Western swing music. This hybrid genre helped define a generation, breaking down color barriers in the South by merging African musical traditions with European instrumentation. The popularization of rock music coincided with the African-American Civil Rights Movement, which sought to end racial segregation and discrimination in the South. The sudden interest of white teens in black “race music” provoked a backlash among traditionalists and Americans found themselves in the middle of a “culture war.” The counterculture youth of the 1950s and 1960s rejected many of the mainstream cultural standards of their parents’ generation, especially in regards to race. &#13;
&#13;
During the First and Second Great Migration of the 20th century, African Americans and whites began living in closer proximity to one another, more so than ever before, resulting in both races emulating the other’s style in fashion, art, and music. Rock music influenced the language, attitudes, ideas, and trends of a generation. The genre continued to evolve, incorporating new elements with each subsequent decade. During the 1960s, the subgenres of folk rock, jazz rock, country rock, blues rock, psychedelic rock, glam rock, and progressive rock emerged. Musicians in the 1970s and 1980s created punk rock, Southern rock, heavy metal, new wave, and alternative rock. By the 1990s, artist continued to expand the genre by creating rap rock, reggae rock, grunge, and indie rock.&#13;
&#13;
Florida has been at the heart of rock music and the “culture war” since the 1950s. The recording industry was actively making rock records in Tampa during the 1960s and in Miami during the 1970s. Gram Parsons, a native of Winter Haven, is credited as the father of the country rock movement of the late 1960s, and Southern rock emerged from Jacksonville during the 1970s and 1980s, with bands such as the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws, and Molly Hatchet. These contributions played an integral part in the history of rock music.&#13;
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>Altschuler, Glenn C. &lt;a href="http://www.worldcat.org/oclc/51518334" target="_blank"&gt;&lt;em&gt;All Shook Up: How Rock 'n' Roll Changed America&lt;/em&gt;&lt;/a&gt;. Oxford: Oxford University Press, 2003.</text>
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                  <text>Studwell, William E., and D. F. Lonergan. &lt;a href="http://www.worldcat.org/oclc/41090615" target="_blank"&gt;&lt;em&gt;The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s&lt;/em&gt;&lt;/a&gt;. New York: Haworth Press, 1999.</text>
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                <text>Violectric is an Orlando-based band that combines the classical sound of violins, violas, and stringed instruments with the energy and irreverence of rock music. In addition to performing, members of the groups teach music to eager students.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #147: Development through Diversity" on October 16, 2014.</text>
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                <text>Original 6-minute and 23-second audio/video recording of Violectric, &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;, Orlando, Florida, April 9, 2015: WUCF-TV, University of Central Florida, Orlando, Florida.</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of classical music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
Although the term “classical music” did not appear until the early 19th century, it has been used describe art music rooted in the liturgical and secular traditions of Western music that date back to the 11th century. Classical music began with the Gregorian chants of the Medieval Era (500-1400), which developed into organum and the beginnings of harmony. During the Renaissance Era (1400-1600), composers were largely devoted to choral writing and a polyphonic style. The Common Practice Period (1600-1910), which uses conventionalized sequences of chords and obeys specific contrapuntal norms, includes the Baroque Era (1600-1760), which witnessed the creation of tonality, changes in musical notation, and new ways to play instruments; the Classical Era (1730-1820), when variety and contrast became more pronounced within a piece due to its lighter texture and clarified structure; and the Romantic Era (1780-1910), in which a backlash against the social and political norms of the Age of Enlightenment and the Industrial Revolution led to music that was more nationalistic, as well as discontent with musical formulas and conventions.&#13;
&#13;
The Common Practice Period led to the Modern and Contemporary Period (1890-present). This period includes the Modern and High Modern Era (1890-1975), in which musical language evolved with new approaches to harmonic, melodic, sonic, and rhythmic aspects of music. During the High Modern Era, neo-classical and serial music emerged. The Contemporary or Postmodern Era (1975-present), includes modernist, postmodern, neoromantic, and pluralist music. Postmodernism is not a distinct musical style, but a reference to music of the Postmodern Era, which challenges boundaries, embraces contradictions, and encompasses pluralism and eclecticism.&#13;
&#13;
Central Florida has enjoyed classical music from its resident professional symphonic orchestra, the Orlando Philharmonic Orchestra, since it began 1993. The orchestra presents several different types of programming, including the Super Series, which includes five classical concerts featuring guest artists, chamber music concerts as part of its Focus Series, and outdoor pop concerts that are free to the public. The Orlando Philharmonic kept opera alive in Central Florida when the Orlando Opera closed in 2009, performing several times a year. The Orlando-based Florida Symphony Youth Orchestra has been one of the nation’s prominent youth orchestra since it opened in 1957. The FSYO placed 2nd in the 28th International Youth and Music Festival in Vienna in 1999.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES of Central Florida.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/69" target="_blank"&gt;Orlando Philharmonic Orchestra Collection&lt;/a&gt;, Classical Collection, Central Florida Music History Collection, RICHES of Central Florida.</text>
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                  <text>Fawkes, Richard, and Robert Powell. &lt;a href="http://www.worldcat.org/oclc/811246350" target="_blank"&gt;&lt;em&gt;The History of Classical Music&lt;/em&gt;&lt;/a&gt;. Hong Kong: Naxos Audiobooks, 1997. http://www.naxosmusiclibrary.com.</text>
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                  <text>Goulding, Phil G. &lt;a href="http://www.worldcat.org/oclc/26159166" target="_blank"&gt;&lt;em&gt;Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works&lt;/em&gt;&lt;/a&gt;. New York: Fawcett Columbine, 1992.</text>
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                  <text>Spitzer, John. &lt;a href="http://www.worldcat.org/oclc/742017616" target="_blank"&gt;&lt;em&gt;American Orchestras in the Nineteenth Century&lt;/em&gt;&lt;/a&gt;. Chicago: The University of Chicago Press, 2012.</text>
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                <text>Since 1995, the Daytona Beach Symphony Society has given at-risk youths of Volusia County, Florida, the opportunity to experience classical music through their YES! Community Outreach Program. YES! (Youth Experiencing Symphony) targets at-risk students aged six to 18 years old who are enrolled in Title I schools.&lt;br /&gt;&lt;br /&gt;WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #166: Classic Touch" on April 2, 2015.</text>
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                <text>Coomer, Jesse</text>
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                <text> Music Teacher</text>
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                <text>Originally published by &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;.</text>
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                <text>Brendtro, Larry K., Martin Brokenleg, and Steve Van Bockern. &lt;a href="http://www.worldcat.org/oclc/21981645" target="_blank"&gt;&lt;em&gt;Reclaiming Youth at Risk: Our Hope for the Future&lt;/em&gt;&lt;/a&gt;. Bloomington, Ind: National Educational Service, 1990</text>
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                <text>Fawkes, Richard, and Robert Powell. &lt;a href="http://www.worldcat.org/oclc/811246350" target="_blank"&gt;&lt;em&gt;The History of Classical Music&lt;/em&gt;&lt;/a&gt;. Hong Kong: Naxos Audiobooks, 1997.</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
&#13;
Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                  <text>Maitland, 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" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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              <description/>
              <elementTextContainer>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/48139297" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;An Anthology of Music in Early Florida&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville: University Press of Florida, 1999.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/21196990" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;A History of Music &amp;amp; Dance in Florida, 1565-1865&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Tuscaloosa: University of Alabama Press, 1991.&lt;/span&gt;</text>
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                <elementText elementTextId="518329">
                  <text>&lt;span&gt;Morris, Alton Chester. &lt;/span&gt;&lt;a href="Morris,%20Alton%20Chester.%20Folksongs%20of%20Florida%20and%20Their%20Cultural%20Background.%201941." target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Folksongs of Florida and Their Cultural Background&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. 1941.&lt;/span&gt;</text>
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                  <text>DeVane, Dwight, et al. &lt;a href="http://www.worldcat.org/oclc/821216900" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Drop on down in Florida: field recordings of African American traditional music 1977-1980&lt;/em&gt;&lt;/a&gt;. 2012.</text>
                </elementText>
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                  <text>McLean, Will. &lt;a href="http://www.worldcat.org/oclc/39518212" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Florida Sand: Original Folk Songs of Florida&lt;/em&gt;&lt;/a&gt;. Tallahassee: [The Author], 1964.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank" rel="noreferrer noopener"&gt;Blues Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/145" target="_blank" rel="noreferrer noopener"&gt;Classical Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/143" target="_blank" rel="noreferrer noopener"&gt;Folk Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/142" target="_blank" rel="noreferrer noopener"&gt;Rock Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka/collections/show/227" target="_blank" rel="noreferrer noopener"&gt;Jesse Cutler Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                <text> Barbershops</text>
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                <text>In this edition of WUCF Artisodes, a Central Florida couple open their home for a concert, bringing together folk musicians and fans, an upstate New York barbershop doubles as a hair salon by day and a music lounge by night, Student Artist of the Week, Jaden Christopher-Muench, is highlighted, the Tampa Metropolitan Youth Orchestra inspire future musicians, and the Dayton Performing Arts Alliance pairs two of the city's arts organization in a unique working relationship. WUCF-TV is a Public Broadcasting Service television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursday at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts - whether it's in their backyard or on a Broadway stage. This episode originally aired as "WUCF Artisodes: Music at Large" on February 11, 2016.</text>
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                <text>Original 24-minute and 42-second audio/video recording of Music at Large, &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;, Orlando, Florida, February 11, 2016: WUCF-TV, University of Central Florida.</text>
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                <text>&lt;a href="http://java.com/en/download/index.jsp" target="_blank"&gt; Java&lt;/a&gt;.</text>
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                <text>&lt;a href="http://video.wucftv.org/video/2365664593/" target="_blank"&gt;WUCF Artisodes: Music at Large&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES Program</text>
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                  <text>Collection of digital images, documents, and other records depicting the history of music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
Central Florida’s musical heritage is as rich as it is diverse, dating back to the Spanish settlers of the sixteenth century. Over the next 500 years, the region became a melting pot of Anglo-American folk and country music, African-American blues and jazz, Cuban and Latin music, traditional Native American music, gospel, rock, classical, pop, reggae, punk, metal, hip hop, and dance music. The cultural diversity of the people is reflected in the broad range of the music. Today, Central Florida is a hot spot for homegrown music and a popular stop for internationally touring artists.&#13;
&#13;
Some of the most popular artists of the twentieth century called Florida home, including Ray Charles, Bo Diddley, Jim Morrison, Gram Parsons, Sam Rivers, the Allman Brothers Band, Jimmy Buffett, Zora Neale Hurston, Lynyrd Skynyrd, Vassar Clements, Gloria Estefan, Tom Petty, Johnny Tillotson, Shel Silverstein, Arturo Sandoval, and Mel Tillis. The musical landscape of Florida has played an integral role in defining Floridian culture.&#13;
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank" rel="noreferrer noopener"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/48139297" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;An Anthology of Music in Early Florida&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville: University Press of Florida, 1999.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Housewright, Wiley L. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/21196990" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;A History of Music &amp;amp; Dance in Florida, 1565-1865&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Tuscaloosa: University of Alabama Press, 1991.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Morris, Alton Chester. &lt;/span&gt;&lt;a href="Morris,%20Alton%20Chester.%20Folksongs%20of%20Florida%20and%20Their%20Cultural%20Background.%201941." target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Folksongs of Florida and Their Cultural Background&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. 1941.&lt;/span&gt;</text>
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                  <text>DeVane, Dwight, et al. &lt;a href="http://www.worldcat.org/oclc/821216900" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Drop on down in Florida: field recordings of African American traditional music 1977-1980&lt;/em&gt;&lt;/a&gt;. 2012.</text>
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                  <text>McLean, Will. &lt;a href="http://www.worldcat.org/oclc/39518212" target="_blank" rel="noreferrer noopener"&gt;&lt;em&gt;Florida Sand: Original Folk Songs of Florida&lt;/em&gt;&lt;/a&gt;. Tallahassee: [The Author], 1964.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank" rel="noreferrer noopener"&gt;Blues Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/145" target="_blank" rel="noreferrer noopener"&gt;Classical Collection&lt;/a&gt;, Central Florida Music History Collection, RICHES.</text>
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                <text>In this edition of WUCF Artisodes, entertainer Michael Feinstein serves as a mentor to new singers through the Songbook Academy. University of Central Florida student Nick Drivas not only got to experience the Academy, but also the experience of a lifetime at Feinstein's recent Orlando concert. The son of an African-American jazz musician and an English opera singer, Clint Holmes talks about his career and music style. British pop duo Peter and Gordon discuss their relationship with Paul McCartney and recording several of his songs. And pianist Lara Downes serves as Artist in Residence at the Mondavi Center for the Performing Arts, UC Davis, where she mentors the next generation of young musicians as Director of the Mondavi Center National Young Artists Program. WUCF-TV is a Public Broadcasting Service television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursday at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts - whether it's in their backyard or on a Broadway stage. This episode originally aired as "WUCF Artisodes #175: The Power and Passion of Music" on November 19, 2015.</text>
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                <text>Audio/video recording of Universal Language, WUCF-TV Artisode, February 25, 2016.</text>
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                <text>Original 24-minute and 42-second audio/video recording of Universal Language, &lt;a href="http://www.wucftv.org/home/" target="_blank"&gt;WUCF-TV&lt;/a&gt;, Orlando, Florida, February 25, 2016: WUCF-TV, University of Central Florida.</text>
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                <text>&lt;a href="http://java.com/en/download/index.jsp" target="_blank"&gt; Java&lt;/a&gt;.</text>
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                <text>&lt;a href="http://video.wucftv.org/video/2365677579/" target="_blank"&gt;WUCF Artisodes: Universal Language&lt;/a&gt;</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank"&gt;Central Florida Music History Collection&lt;/a&gt;, RICHES Program</text>
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                  <text>The Lou Frey Institute of Politics &amp;amp; Government holds all rights to the items housed from the institute as well as those items represented digitally on the &lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;. Contact the &lt;a href="http://loufreyinstitute.org/" target="_blank"&gt;Lou Frey Institute of Politics &amp;amp; Government&lt;/a&gt; for the proper permissions for the use of its items.</text>
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                  <text>Cepero, Laura</text>
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                  <text>"&lt;a href="http://loufreyinstitute.org/" target="_blank"&gt;Lou Frey Institute&lt;/a&gt;." Lou Frey Institute of Politics &amp;amp; Government. http://loufreyinstitute.org/.</text>
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                  <text>"&lt;a href="http://loufreyjr.com/" target="_blank"&gt;Congressman Lou Frey, Jr. Biography&lt;/a&gt;." Lou Frey Institute of Politics &amp;amp; Government. http://loufreyjr.com/.</text>
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                  <text>"&lt;a href="http://bioguide.congress.gov/scripts/biodisplay.pl?index=F000381"&gt;FREY, Louis, Jr., (1934 - )&lt;/a&gt;." Biographical Directory of the United States Congress, United States Congress. http://bioguide.congress.gov/scripts/biodisplay.pl?index=F000381.</text>
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                  <text>Frey, Lou, and Aubrey Jewett. &lt;a href="http://www.worldcat.org/oclc/422763388"&gt;&lt;em&gt;&lt;em&gt;Political Rules of the Road: Representatives, Senators, and Presidents Share Their Rules for Success in Congress, Politics, and Life&lt;/em&gt;&lt;/em&gt;&lt;/a&gt;. Lanham, MD: University Press of America, 2009.</text>
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                  <text>Frey, Lou, and Michael T. Hayes. &lt;a href="http://www.worldcat.org/oclc/45419938"&gt;&lt;em&gt;Inside the House: Former Members Reveal How Congress Really Works&lt;/em&gt;&lt;/a&gt;. Lanham, MD: U.S. Association of Former Members of Congress, 2001.</text>
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                  <text>Collection of digital images, documents, and other records from the Lou Frey Institute of Politics &amp;amp; Government Series descriptions are based on special topics, the majority of which students focused their metadata entries around. Congressman Lou Frey, Jr. (1934-2019) served in the House of Representatives from 1969-1979. He was on several committees during his time in office, including the Select Committee on Narcotics Abuse and Control and the Science and Technology Committee. He was also the chairman of the Young Republicans of Florida.&lt;br /&gt;&lt;br /&gt;&lt;span&gt;According to its website, "The Lou Frey Institute promotes the development of enlightened, responsible, and actively engaged citizens.&lt;/span&gt;
&lt;p&gt;The Institute works to accomplish its mission:&lt;/p&gt;
&lt;ul&gt;&lt;li&gt;through civic education programs that encourage thoughtful debate and discussion about current policy issues;&lt;/li&gt;
&lt;li&gt;through experiential learning programs that encourage the development of civic and political skills;&lt;/li&gt;
&lt;li&gt;by working to help strengthen the civic education capacity of Florida’s k-12 education system; and&lt;/li&gt;
&lt;li&gt;through research, policy analysis, and advocacy."&lt;/li&gt;
&lt;/ul&gt;</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;.</text>
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                <text>Year End Report from Congressman Lou Frey, Jr. Newsletter, December 1976</text>
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                <text>Two pages from the &lt;em&gt;Year End Report from Congressman Lou Frey, Jr.&lt;/em&gt; newsletter mailed to citizens of the 9th Congressional District of Florida, represented by Congressman Louis "Lou" Frey, Jr. (1934-2019), who served in the U.S. House of Representatives from 1969 to 1979. He was on several committees during his time in office, including the Select Committee on Narcotics Abuse and Control and the Science and Technology Committee. He was also the chairman of the Young Republicans of Florida. &lt;br /&gt;&lt;br /&gt; In the first article, which is continued on both pages, Representative Frey discusses the legislative accomplishments that he made in the 94th Congress. These include an amendment to the McNamara-O'Hara Service Contract Act (SCA) of 1965; the creation of a Select Committee on Narcotics Abuse and Control in the House of Representatives; provisions for long-term financing for public broadcasting, the establishment of a U.S. Metric Board; the authorization from the Energy Research and Development Administration (ERDA) for a federal program for research and development related to electric vehicle technologies; the extension of the Educational Broadcasting Facilities Program to include the distribution of information on health, education, and social services; the authorization of a rape prevention and control program in Community Health Centers, the establishment of science and technology policy. Frey also cites legislation that was passed, but compromised in committee: the extension of veterans education benefits, provisions for an unrestricted pension for World War I veterans and their widows, and the removal of the outside earnings limitation on Social Security recipients. He also discusses Congress' clash with the Executive Branch over spending bills and top priorities for the 94th Congress. &lt;br /&gt;&lt;br /&gt; The second article discusses the Veteran's Administration (VA) site evaluation of existing medical facilities for veterans in Orlando. The article also addresses public requests for an outpatient clinic for veterans in Brevard County. &lt;br /&gt;&lt;br /&gt; In the third article, Frey announces the final order to make Orlando one of the two international airport entry points in Central Florida. The Orlando Jetport was expected benefit from gaining the status as an international port of entry, which would allow international travelers, especially tourists, to arrive directly to the area. &lt;br /&gt;&lt;br /&gt; Finally, Congressman Frey discusses his appointment to the Select Committee on Narcotics Abuse and Control in the fourth article. According to Frey, the committee determined that federal efforts to prevent and control drug abuse has not been effective. As a result, the committee drafted a bill advocating for mandatory sentences for drug-related offenses and no opportunities for parole, bond, or speedy trials for non-addict drug dealers.</text>
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                <text>Original newsletter by Lou Frey, Jr., December 1976: Lou Frey Papers, box 11, &lt;a href="http://loufreyinstitute.org/" target="_blank"&gt;Lou Frey Institute of Politics &amp;amp; Government&lt;/a&gt;, Special Collections and University Archives, University of Central Florida, Orlando, Florida.</text>
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                <text>&lt;a href="http://library.ucf.edu/about/departments/special-collections-university-archives/" target="_blank"&gt;University of Central Florida, Special Collections and University Archives&lt;/a&gt;</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://loufreyinstitute.org/" target="_blank"&gt;Lou Frey Institute of Politics &amp;amp; Government&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>94th Congress (continued)&#13;
&#13;
and gift taxes. Legislation which I co-sponsored, brings estate tax exemptions more into line with current property values enabling heirs to maintain family businesses and farms. &#13;
&#13;
While Congress clashed with the Executive over every major bill, some compromises did emerge. The public works jobs program, for example, was vetoed twice and rewritten three times. While less ambitious than the first version, the final legislation will provide 300,000 jobs. Congress also extended general revenue sharing, providing $25.6 billion in federal revenues through September 30, 1980. &#13;
&#13;
Other top-priority legislation completed by the Congress included: the end of the oil depletion allowance; the beginnings of adequate funding for development of alternate energy sources; a defense budget the military and Congress can live with; a seven percent increase in veterans pensions and a temporary increase in unemployment compensation taxes on employers. &#13;
&#13;
Welfare reform, revision of the food stamp program, catastrophic health insurance, clean air legislation and decontrol of natural gas prices remain top priorities for the 95th Congress. &#13;
&#13;
We’re looking forward to many new projects--and re-working some old ones during the coming year: legislation including professionals under the Service Contract Act; establishing a National Veterans Cemetery in Central or East Central Florida; removing permanently the time limitation for veterans to complete their education; doing away with the income earnings limitation on senior citizens eligible for social security; and protection for individuals purchasing condominiums. &#13;
&#13;
A capsulization of the 94th congress in chart form appears on the next page--and we do mean capsule! For more information on any of these subjects just write my office. &#13;
&#13;
Jetport&#13;
&#13;
International port of entry status for the Orlando Jetport became a reality this Fall. OnOctober 20, the Secretary of Treasury signed the final orders make Orlando one of the two international entry points in Central Florida. &#13;
&#13;
The new status, a victory after years of hard work, will bring international passengers directly to Central Florida. From there the tourists will be able to see our attractions in Orlando and visit Brevard County to tour Cape Canaveral and stay on the coast. &#13;
&#13;
Projections by local officials show an estimated 5 million pounds of export cargo and a third of a million international passengers enplaning in Orlando by 1980. &#13;
&#13;
Initially, the customs office at McCoy Jetport will employ part 12 part time baggage/cargo inspectors in addition to a Port Director, an Inspector and an Inspectional Aide. The number of employment opportunities will increase as the work load at the customs office increases. Tampa, an international port of entry since 1913, now employs almost 40 full time customs officials. &#13;
&#13;
So, while the process was long and often frustrating, pushing for the international status was certainly worth it. &#13;
&#13;
Drugs &#13;
&#13;
Legislation we worked hard on during the 94th Congress resulted in my appointment to the Select Committee on Narcotics Abuse and Control. &#13;
&#13;
The focus of the Committee hearings held during the closing days of the session was the federal efforts to curb drug abuse by cutting drug traffic.  We listened to and questioned every agency head who had any link with our drug enforcement effort. I wish I could say we discovered a cure all or a magic answer during those two weeks of hearings. We didn’t. &#13;
&#13;
What we did discover is that the federal effort, while it is well-intentioned, is not very effective. Every administrator pointed the finger elsewhere--not enough money, not enough manpower, not enough time, crowded court calendars, crowded detention facilities, crowded correction and rehabilitation centers. &#13;
&#13;
Meanwhile, drug abuse skyrockets. &#13;
&#13;
It was recently reported that most drug addicts must steal $11,000 a year to support their habits. Multiply that by 800,000 hard drug addicts in the United States and you have some idea of what drugs cost this country in one year. The statistics are frightening: 5,000 overdose deaths annually; 27 billion in drug related crime costs; and the number of hard drug addicts has doubled since 1973. &#13;
&#13;
Our drug bill calling for stiff mandatory sentences, no parole, no bond and speedy trials for those non-addict underworld businessmen who turn a profit on drugs almost became law a few years ago. We were almost successful this Congress. &#13;
&#13;
But next year, with a Committee specifically charged by the House to come up with tough drug legislation, we may see the light at the end of the tunnel. </text>
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                <text>"&lt;a href="http://loufreyjr.com/" target="_blank"&gt;Congressman Lou Frey, Jr. Biography&lt;/a&gt;." Lou Frey Institute of Politics &amp;amp; Government. http://loufreyjr.com/.</text>
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                <text>"&lt;a href="http://bioguide.congress.gov/scripts/biodisplay.pl?index=F000381"&gt;FREY, Louis, Jr., (1934 - )&lt;/a&gt;." Biographical Directory of the United States Congress, United States Congress. http://bioguide.congress.gov/scripts/biodisplay.pl?index=F000381.</text>
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                <text>Frey, Lou, and Aubrey Jewett. &lt;a href="http://www.worldcat.org/oclc/422763388"&gt;&lt;em&gt;Political Rules of the Road: Representatives, Senators, and Presidents Share Their Rules for Success in Congress, Politics, and Life&lt;/em&gt;&lt;/a&gt;. Lanham, MD: University Press of America, 2009.</text>
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                <text>Frey, Lou, and Michael T. Hayes. &lt;a href="http://www.worldcat.org/oclc/45419938"&gt;&lt;em&gt;Inside the House: Former Members Reveal How Congress Really Works&lt;/em&gt;&lt;/a&gt;. Lanham, MD: U.S. Association of Former Members of Congress, 2001.</text>
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                <text>Shaw, Frederick J. &lt;a href="http://www.worldcat.org/oclc/57007862"&gt;&lt;em&gt;Locating Air Force Base Sites: History's Legacy&lt;/em&gt;&lt;/a&gt;. Washington D.C.: Air Force History and Museums Program, United States Air Force, 2004.</text>
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                <text>Valentine, Douglas. &lt;a href="http://www.worldcat.org/oclc/53932625" target="_blank"&gt;&lt;em&gt;Strength of the Wolf: The Secret History of America's War on Drugs&lt;/em&gt;&lt;/a&gt;. London: Verso, 2004.</text>
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                  <text>&lt;a href="http://history.cah.ucf.edu/staff.php?id=304" target="_blank"&gt;Dr. Connie L. Lester&lt;/a&gt;'s Introduction to Public History course, Spring 2015</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://oviedohs.com/" target="_blank"&gt;Oviedo Historical Society&lt;/a&gt;." Oviedo Historical Society, Inc. http://oviedohs.com/.</text>
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                  <text>Adicks, Richard, and Donna M. Neely. &lt;a href="http://www.worldcat.org/oclc/5890131" target="_blank"&gt;&lt;em&gt;Oviedo, Biography of a Town&lt;/em&gt;&lt;/a&gt;. S.l: s.n.], 1979.</text>
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                  <text>Robison, Jim. &lt;a href="http://www.worldcat.org/oclc/796757419" target="_blank"&gt;&lt;em&gt;Around Oviedo&lt;/em&gt;&lt;/a&gt;. 2012.</text>
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                  <text>"&lt;a href="http://www.cityofoviedo.net/node/68" target="_blank"&gt;History&lt;/a&gt;." City of Oviedo, Florida. http://www.cityofoviedo.net/node/68.</text>
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                  <text>"&lt;a href="http://riches.cah.ucf.edu/audio/Ep41-Oviedo.mp3" target="_blank"&gt;RICHES Podcast Documentaries, Episode 41: Oviedo, with Dr. Richard Adicks&lt;/a&gt;." RICHES of Central Florida. http://riches.cah.ucf.edu/audio/Ep41-Oviedo.mp3.</text>
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                <text> Juvenile delinquency--Florida</text>
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                <text>A newspaper article from the &lt;em&gt;The Seminole Star&lt;/em&gt; about a burglary that occurred at the Sanford Grammar School in Sanford, Florida. Five underaged youths were involved in the burglary and charged with stealing approximately $175 in school supplies candy, and snacks. All stolen goods were recovered outside the school. Sanford Grammar School which is now the Sanford Student Museum and Public History Center, is a Romanqsque Revival style building designed by Florida architect Wilbur B. Talley and built in 1902. Also known as Sanford High School and the Margaret K. Reynolds building, it was designated as a National Historic Place in 1984.</text>
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                <text>Originally published by &lt;em&gt;The Seminole Star&lt;/em&gt;.</text>
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                <text>Copyright to this resource is held by &lt;em&gt;The Seminole Star&lt;/em&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://history.cah.ucf.edu/files/events/3099.pdf" target="_blank"&gt;Oviedo History Harvest&lt;/a&gt;</text>
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                <text>&lt;a href="http://history.cah.ucf.edu/staff.php?id=304" target="_blank"&gt;Dr. Connie L. Lester&lt;/a&gt;'s Introduction to Public History course, Spring 2015</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.publichistorycenter.cah.ucf.edu/" target="_blank"&gt;Public History Center&lt;/a&gt;." Public History Center, University of Central Florida. http://www.publichistorycenter.cah.ucf.edu/.</text>
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                <text>"&lt;a href="http://www.scps.k12.fl.us/studentmuseum/Home.aspx" target="_blank"&gt;Student Museum&lt;/a&gt;." Seminole County Public Schools. http://www.scps.k12.fl.us/studentmuseum/Home.aspx.</text>
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              <elementText elementTextId="541593">
                <text>"&lt;a href="http://www.seminolehs.scps.k12.fl.us/" target="_blank"&gt;Seminole High School&lt;/a&gt;." Seminole High School, Seminole County Public Schools. http://www.seminolehs.scps.k12.fl.us/.</text>
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                <text>Sanford Historical Society (Fla.). &lt;a href="http://www.worldcat.org/oclc/53015288" target="_blank"&gt;&lt;em&gt;Sanford&lt;/em&gt;&lt;/a&gt;. Charleston, SC: Arcadia, 2003.</text>
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        <name>Steven D. Harriet</name>
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                  <text>Collection of digital images, documents, and other records depicting the history of Tampa, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
Before European settlement, the present-day Tampa area was inhibited by the Tocobaga and Pohoy tribes, which were decimated by European diseases and warfare. In 1824, the U.S. Army established the area's first permanent settlement called Fort Brooke, located at the mouth of the Hillsborough River. &#13;
&#13;
Siding with the Confederacy during the American Civil War, Tampa served as the site of the Battle of Tampa, an inconclusive battle from June 30 to July 1, 1862; the Battle of Fort Brooke on October 16, 1862; and the Battle of Ballast Point on October 18, 1863. Incorporated as a town in 1949, Tampa experienced immense growth in the 1880s with the arrival of the railroad, the discovery of phosphate, and the development of the cigar industry.&#13;
&#13;
From the 1920s to the 1950s, Tampa became a major center for organized crime, Prohibition-era bootlegging, and illegal bolita, a Cuban-influenced lottery. Tampa grew considerably during World War II, as the city was chosen for the location of MacDill Field, now the MacDill Air Forced Base (AFB).  The founding of Busch Gardens Tampa and the University of South Florida also spurred growth.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/133" target="_blank"&gt;Hillsborough 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>"&lt;a href="http://www.tampagov.net/city-clerk/info/archives/city-of-tampa-incorporation-history" target="_blank"&gt;Incorporation History&lt;/a&gt;." City of Tampa, Florida. http://www.tampagov.net/city-clerk/info/archives/city-of-tampa-incorporation-history.</text>
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                  <text>&lt;span&gt;Mulder, Kenneth W. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/22947009" target="_blank"&gt;&lt;em&gt;Tampa Bay, Days of Long Ago&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Tampa, Fla: P &amp;amp; M Pub. Co, 1990.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Kerstein, Robert J. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/45202019" target="_blank"&gt;&lt;em&gt;Politics and Growth in Twentieth-Century Tampa&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville, FL: University Press of Florida, 2001.&lt;/span&gt;</text>
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                <text>Zebras at the Edge of Africa of Busch Gardens Tampa, a theme park located in Tampa, Florida, in 2010. The park opened as a hospitality facility for Anheuser-Busch Companies, Inc. on March 31, 1959. Busch Gardens originally hosted a brewery with beer tastings, but it was closed in 1995 and the roller coaster Gwazi was constructed in its place. In 1965, Serengeti Plains, inhabited by African wildlife, opened. In 1971, the Serengeti Express Railway, a two-mile railroad surrounding the park, was opened. The Stanleyville section opened, including the Stanley Falls Flume in 1973. In 1976, the Congo area opened, featuring Busch Gardens' first roller coaster, Python. Various theme areas and attractions have been added to the park over the years. The Edge of Africa was opened in 1997.&lt;br /&gt;&lt;br /&gt;From 1976 through the 1990s, the theme park was called Busch Gardens: The Dark Continent, but was renamed Busch Gardens Tampa Bay during that same decade. From 2006 to 2008, the park was renamed Busch Gardens Africa. In 2008, it returned to its original name. The park is currently owned by SeaWorld Entertainment and the Blackstone Groups. Busch Gardens includes several themed areas in addition to the Edge of Africa: Morocco, Stanleyville, Congo, Jungala, Pantopia, Nairobi, Crown Colony Plaza, and Egypt.</text>
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                <text>"&lt;a href="http://seaworldparks.com/en/buschgardens-tampa/park-info/?from=Top_Nav" target="_blank"&gt;PARK INFO&lt;/a&gt;." Busch Gardens Tampa, SeaWorld Parks &amp;amp; Entertainment. http://seaworldparks.com/en/buschgardens-tampa/park-info/?from=Top_Nav.</text>
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                  <text>Collection of digital images, documents, and other records depicting the religious history of Sanford, Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around.&#13;
&#13;
The present-day Sanford area was originally inhabited by the Mayaca/Joroco natives by the time Europeans arrived. The tribe was decimated by war and disease by 1760 and was replaced by the Seminole Indians. In 1821, the United States acquired Florida from Spain and Americans began to settled in the state.&#13;
&#13;
Camp Monroe was established in the mid-1830s to defend the area against Seminoles during the Seminole Wars. In 1836, the United States Army built a road (present-day Mellonville Avenue) to a location called "Camp Monroe," during the Second Seminole War. Following an attack on February 8, 1837, the camp was renamed "Fort Mellon," in honor of the battle's only American casualty, Captain Charles Mellon.&#13;
&#13;
The town of Mellonville was founded nearby in 1842 by Daniel Stewart. When Florida became a state three years later, Mellonville became the county seat for Orange County, which was originally a portion of Mosquito County. Citrus was the first cash crop in the area and the first fruit packing plant was constructed in 1869.&#13;
&#13;
In 1870, a lawyer from Connecticut by the name of Henry Shelton Sanford purchased 12,548 acres of open land west of Mellonville. His vision was to make this new land a major port city, both railway and by water. Sitting on Lake Monroe, and the head of the St. Johns River, the City of Sanford earned the nickname of “The Gate City of South Florida.” Sanford became not only a transportation hub, but a leading citrus industry in Florida, and eventually globally.&#13;
&#13;
The Great Fire of 1887 devastated the city, which also suffered from a statewide epidemic of yellow fever the following year. The citrus industry flourished until the Great Freezes of 1894 and 1895, causing planters to begin growing celery in 1896 as an alternative. Celery replaced citrus as the city's cash crop and Sanford was nicknamed "Celery City." In 1913, Sanford became the county seat of Seminole County, once part of Orange County. Agriculture dominated the region until Walt Disney World opened in October of 1971, effectively shifting the Central Florida economy towards tourism and residential development.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/map/" target="_blank"&gt;RICHES MI&lt;/a&gt;</text>
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                  <text>&lt;span&gt;Joiner, E. Earl. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/348410" target="_blank"&gt;&lt;em&gt;A History of Florida Baptists&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Jacksonville, Fla: Printed by Convention Press, 1972.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Flewellyn, Valada S. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/320804616"&gt;&lt;em&gt;African Americans of Sanford&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Charleston, SC: Arcadia Pub, 2009.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Bailey, Julius. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/59879767"&gt;&lt;em&gt;Around the Family Altar: Domesticity in the African Methodist Episcopal Church, 1865-1900&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville, FL: University Press of Florida, 2005.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Gannon, Michael. &lt;/span&gt;&lt;a href="http://www.worldcat.org/oclc/1310797" target="_blank"&gt;&lt;em&gt;The Cross in the Sand: The Early Catholic Church in Florida, 1513-1870&lt;/em&gt;&lt;/a&gt;&lt;span&gt;. Gainesville: University of Florida Press, 1965.&lt;/span&gt;</text>
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                <text>Zion Hope Missionary Baptist Church, located at 710 Orange Avenue in Georgetown, an African-American community in Sanford, Florida, in 2011. Zion Hope was founded in a brush arbor, under the leadership of Reverend Wash Levingston, on June 9, 1888. After Reverend Joe Richards took over as the first settled pastor, church services were conducted in an old horse stable on Mellonville Avenue from 1888 to 1890. The church relocated to the corner of East Fifth Street and Locust Avenue and converted the original structure into a small, oblong-framed church to accommodate the growing congregation.&lt;br /&gt;&lt;br /&gt;This building served the congregation until 1926. A new concrete, stone-block building was then constructed at its current location, on the corner of East Eighth Street and Orange Avenue under the guidance of Reverend Hardy Wesley Williams. Other previous pastors include Reverends Paul Newman, G. W. Phillips, W .A. Jenkins, and John Hurston, the father of award-winning author and anthropologist Zora Neale Hurston.</text>
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                <text>ZION HOPE MISSIONARY BAPTIST CHURCH&#13;
Rev. Michael Griffin, Pastor&#13;
&#13;
~ZION HOPE ~&#13;
Missionary Baptist Church&#13;
710 Orange Ave., Sanford, Fl 32771&#13;
&#13;
ORDER OF SERVICE&#13;
&#13;
1st Sunday - (Holy Communion) - 11:00 a.m.&#13;
2nd Sunday - (Mission Ministry - 11:00 a.m. &#13;
3rd Sunday - (Pastorial Sunday) - 11:00 a.m.&#13;
4th Sunday - -(Youth Ministry) - 11:00 a.m.&#13;
5th Sunday - (Old Fashion Day) - 11:00 a.m.&#13;
&#13;
Sunday School - (Every Sunday) - 9:45 a.m.&#13;
Bible Study - (Every Wednesday) - 6:30 p.m.</text>
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                <text>CHURCH VAN&#13;
710 Orange Avenue,&#13;
Sanford, FL 32771</text>
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                <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/65" target="_blank"&gt;Churches of Sanford Collection&lt;/a&gt;, Sanford Collection, Seminole County Collection, RICHES of Central Florida.</text>
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                <text>&lt;a href="http://riches.cah.ucf.edu/" target="_blank"&gt;RICHES of Central Florida&lt;/a&gt;</text>
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                  <text>This collection contains images of Naval Air Station (NAS) Sanford from its inception in 1942 to present day. The Naval Air Station (NAS) Sanford was commissioned on November 3, 1942, as a naval aviation training facility during World War II. The Navy continued to train pilots at NAS Sanford throughout the Korean and Vietnam Wars. &#13;
&#13;
NAS Sanford was temporarily decommissioned after World War II in 1946, and then recommissioned as the Naval Auxiliary Air Station (NAAS) Sanford in 1950, due to the outbreak of the Korean War and the ongoing Cold War. Soon afterward, the station was renamed NAS Sanford and redesignated as a full naval air station. On February 6, 1959, NAS Sanford was dedicated as Ramey Field in honor of Lieutenant Commander Robert W. Ramey. In 1968, due to lack of funding caused by the Vietnam War, Congress directed the closure of NAS Sanford. &#13;
&#13;
The City of Sanford assumed authority over the former NAS Sanford facility the year after it closed and renamed it the Sanford Airport, which was managed by Commander J. S. "Red" Cleveland. The airport underwent various name changes over the next several decades: Sanford Regional Airport, Central Florida Regional Airport, Orlando-Sanford Regional Airport, and its current name, Orlando-Sanford International Airport. Throughout the 1980s and 1990s, several Naval buildings were demolished and new buildings were constructed.</text>
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                  <text>&lt;a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/16" target="_blank"&gt;Sanford Collection&lt;/a&gt;, Seminole County Collection, RICHES of Central Florida.</text>
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                  <text>&lt;span&gt;Metzger, Lewis W. &lt;a href="http://www.worldcat.org/oclc/668248552" target="_blank"&gt;&lt;em&gt;From Celery City to Navy Town: The Impact of Naval Air Station Sanford during World War II&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. MA thesis, University of Central Florida, 2010.&lt;/span&gt;</text>
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                  <text>&lt;span&gt;Shettle, Jr., M. L. &lt;a href="http://www.worldcat.org/oclc/33082456" target="_blank"&gt;&lt;em&gt;United States Naval Air Stations of World War II&lt;/em&gt;&lt;/a&gt;&lt;/span&gt;&lt;span&gt;. Bowersville, Georgia: Schaertel Publishing Company, 1995.&lt;/span&gt;</text>
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                <text>Zoning of U.S. Naval Air Station, Sanford, Florida</text>
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                <text>Drawing of the Naval Air Station in Sanford, Florida. This drawing shows a map of the zoning of the NAS Sanford. The air station was commissioned on November 3, 1942, as a naval aviation training facility during World War II. The Navy continued to train pilots at NAS Sanford throughout the Korean War and Vietnam War. NAS Sanford was temporarily decommissioned after World War II in 1946, and decommissioned again in 1950 when it was the Naval Auxiliary Air Station (NAAS) Sanford, due to the outbreak of the Korean War and the ongoing Cold War. Soon afterward, the station was renamed NAS Sanford and redesigned as a full naval air station. On February 6, 1959, NAS Sanford was dedicated as Ramey Field in honor of Lieutenant Commander Robert W. Ramey. In 1968, due to lack of funding caused by the Vietnam War, Congress directed the closure of NAS Sanford. &lt;br /&gt;&lt;br /&gt; The City of Sanford assumed authority over the former NAS Sanford facility the year after it closed and renamed it the Sanford Airport, which was managed by Commander J. S. "Red" Cleveland. The airport underwent various name changes over the next several decades: Sanford Regional Airport, Central Florida Regional Airport, Orlando Sanford Regional Airport, and its current name, Orlando-Sanford International Airport. Throughout the 1980s and 1990s, several Naval buildings were demolished and new buildings were constructed.</text>
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                <text>Original 11 x 16 inch drawing: "Zoning of U.S. Naval Air Station Sanford, Florida." Sanford, Florida: &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt;, Sanford, Florida.</text>
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                <text>Copyright to this resource is held by the &lt;a href="http://www.sanfordfl.gov/index.aspx?page=456" target="_blank"&gt;Sanford Museum&lt;/a&gt; and is provided here by RICHES of Central Florida for educational purposes only.</text>
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SANFORD, FLORIDA</text>
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