312 24 26018 https://digitalcollections.library.gvsu.edu/files/original/53d38664ac4729fae1a3bb7cd93b405e.mp4 ea0a8b59b5a8f174087d5e5743d14a1a https://digitalcollections.library.gvsu.edu/files/original/3f0b63f5631c1a86616fb681956869d1.pdf fd9d865a208f95ed0dd073afd847d57a PDF Text Text Grand Valley State University Veterans History Project Leonard Feerick Jr. (00:53:00) Introduction (00:10) Family and Friend (00:15) • • Born in Sparta, MI on February 8, 1925 in his home, delivered by a midwife. Feerick Jr. mentioned that he attended K-12 in a very small room which has long since been demolished. (04:12) Pre-enlistment (05:34) • Feerick describes the shock and dismay that people had when Pearl Harbor was attacked. What followed were feelings of hatred towards Japanese Americans. He mentions the resentment Americans had towards them. (06:04) Enlistment and Basic training (07:34) • Feerick Jr. mentions that he didn’t want to join the navy. While he was in line at the recruitment station in Detroit the navy representative took everyone who was in line up to a certain point and those people joined the navy. (07:34) • Afterwards, he went to the reception center in Fort Custer, MI to take tests to help the armored forces determine where to best place him. They saw that he had mechanic skills and so they placed him in the army air corps. (08:37) • Went to Miami Beach, FL for basic training. Unlike many trainees who had to train in the dust, he trained on the beach. (09:35) Stayed in Palmer House and describes his living arrangements. Had previously picked up his uniform at Fort Custer. • Typical days usually consisted of waking up; reporting for roll call, cleaning their hotel rooms, and drilling. Briefly mentions that while marching they were expected to sing. (15:36) Conducted close-ordered drills at a golf course. His training was nothing as difficult as what the typical marine or infantryman went through. • Spent 6 weeks there. (17:32) Afterwards, went to Gulfport, Mississippi where he went to mechanical training school. Feerick Jr. learned about hydraulics, physics, etc. (19:37) Frequently listened to the radio of news of the war abroad. �• At one point, he and a few other soldiers were taken out of mechanical school before graduating and sent on ships to England. While waiting for a ship to take them to England they did nothing. (22:47) • From there, he went to Camp Kilmer, NJ but on the way spent a few days in Greensboro, NC where a few of the men came down with measles and were quarantined for a few weeks. (24:16) The Crossing (24:31) • From Camp Kilmer, NJ they boarded a French cruise ship, recently converted into a passenger ship, and were crowded in it by the thousands. (24:31) • Briefly describes the regular emergency drills that they had while aboard ship during the crossing and that many came down with sea sickness. England (27:14) • Landed in Liverpool, England and was there a few days. He than went to an airfield where a combination of British-American fighter pilots were stationed. While there, Feerick Jr. briefly mentions the small barracks he shared with a small group of Canadians and colonials. (27:14) • From there, he went to Sudbury, England where he was supposed to be trained in how to handle bombers but wasn’t. (28:35) Instead, he had various responsibilities in the officer’s mess hall and cafeteria. (30:40) • Feerick Jr. briefly mentions various exercises done by Mustang fighters over the base as they would fight mock battles. (33:14) Mentions that one pilot always buzzed by the house of the superior officer who transferred him off the base. • Describes the atmosphere of living on the base. (35:23) He mentions that often when he went to bed his bunkmates played cards. (37:33) • At around the time of the Battle of the Bulge, he was transferred to Tinsworth, England where he underwent infantry training. Tells of a particular sergeant who had psychological problems because of his time in a bunker when a shell exploded near his position. (39:22) • It was soldiers like this that trained Feerick Jr. and others how to shoot a gun, crawl through trenches, and drill. He mentions that he crawled under chicken wire. Shares his personal thoughts. (41:14) • On one occasion, an instructor pulled a rip cord on a hand grenade and threw it. Feerick Jr. mentions diving for cover as the grenade exploded scattering �guns and men alike. (42:32) The point of the exercise was to see how the trainees reacted. France and Germany (46:05) • After training in England, the war in Europe came to an end. Feerick Jr. mentions that he was then sent to France where he went to clerk-typist school in preparation for working for the military government in Berlin, Germany. • Worked in Berlin, Germany on the Russians-side of the Berlin Wall. Briefly describes traveling the Autobahn and shares his thoughts on that. • Briefly describes a few encounters with German people and their feelings of Allied occupation. (46:05) He further describes the hostility that the Russians had towards Americans on their side of the wall. In one encounter, he was touring East Berlin on a tour bus and wanted to get off to see the sights but wasn’t allowed to. Describes what the average Russian was like. Going Home (48:56) • Feerick Jr. was discharged at Camp Atterbury in December 1945. Describes how civilians were more than willing to entertain troops and the heartfelt welcome of a grateful nation at their return. After the War (50:11) • Took a train from Camp Atterbury to Grand Rapids, MI. From there got a ride from a gentleman to Sparta. Shared his thoughts about how united the country was behind the troops. (51:08) Briefly mentions his thoughts on New York people. (53:51) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FeerickL Title A name given to the resource Feerick, Jr, Leonard (Interview outline and video), 2009 Creator An entity primarily responsible for making the resource Feerick, Leonard Description An account of the resource Leonard Feerick, Jr. served in the US Army Air Corps during World War II. He trained in Miami, Florida, and Gulfport, Mississippi, and was eventually stationed in England where he worked in ground support on an airbase. Toward the end of the war, he was transferred to the infantry, and eventually served with the Army of Occupation in Berlin. Contributor An entity responsible for making contributions to the resource Boring, Frank (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans World War, 1939-1945--Personal narratives, American Video recordings Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2009-02-11 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/b051a417dc9e826f1a80a8390d7669d9.pdf cad0ed10b1cc1ea6cce5c132870fd727 PDF Text Text Young Lords In Lincoln Park Interviewee: Felícitas Nuñez Interviewers: José “Cha-Cha” Jiménez Location: Grand Valley State University Special Collections Date: 8/25/2012 Biography and Description Felícitas Nuñez lives in Bermuda Dunes, California. She and Delia Ravelo are co-founders of Teatro de Las Chicanas. The concept began when women of Movimiento Estudíantil Chicano de Aztlán (MEChA) brought their mothers to a university setting. There they organized a “Seminario de Chicanas” so that the mothers could understand what their daughters were going through. They wrote and performed “Chicana Goes to College.” And as a result of the audience’s positive response, Ms. Nuñez and Ms. Ravelo formed the Teatro de Las Chicanas. In the beginning years the core group consisted of just Ms. Ravelo and Ms. Nuñez, but many young women participated in the Teatro. Though working in San Diego, they were influenced by the leftist political ideals of the San Francisco Mime Troupe. They also united with the objectives of the Chicano Movement which included, among other things, social justice, bilingual education, and unionization. It also went further to address women’s equality. Several of the plays written and performed by the Teatro as well as the memories of their core members have been published in Teatro Chicana: A Collective Memoir and Selected Plays (2008). Most of the women who joined the Teatro came from farming towns throughout California and most of them were the first of their families to attend college. Around the early part of June 1969, Ms. Nuñez traveled to Chicago and met with the Young Lords who were transforming themselves from a local Puerto Rican gang into a human rights movement. One month earlier, the Young Lords had occupied the administration building �of McCormick Theological Seminary (today on the campus of DePaul University) with 350 neighborhood residents and held it for an entire week. The Young Lords won all their demands, including $50,000 seed money for two free health clinics, $25,000 to open up the People’s Law Office which still operates today, and $650,000 to be invested by the seminary in low-income housing. One week earlier, the Young Lords had occupied a huge United Methodist Church on Dayton and Armitage, which they were in the process of transforming to become the Young Lords National Headquarters. The church would also house their Free Community Day Care Center, Free Dental and Health Clinic, and Free Breakfast for Children Program. All these programs were modeled after the Black Panther Party programs, of which the Young Lords had recently also connected via Fred Hampton’s Rainbow Coalition that Field Marshall Bobby Lee had also helped to broker. After the take-over of the church, the Young Lords quickly made amends. They did not want to disrupt any church service. When asked by the press if the Young Lords were going to allow the church to hold service, Mr. Jiménez quickly responded, “that it was not really a take over as the doors were now open to everyone, and that he and other Young Lords were planning on attending the services, being led by Rev. Bruce Johnson.” Some members of the congregation left but the Young Lords started meetings with the rest of the congregation, and together they designed the People’s Church symbol and produced a button that showed chains being broken. The Young Lords were cleaning up the church and adding needed paint when Ms. Nuñez arrived and volunteered to organize a group of muralists. Inside the church, Ron Clark and others were painting a mural of Puerto Rican history in the gymnasium. Outside, Ms. Nuñez’s group painted the Young Lords symbol of ”Tengo Puerto Rico En Mi Corazón” or “I have Puerto Rico in my Heart.” This lettering was in purple, with a green map of Puerto Rico, and a brown fist holding a rifle. (It had been designed by Ralph “Spaghetti” Rivera and Mr. Jiménez. The first buttons were printed at the Green Duc Button Company at Lake Street and Halsted). Other murals that Ms. Nuñez and her volunteers painted on the church walls were images of Adelita, Emiliano Zapata, Lolita Lebrón, and Don Pedro Albizu Campos. Someone else, probably Ron Clark, painted Che Guevara by the side entrance to the office, with the lettering “Young Lords National Headquarters.” These wonderful murals could not be overlooked in Lincoln Park. Not only were they featured in the news, but Lincoln Park residents would drive by and stop in to see the various programs and activities, making People’s Church the center of the Lincoln Park neighborhood. By then most Puerto Ricans had been forced out of Lincoln Park and there was also plenty of room for others to join the Young Lords Movement. Hispanos representing all Latino nations joined the Young Lords, including members of other minorities, middle class individuals, workers, the very poor, and students. The Lincoln Park Poor People’s Coalition was formed and Mr. Jiménez was voted president. The Northside Cooperative Ministry, of which Rev. Bruce Johnson was a prominent member, was also established during this period, and it supported the Poor People’s Coalition and the Young Lords. Just sixty days before Mark Clark and Fred Hampton were shot to death, assassinated in a predawn raid led by State’s attorney Edward Hanrahan, Rev. Bruce Johnson and his wife Eugenia were also discovered in their beds stabbed multiple times, in a cold case that remains unsolved. The Eulogy was given at the church with Young Lords fully participating, providing security and traffic control. There was also a spontaneous march through the Lincoln Park Community where Rev. Bruce Johnson worked with the poor. Ms. Nuñez left Chicago unaware of the impact she had made in the Puerto Rican community and in Lincoln Park. The Teatro Chicana did participate in the impromptu Lincoln Park Camp in Michigan in the 2000 and the Young Lords 40th Anniversary celebration in Chicago in 2008. �Transcript JOSE JIMENEZ: Okay, go ahead. If you can give me your name and your -- FELICITAS NUÑEZ: Age. JJ: Age and where you were born. FN: I was born in Brawley, California; that’s very close to the Mexicali border. And I am almost 63 years of age, and my name is Felícitas Nuñez. JJ: Okay, Brawley, California. Where’s that at? FN: It’s in Imperial Valley where you have -- JJ: The mid part of -- FN: It’s on the lower part of California close to the border -- JJ: Close to the border? Okay. FN: -- of Mexicali. JJ: Okay, so somewhere -- FN: Very, very hot weather. And when I was first born in the late ’40s, it was a very rich cultural area in agriculture. JJ: In agriculture? Okay, what type of -- FN: They had tomato, (Spanish) [00:01:00] -- I mean, just a big vegetable garden that could feed all of California and more than that. JJ: Okay, so this is a rural area. So you had a farm? Did you own a farm or [anything like the?] -- FN: Oh, no, we worked in the farms of others who owned them. And initially when that originated, they said that the way they started claiming the land was if you 1 �could walk that land -- whatever land you walked, you could claim as your own, and that meant everybody. But I understand that historically, what happened is those that had horses-- specifically, you know, they were mainly Anglo people. They got on a horse, and rode around on the horse and claimed the land. And if they saw anybody on foot, which was mainly whoever couldn’t afford a horse, those were shot. JJ: They were shot? FN: Uh-huh. JJ: To death? FN: Yes. JJ: [00:02:00] Even if they lived there, they were shot there? FN: Well, everybody was claiming land at that time, so I don’t know if everybody there was recently immigrated into that land or really established. But it was a pretty new territory because irrigation had been in full bloom, you know, and those areas that are very dry don’t have a lot of cultivation. So when the canal system came into existence, it had a lot of potential in them. And just like I said, it was a vegetable garden for the whole state of California and more. JJ: So you said there was a canal system set up, or...? FN: Mm-hmm. JJ: How did that function? I mean, where did they -- FN: They got the water from Río Colorado. JJ: Río Colorado? Okay. 2 �FN: And that’s how they started that whole irrigation process. And I understand that that’s the way that the Salton Sea was formed because some dam broke or something, and it filled this whole space. And they call it a man-made sea, Salton Sea, [00:03:00] and there was a salt mine there at one time. And it went all the way to the bottom, so the water filled everything up and became very salty. And fish were able to thrive there at one time, but now with the pollution of pesticides, insecticides, herbicides, everything’s been dying. And, you know, now they’re not even having the Colorado River run through there like it used to because water rights are being claimed privately, and so all the water that’s been drying -- the wind picks up all of this, and everybody’s breathing this massive pollution contamination of the water and earth. JJ: And what was your mother’s and father’s names? FN: (Spanish) [00:03:54] Felícitas [Melina?] -- JJ: Melina? FN: [00:03:57] -- (Spanish) [Felino?] Nuñez. (Spanish). [00:04:00] JJ: (Spanish)? [00:04:13] FN: (Spanish). [00:04:14] JJ: (Spanish)? [00:04:28] FN: (Spanish). [00:04:29] JJ: (Spanish)? [00:04:32] FN: Uh-huh. JJ: So (Spanish)? [00:04:34] What was their names? 3 �FN: (Spanish) [00:04:39] Felino, Julia, Rosa, Josephina. (Spanish) [00:04:48] [Genaro?], Fidel, Raphael, (Spanish), [00:04:52] [Teresa?]. JJ: And what did they do? Where are they at now? FN: [00:04:58] (Spanish). [00:05:00] JJ: (Spanish). [00:05:30] FN: [00:05:31] (Spanish). [00:06:00] JJ: (Spanish) [00:06:06] -- what is that, Bracero? FN: Bracero? [00:06:10] (Spanish). [00:07:00] JJ: (Spanish)? [00:07:25] FN: (Spanish) [00:07:31] -- JJ: (Spanish)? [00:07:32] FN: (Spanish) [00:07:33] -- JJ: (Spanish)? [00:07:35] FN: (Spanish)? [00:07:40] JJ: (Spanish). [00:07:42] FN: (Spanish). [00:07:43] JJ: What is that? FN: (Spanish) [00:07:56] nurse’s aide. [00:08:00] JJ: Nurse’s aide? Okay. FN: (Spanish). [00:08:02] JJ: So I thought in the late ’40s, they were bringing Puerto Rican workers to some of the vagrant camps during that time, so maybe that’s when it happened or later. FN: Yeah, that -- 4 �JJ: Or it stopped -- FN: There’s, I guess -- JJ: -- (laughs) [with the ’60s?]. FN: -- an overall strategy on how things come about. I mean, it doesn’t happen accidentally. The fact that work from the outside is brought in, work that is not consciously organized to fight for their rights, because they’re desperate or they know whoever’s employing them are going to make the contract that -- these people are desperate, so they use that weakness to break whatever strength we had built up here in the United States already. Because the United States has an incredible history of people that fought for rights, and you know, we’re always [00:09:00] putting down the concept of communism. You know, they say, “Oh, you know, you’re a communist,” and you think, “Well, what is a communist?” And it’s a person that thinks of the commonwealth, that thinks about community, and talk about the model of -- what, you know, people admire a lot of Christ was that he was a very just person. In legend or history, whichever, he’s an icon of a image that shared broke bread, you know? And to be called a communist, I think, “Well, my goodness, what’s so ugly about that?” But, you know, it came up with McCarthy. You know, anybody that’s labelled that is really- tried to be put down. JJ: So now, were your parents Catholic, [00:10:00] or what’s -- FN: My mother especially was very religious, and -- JJ: But of what church? FN: (Spanish). [00:10:07] 5 �JJ: (Spanish), [00:10:08] okay. FN: But that was her sanctuary because she was a person that was very naive to begin with. She got into a relationship that was not good. My father was not a very good role model of a human person. In some respects, he was, but when it came to -- he was in the same general -- JJ: What do you mean by that? FN: -- arena where men think they’re superior to women. And then it happens, you know, that women start -- you know, sometimes women are more male supremist than men because they really take that to heart and really think that women should not come out of their roles. So my mother was very Catholic, [00:11:00] but at the same time, the church offered her sanctuary because of the abuse. You know, she had nowhere to turn, and church was a very acceptable place of sanctuary because it was respected by (Spanish). [00:11:16] You know, my father said, “Well, she didn’t go to a cantina to get sanctuary. She went to church to get sanctuary.” And she found a lot of -- JJ: So meaning sanctuary [around?] there -- FN: Where you go to a place, a sacred space, and pour out all of your woes and problems, and get that inspirational strength. And it can be anywhere, but -- JJ: So she didn’t go there to run away or anything. She just went there to pour out her [things?] -- FN: To enforce her spirituality. And, you know, I really -- you know, people say, “Well, are you religious?” And I don’t know. Sometimes to respond -- [00:12:00] I respect people have their religion, but I think in general, what we’re talking 6 �about is her spirituality regardless of what religion it is. The thing is religion becomes an ingroup. If you’re a Catholic or a Protestant, “No, you don’t leave,” but, you know, it sort of divides you. But in common, what we have is that quest, that need for spirituality enforcement. And that commonality to -- you know, that we are one, so religion in the institutionalized sense has done more damage. More wars have been caused in the name of God than, you know, what the image of what Christ was; you know, to love your neighbor, to share bread, to treat everyone as equals. And of course, you know, [00:13:00] that’s all we know because the Bible was written by man, and testament means “witness of testicles”, you know? JJ: Is that what it means, or...? FN: Yes. We don’t have a vagina-ment, you know, so in the Bible -- JJ: Okay, so that’s not -- you’re being a little facetious about that. FN: Well, no, I’m saying that we can accept testament, but we can’t accept a thing like vagina-ment. I mean, to say that vagina is one of the most terrible things that you can say is just offensive as communist. Vagina, communist, menstruation -it’s like, “Oh, my God,” you know? So all of that, you know, goes into my thinking of, “Yes, I do respect religion, but not when it controls you totally to where it puts you against another people just because they have another religion,” [00:14:00] because spirituality should not be property. To me, it’s, you know, connecting to the universe, connecting to the world, connecting to your neighbors, connecting to yourself as one. And that collective consciousness really needs to come out because what happens is the way we are taken over and controlled is by divisive 7 �means. Men against women, black against white, white against red, red against yellow -- you know, it just goes on forever. JJ: Okay, so you’re -- FN: And it just -- JJ: -- growing up in which valley? FN: Right now, I’m living in the -- JJ: No, but at that time, where -- FN: I grew up in Imperial Valley. JJ: Imperial Valley, yeah, okay. FN: And Imperial Valley is mainly [00:15:00] a rural area that was run by (Spanish) [00:15:05] that were Anglo. JJ: Oh, the (Spanish) [00:15:07] were Anglo? FN: Yes, uh-huh. And there, they -- JJ: But I mean, big -- FN: Yeah, big acres of -- JJ: -- acres of land? FN: -- agriculture. JJ: Or agriculture? FN: And all the workers were -- JJ: Where did the workers live? FN: The workers? We were lucky to be one of the fir-- well, I don’t know about the first, but my father had a steady job as a foreman, so that gave us more -- JJ: A foreman there at the -- 8 �FN: A foreman of the Braceros that worked in the fields that were contracted. JJ: Okay, so -- FN: So he was able to gain citizenship. My mother did -- JJ: But did he build his way up, or -- FN: No, he -- JJ: -- he just came in as the foreman? FN: Yeah, he migrated from Mexico, lived in San Bernardino for a while, worked in the trains -- JJ: So he had gone to school [or something to be?] -- except they hired him as a foreman. [00:16:00] FN: He was very smart with figures, and he knew English. JJ: He knew English. FN: He had already worked in the train station in San Bernardino that -- a lot of Mexicanos worked with the trains at that time, and then it started going down because the trucking industry started taking over. But the reason he left the train was because he ran off with my mother. He was about 21, and she was about 15, so they ran away. And then my grandmother put him in jail, so he had to marry my mother, but they ended up in Imperial Valley. And he was hired as a foreman for the Braceros. JJ: Okay, so since he was a foreman, we were talking about where you lived. FN: Yeah, we were able to -- my mother was basically the one that got us a house, you know, because they were living in carpets just like everybody else, (Spanish) -- [00:16:55] 9 �JJ: What do you mean? FN: -- (Spanish). [00:16:56] JJ: (Spanish)? [00:16:57] FN: Just a, you know, makeshift [00:17:00] tent, whatever you could find; sometimes branches or whatever, you know, you could put together to have shelter. JJ: Like a one-room whatever you could build. FN: (Spanish); [00:17:12] you know, dirt floors, and you know, she did the best she could. But then when my older brothers and sisters started working in the fields, she started thinking that they could have a house. And so they all put their money together, and they were able to get a house. JJ: So they were able to get a house, but still, they worked in the fields and -- FN: Oh, yeah, and then my mother eventually got a job in the hospital as a nurse aid. And that was against my father’s wish because he wanted the control, you know. So that was good, and also, she had a sister, my aunt [Aggie?], who started working at this store called Kress. And to us, that was a big honor, [00:18:00] you know, because she worked in a store, my God. You know, that was -- JJ: In the town? That was a town where -- FN: Uh-huh, in San Bernardino. She stayed in San Bernardino, my aunt Aggie, so that also gave us a -- JJ: So she was a big person, yeah. FN: Yeah, she was a big shot, you know, to us. My brother was a big shot because he drove a machine. I mean, Mexicanos didn’t drive machines or work at stores, 10 �you know, where they sold stuff, so that was I guess you could call a progressive side of the family in those days. But -JJ: Okay. So was there that kind of -- some people were looked on better than others, or...? FN: Yes. JJ: Okay. Was there -- FN: Anybody that newly migrated from Mexico were labeled as (Spanish), [00:18:50] wetback -- JJ: (Spanish)? [00:18:56] FN: Uh-huh, (Spanish). [00:18:57] JJ: Why? FN: That was a [00:19:00] derogatory -- JJ: A derogatory term? FN: A very derogatory -- JJ: (Spanish), [00:19:02] you say? FN: (Spanish) [00:19:03] because they crossed the wire. JJ: The wire? Okay. FN: Mm-hmm, but then that’s how we -- JJ: Then you said wetbacks too? Was that a thing? FN: Wetbacks, uh-huh. My -- JJ: They were calling each other wetbacks, or...? FN: No, the people that were already established in the little town like, for example, us. We were established more than the ones coming in, and that’s another thing 11 �that happens, you know. Every time somebody gets established, even though you come from that same root, now you’re turning around and putting them down. Before we came, you know, my mother crossed El Rio Grande. She was almost drowning, and she was about seven years old. So how they came across is illegally, but then, you know, a lot of people forget. You know, it’s like, “Oh, no, I’m a citizen,” but how did everybody start? I mean, Jesus, they say, “Well, [00:20:00] who’s an American?” We’re all American, and the Native American Indians are more American than any American that ever has set foot here, so there’s a thing, you know, within the Mexicanos where they say, “(Spanish).” [00:20:14] What do you mean, Americano? “(Spanish).” [00:20:17] Well, geez, you know, I’m an American, and I’m more American than the (Spanish) [00:20:24] who crossed the sea. If I crossed a river, they crossed an ocean. They crossed from the other side of the world. But even within us, you know, we have been taught to respect more that comes from way, way far from the other side of the world. And then, you know, here we are discriminating the people that have roots, that have a history, that have an origin. So it’s a lot of internal scars that we have, weaknesses that we have, that we [00:21:00] have to supersede by educating ourselves because if you don’t have education, your outlook is very, very limited. And you become very prejudiced, very greedy, advantageous, and it just goes on and on. It’s a vicious cycle where you destroy your own nest. You know, they say we are the only species that soil our nest, and that’s because, you know, the ones that have the power to do so much are polluting the world at a faster rate than has ever been known. We are destroying 12 �the waters, the air, the earth, so what does that mean? We’re destroying our own nest because -- what can we do without Mother Earth? And again, you know, that goes back to [00:22:00] religion. When did religion become male? So that’s very imbalanced already, the philosophy of the world. “Oh, men run the world.” Well, geez, you know, the world is female, so once men become superior or even -- like I said, some women are more male supremist than men. If a woman is inferior, she can be divided. She can be raped. She can be abused. She can be polluted. So can the earth. The earth can be divided, sold here, prostituted, polluted, but what’s even more sadder is the concept that you can do both to the mothers and then Mother Earth. Well, then all the children that come of women are vulnerable for exploitation. [00:23:00] I mean, even in the Bible, what is one of the reasons to baptize? Because in the Catholic churches, for example, and I don’t accept this, if you’re born from woman, from a vagina, you’re dirty. So you have to be baptized and cleansed. Why do we accept that? If you see a child, this infant -- you’re holding it, and you’re thinking like, “Where’s the mortal sin?” But we accept it or we don’t understand it, and so we have baptisms, and we go along with the show and have a big party and get drunk. And it’s an excuse to party, but we’re not understanding exactly what we are accepting. So I don’t know where we’re going with this, but anyway -JJ: No, because you mentioned Mother Earth and trying to see [00:24:00] the Indigenous people, so I was going to ask for your other worldviews also and things like that. So where does this come from? 13 �FN: The taking over of patriarchal religion destroyed the Indigenous Native religions because they were based on respect for Mother Earth. If they did something, they would say, “Well, if we organize this way or we manage this way --” because the land was owned communally at one time. And so their thinking was, “If we do this, how is it going to affect the next seven generations?” So you can’t think like that in our modern world because you’re going to make profit to hell if you’re going to kill your own kids in the next 10 generations. You don’t care. You’re going to make money. You’re going to profit, so it’s hard [00:25:00] for us to think, “Well, if I put these pesticides into this plant, it’s going to kill the bug right now, and it’s going to grow a big crop. And I’m going to have all this.” And then you say, “Well, what does it do to the human body? What does it do to the animals around? What does it do to the birds?” And in that mentality, you’re going to make a profit. You don’t care. You don’t care if it’s going to kill thousands of birds, if it’s going to pollute the water, if it’s going to ruin people’s kidneys, if it’s going to kill children, or it’s going to cause asthma for the next 10 -I mean, the mentality’s so -- JJ: Okay, but where do you begin thinking like this, you personally? FN: I personally -- well, because like I said, spirituality is something that [00:26:00] needs to flourish in all of us. JJ: But I mean, when did you start thinking about spirituality and Mother Earth? Was that, I mean, from birth, or...? FN: Oh, no. At one time, I was very, very Catholic, although I questioned a lot of things, because I was brought up -- like I said, my mother was the one that found 14 �sanctuary in Catholic, so I can respect that to some extent, she needed that. So we were brought up very Catholic by my mother because my father was gone. My father was out of the picture. I mean, he would come in and out and -JJ: And what do you mean? He just left? FN: Well, no, he worked and then -- JJ: But he wasn’t around? FN: He really wasn’t around. JJ: So where did he hang out at? FN: At the bars. JJ: At the bars? Okay. Did he have a drinking problem or just -- FN: Yeah, but we called -- it was a man thing to do. JJ: A man thing to do, okay. FN: But it wasn’t called alcoholism. [00:27:00] And then -- JJ: So he drank every day, or just on weekends or...? FN: I don’t know because I was too young. I was the second youngest, but -- JJ: Okay, but he did go to the bars and to -- FN: Oh, yeah, but my oldest brothers and sisters -- maybe they don’t want to remember, but like I said, he lacked in being a responsible parent, what I think should be a responsible -- or even just to yourself where you don’t abuse other people. Anyway, so -- JJ: So you don’t -- FN: -- I was brought up in the Catholic religion, and I had a lot of questions. “How could this infant have mortal sin,” you know, was one of my questions when I was 15 �very, very young. But then I would see -- you know, my mother was very principled. She was very honest. She was very devoted to her family, her children. She loved us all. Even though we were all very different, she never discriminated [00:28:00] or favored one over the other, although she did hold that thing that -- if you were a woman, you had to make the beds. (laughter) She had that, you know? It was ingrained already, but in other respects, she was an incredible woman that -JJ: So you had to be a cook or something like that if you were a woman? FN: Yeah, you had to know how to make tortillas because who was going to love you if you didn’t know how to make tortillas? And then she was -- in the religion, you can’t help but get a lot of this same male supremacy sense. You know, we didn’t bow down to a female God. We bowed down to a male God only. So I became very religious up to the point where when I was already in 11th, 12th grade, I didn’t know how I was going to get out of the house. I wanted to get out of the house, but I knew that to get married would be not for me. If I ran away from the house, where would I end up? [00:29:00] How would I live? So I -- JJ: Because of your mom or because of your dad, or...? FN: Well, because I started thinking. JJ: Because you started thinking, okay. FN: Because my mother said if I ran away, she was going to put me in juvenile, so that was going to be a history of going into -- JJ: You started challenging weakness? 16 �FN: Mm-hmm. She was very, very stern, and she was my biggest enemy. But then now, I think -- because I wanted to run around like crazy, you know? I mean, and everybody does. When you’re young, you just want to cut loose, but you don’t understand the responsibility of freedom. You don’t understand the responsibility of liberty, and are real naive, so she had a good control on me. She used to say I was the worst one of all the family because I used to question things a lot, so in a way, I’m very grateful that she -- JJ: Did she tell you that directly at a certain point? FN: [00:30:00] What did she -- JJ: When did she tell you that? FN: Tell me what? JJ: That you were the worst one? FN: Oh, just in talking -- when I started getting a little bit better because when I was by the age of 16, 17, she used to say, “(Spanish).” [00:30:16] But basically, because I questioned everything -- you know, she would say, “(Spanish).” [00:30:26] And I would say, “(Spanish)?” [00:30:30] Oh, my God, it was like, “How could I even come up with a question like that?” Or, you know, when I wanted to go out, she would say, “(Spanish),” [00:30:46] and I was so mad. And then, you know, she would just -- sometimes I think I caused fear in her because I would say, “Well, I don’t want any kids, you know.” “(Spanish)?” [00:31:00] “You know, I don’t even want to bother with that,” and I was shocking, I guess, to her. And sometimes I feel bad because I caused her a lot of grief, but she was very, very strong and very principled and very high morals. And that, I learned 17 �from her. So like I said, I was in 12th grade, and I even thought of becoming a nun. JJ: What school did you go to? What school was this? FN: Let’s see. I went to Miguel Hidalgo in elementary, and we never knew who Miguel Hidalgo was. I had picked up a book and started learning who he was, so when I transferred to a Catholic school for two years, I was very proud to say in seventh grade that I came from Miguel Hidalgo. And most of the school that I was at -- you know, they looked down at you because, “That’s dirt, you know, you come from.” But I thought geez, you know, it was a Catholic school. [00:32:00] They would uphold somebody like Miguel Hidalgo, you know, who fought within the religion, and no, it wasn’t like that. JJ: Yeah, who was Miguel Hidalgo? FN: (Spanish)? [00:32:10] JJ: Who was he? FN: He was, in history, a priest that stood up for the common good -- he was a communist, I guess you could say, you know -- and equality within the religion itself. Just because you were a Mexican didn’t mean you couldn’t be a priest or an archbishop or whatever. And I think that was mainly what I remember in history, you know, that he fought for the Indigenous people to be dignified and to be respected. So it didn’t go well in Catholic school. JJ: You wanted to be a nun. FN: [00:33:00] Well, at that time, I was really out of bounds, you know. JJ: Out of bounds? 18 �FN: Yeah, I rebelled, I guess, a lot, and those were probably the most trying years for my mother. But what I first told you -- the reason I wanted to go to Catholic school is because I also sensed that there was a (Spanish) [00:33:27] like you were going to be doomed to go to another public school on the other side of the tracks. And it didn’t look very good because when the principal from Barbara Worth came and gave a whole spiel on more or less the routine of what it was to go to the other side of the tracks to a place called Barbara Worth, the main questions that came from us in my peer group was, “Well, you know, what if you play hooky? What’s going to happen?” And all they talked about [00:34:00] was, “What if you offended the rules? What would happen?” And so, you know, of course, they would tell you, “Well, you’ll be punished for this. This is the punishment that’s going to happen.” And I kept thinking, “Well, why are they just talking about that?” And there was also another reason. You know, I was a real big flirt, and I heard that the girls at Barbara Worth were going to sort of kick my ass because I was flirting with their boyfriends or whatever, so I thought, “Oh, my God, I don’t want to go over there and get, you know, beat up.” So I told my mother, “I want to go to Catholic school,” because, you know, she was a hard worker. And she goes, “(Spanish)!” [00:34:42] You know, she thought I was wanting to be a nun from then, I guess. She thought I was, you know, very Catholic, but I had my personal intentions. But even then, I was curious about, you know, the difference, and I did [00:35:00] have ambitions to get out of the house somehow. But I didn’t know, so I figured, “Explore, you know? Adventure into unknown territory.” So then I did, and then I went to high school. And I still 19 �didn’t know how I was going to get out of the house, so I figured that I could become a nun. And then you read the story of Sor Juana Inés de la Cruz, you know. JJ: Who is she? I don’t know her. FN: She was a person that had a lot of chances to get married. She had admirers, but she chose not to. And she became a nun, and I think mostly because she was a writer. She was a poet, and you couldn’t be both. It was very difficult to be both a poet or an artist, a writer, and be married because when you get married, you’re supposed to hang on or be subject to be controlled by your [00:36:00] male partner. So I think that that was very significant about her, but I wanted to become a nun because I wanted to get out of the house and under the control of my mother. And that was my reason, you know. It -- JJ: Now, she didn’t control you physically. It was just her -- FN: No, physically, I didn’t go to wherever I wanted. I wanted to be out on the streets, but she kept me home. I mean, I couldn’t go out of the house -- JJ: Oh, okay, I see. FN: -- at 12:00 of midnight and ride around in a motorcycle or whatever you all do, (laughter) but I did try. So luckily, EOP came around, and not only that -- JJ: What’s EOP? FN: Educational Opportunity Programs, and it was through the efforts of Johnson’s war on poverty. But of course, behind that was the Civil Rights Movement; people that gave up so much, you know, that [00:37:00] dared to say, “I’m human. I have dignity.” And so many people that gave up their lives and gave 20 �up so much so that I could go to school, and so that’s how I got into school. But also, what was ironic is that I had an older sister who became a registered nurse, probably the first one in the family or the whole Clan de Nuñez -JJ: What was her name? FN: Rosa. Probably in the whole nation, she was the first registered nurse, (laughter) but the reason she got into nursing school was because she was going to be like my mother, a nurse aid. Got into the hospital working, and she was taking care of this patient who was a ranchero. And this ranchero knew all of the Nuñez clan that worked in the fields. I mean, my father came from a [00:38:00] family of 12, so -- JJ: He came from a family of 12, and there was 11 children too with -- FN: Yeah he had, with my mother, eleven children, but he had a big family. JJ: So there was a big clan in that area? FN: Huge, so -- JJ: In Imperial Valley, okay. Are they still there? FN: A lot of them are, and a lot of them have moved into LA and further on up San Jose. So anyway, this ranchero knew all of the (Spanish) [00:38:34] and about four or three sisters over there. And when he found out my sister was working there as a nurse aid, out of somewhere, this ranchero who had a lot to do with the exploitation of labor -- I mean, because you weren’t paid. I mean, the profit that they made was never compared to the wages that were paid. [00:39:00] He asked if she wanted to be a real nurse; I think that was the term, real nurse. And my sister, I guess, probably didn’t really -- maybe she knew a little bit more, and 21 �she said yes. In other words, a registered nurse. Not just a nurse aid because, you know, you have more responsibilities as a registered nurse, so you have to be more educated in terms of administering medication and side effects and reactions and what to do, and reporting to the doctor and keeping maintenance. And he sent her to school, and he put it in his will before he died -- he was dying -- that her education was going to get paid regardless whether he was around or not. And the family abided by that, and these were the oppressors, you could say; the people that, you know, took advantage of cheap labor. JJ: You’re talking about the ranchero FN: Yes, this ranchero [00:40:00] I don’t know his name, but -- JJ: Did you look at him as the oppressor at that time, or no, you didn’t know that -- FN: Oh, no, but I mean, when you start learning how the Imperial Valley -- I didn’t know about the history of the Imperial Valley, you know, how the land was occupied -- JJ: What do you mean? FN: -- how the land was controlled by only blancos JJ: Okay, occupied meaning that it used to be -- FN: That the land was there for people to use and make use of. You know, if you walked around a piece of land, you could own it, but then those that had horses used the horse to claim the land and then shot the ones that were walking, which was mainly Mexicanos, you know? That’s the history that I know of. And then at one time, they did have lawyers coming in from out of town, and I think some of 22 �’em were hanged before they got into town because they were in defense of the common [00:41:00] good. So yeah, I -JJ: So Rosa’s education was being paid for? FN: Yeah, my education was paid for with the lives of so many people. Any educational opportunities was what it came out to be. But as far as how I become spiritual or aspired to the spiritual is through education, and now this education was not just in a classroom. A lot of our education in those days, especially when you and I were young, was outside, you know, in the (Spanish), [00:41:45] in the study groups that we had to understand the situation better. Later on in life, you know, it took -- and I’m talking about [00:42:00] my retirement now. When I was in my fifties, I started going back to school as a hobby because I love education. I love, you know, this curiosity that I have, right, so I took philosophy, the psychology of women, and the Old Testament and the New Testament, and art. Oil painting, watercolor, you know, whatever, and so that’s when I started getting into mythology. And then I came across Carl Jung, and oh, my world changed. It was like I fell in love with this person. JJ: Who is Carl Jung? FN: Carl Jung is a psychologist, and he clashed with Freud because Freud was very dogmatic. I mean, Freud was talking about penis envy, and he was talking about, you know, knowing the mind. [00:43:00] You could call it playing on our weaknesses and misinformation of male supremacy, and Carl Jung couldn’t go along with him, and they had a breakup. But I think what Freud brought to the 23 �front was the aspect of dreaming, you know, how important dreams are, and then Carl Jung took it to a -JJ: [Another?] -- FN: -- more explainable way, and Joseph Campbell too. I mean, Joseph Campbell and Carl Jung were very much -- JJ: Similar? FN: -- the same, uh-huh. The respect for the big dream, the acknowledgement that the little dream -- you know, as an individual, how you can use dreams, omens, or -- a way to prevent further damage, or a way to aspire to higher goals. But the big dream is like the [00:44:00] collective consciousness, and the building of a better world instead of the building of a world where you’re going to destroy it due to greed, to putting profit ahead, you know, of -- JJ: So are you more into it because the social or the mental health of it -- because you were into nursing, and these are kind of the same philos-- I mean, they’re into psychology, right? FN: Mm-hmm. Well, one of the reasons -- when I was very young, I always wanted to be an artist, an actor. But my father, in this way, was practical. He says, “(Spanish).” [00:44:42] And I would think, “God, you know, I guess the concept of starving artist for the...” So I always saw, you know, that I had to have a profession where I could eat and be comfortable, and [00:45:00] then I had my older sister, Rosa, as an example of the feeling that you can depend on yourself and not have to bow down to anyone else. So I always wanted that, and I never wanted to get married. And I never wanted to have children, and I never wanted 24 �to go back to work in the fields. And maybe the reason -- because, you know, you’re very badly paid. JJ: Because you did work in -- FN: In the fields, yeah. JJ: -- the fields for yourself for how long? FN: Only when I was basically young. I think I started when I was in seventh grade. I worked with a family member, and I used to get the boxes of the (Spanish), [00:45:48] but she says, “(Spanish).” [00:45:50] You know, told me, “You let the family name down,” so -- JJ: So you had to work hard, eh? FN: Unloading boxes, you know, up there on the trucks and [00:46:00] stuff, but it was sort of not out of a great need -- JJ: Because that is that culture, right? You’re there, and you know it’s hard work, but somebody’s putting even more pressure on you to do it faster and -- FN: Uh-huh. But in a way, it wasn’t out of great need, you know, because the money that I did make, I used for clothes to go to school. And the other thing that I did when I made my first big money according to those days -- I actually promised that I was going to give to the church too, and I remember putting 20 dollars in the basket, a 20-dollar bill. In 1964, that’s a lot of money, tons of money, but I did it. And at that moment, it was like a promise to myself that when you say something -- that’s what I learned from my mother -- [00:47:00] your word is very, very precious. And it’s not something that you mess around with, so when you 25 �give your word, if you don’t, you know, go through with it, what kind of a human are you? So she really put that into me. JJ: So you’re an artist? FN: Well, an artist at heart, but I became a registered nurse for practical reasons. JJ: Right, but what type of artist? I mean -- FN: (laughter) Well, I always wanted to be an actor, and I love art. You know, I go to this group, and I say, “I just love art. I love artists, you know,” and that’s usually my intro. JJ: But what type of art? FN: What type of art? JJ: Because I mean, [00:48:00] I’m not that, you know, [endeared by?] art, but I mean, I kind of -- FN: What happened with me with art too is that I never really took it serious, and I’m talking about drawing and painting and stuff. So when I was taking classes in oil painting -- you know, you start getting into understanding who Da Vinci was and Picasso, Diego. And then you read a little bit of the history. You know, Diego was a communist. Frida was a communist. Picasso was a communist, and you’re thinking, “Well, geez, you know, artists are supposed to be apolitical.” You know, that’s the understanding that comes across. Andy Warhol, for example, became very famous, and you’re thinking, “Well, all he did was a bunch of prints of a tomato soup can or Marilyn Monroe in different colors.” So you don’t understand, and you’re thinking, “Well, what’s the big deal, you know?” And so then you start [00:49:00] reading, and again, here comes education, that he 26 �appealed to the manufacturing of goods. So he appealed to the whimsical, the upper class; you know, the manufacture of goods. And so now, I look at those prints -- for example, Marilyn Monroe -- and say, “Okay, I got to get my boobs fixed. Oh, I want a pink shoe, a yellow shoe, blue shoes.” And again, you know, it’s like what I brought up earlier. You baptize your kid when they’re infants because they have mortal sin, and you really don’t understand it, but you have a big party. So, you know, now you look at these pictures, and somewhere somehow in the background, you say, “I have pink shoes, but now I need blue shoes.” And do you need them, or is it just this consumerism that we have gotten into? You know, it’s like a [00:50:00] infection, you know, that has taken us to this barrage of commercials. If we invested more time into education than in commercials, can you imagine where we would be? This country supposedly is one of the most richest countries in the world, and yet our education is at a very low level. Our health is at a very low level, and the processing of food -- we don’t understand what we’re doing to our children feeding them potato chips. All of the hormones that go into beef, antibiotics to keep ’em from rotting -- I didn’t know what veal was. I’ve never had it because it was always so expensive, but I always wondered. And when I read what veal is -- you know, you put a little cow in [00:51:00] a box, and you don’t let it move, but you inject it with antibiotics the whole time so that it doesn’t rot. So then this meat is what you eat, and it’s tender and everything, you know, what they say about veal. And you’re thinking, “Oh, you know, how can you eat that,” understanding the background. And this 27 �is why education is so precious. It’s incredibly precious, and to survive, to thrive, you have to educate yourself. JJ: So you went to that high school. What high school was this? FN: I went to, I’m sorry, Brawley Union High School. JJ: And then how -- FN: I went to Our Lady of the Sacred Heart School, but I remember one time doing a paper, and I put Our Lady of the Sacred Heart. But I didn’t know it and I misspelled it, and I put Our Lady of the Scared Heart. And I did it unconsciously, [00:52:00] but now I wonder -- you know, because well, first of all, spelling, right? But I remember the nun getting up there in front and just lecturing us about disrespect, and I was, the whole time, wondering why was she going on and on. Well, it was based on the title of my paper, Our Lady of the Scared Heart. But yeah, from Sacred Heart, I went to Brawley Union High School. And then from Brawley Union High School, I was able to get into what they call San Diego State College in those days. And then it was changed to San Diego State University. JJ: Right. There was a lot happening at San Diego State University over there at that time. Alurista was there, right? FN: Yes. JJ: And then -- FN: Nationalism at its highest peak. JJ: Okay, well, explain who he was and what he -- FN: Alurista -- JJ: Because I met him in Denver, but I didn’t know -- 28 �FN: -- as far as I understand, was a -- JJ: [00:53:00] -- too much about him. FN: He was from Tijuana, then he was able to go to high school here in the United States. And then he got into San Diego State, and he became a poet and read up a little bit on Aztec history. And well, at that time, he was the know-it-all on culture, so -- JJ: So know-it-all meaning -- FN: Meaning that -- JJ: -- he was well-known? FN: -- the younger ones that were coming in, you know, used to think, “Well, geez, you know, he knows a lot.” JJ: And didn’t he come up with the concept of Aztlán, or...? FN: Well, I guess, yeah, but when you -- JJ: But he was a know-it-all of Aztec -- FN: Yeah, he was probably the one that knew the most at that time, and we thought - but that’s a whole other area to cover. But did you [00:54:00] want to go into that now? JJ: Just briefly if you know. FN: Yeah, he became a poet. And because we knew him personally, we didn’t really swallow everything. I mean, at least I didn’t, and I know my friend, Sylvia, who was my hitchhiking buddy -- we ventured out of the box. I mean, as it is, we ventured out of the box when we left our homes. Then, you know, we get into San Diego State, and we venture out of the box when everybody’s in the high on 29 �nationalism to the point where it almost becomes fascist, you know? Everybody goes, “(Spanish).” [00:54:39] And you go, “Wait a minute. You know, here we go again, the ingroup thing.” And so Sylvia Romero and I came together at some point when we first started San Diego State. As a matter of fact, I heard from her that she thought I was just a (Spanish), [00:54:58] you know, [00:55:00] from Brawley. JJ: What’s a (Spanish)? [00:55:01] I’m sorry. FN: A (Spanish) [00:55:02] is a very rough, I guess, character that paints their face a lot, and is very cool and very rough. This person can be very rough, but yet she’s very controlled by men. That’s what I think, you know. They have a tendency to want to be, you know, themselves, but then somewhere, it gets -once they have children or once they get into drugs, that stops. So she thought I was a (Spanish). [00:55:39] And then one time, she was rooming with my friend, Maria Sanchez, who was from my hometown, and I was all dressed up. We had gone to a fraternity party, me and our school friend, Henrietta, and I was all dressed up. JJ: Who was your fraternity? FN: It was a fraternity, the [Gabachos?], you know? JJ: Oh, the [00:56:00] Gabachos, yeah. FN: Uh-huh, and that’s because it’s known as -- JJ: The Gabachos is what? FN: The Gabachos? Anglos. JJ: Anglos, okay. 30 �FN: And it was known as a party school, so hey, I wanted to find out, you know? I didn’t care. I mean, I wanted to explore, so we went to it. And I was all dressed up, and I was waiting for Maria Sanchez to come -- I don’t know where she was at -- and Sylvia was there. And she kept looking at me, and I thought I was -after a while, I said, “You know, I better go because I don’t know what time she’s going to be in, but tell her I dropped by.” We lived in the Olmeca dorms at San Diego State. And so from then on, she had a different impression of me, so then that’s how we started hitchhiking and how we started sharing our views to some extent. JJ: Hitchhiking where? FN: To San Francisco. JJ: Okay, right before that? FN: Uh-huh, and then she was also with me -- JJ: What year was this that you did that? FN: Oh, probably 1969 -- JJ: Sixty-nine. FN: -- 1970, something like that. As a matter of fact, we got picked up by Cesar Chavez in his cart. [00:57:00] Oh, but she was the one that was in Denver, Colorado with me to the Denver youth conference that Corky Gonzales -- when I met you. JJ: Okay, but this -- what was the Denver conference about? Which one do you mean? FN: The Denver conference -- what was it about? 31 �JJ: Because for us, that was a big, you know -- FN: Oh, geez, I had no idea. I mean, first of all, I thought I had gotten out of the box when I had left my home, but I was just going to go get my nursing degree and go work as a nurse and have my place. I always wanted a bunch of cats, and that was -- you know, be independent and have a bunch of cats in the house. That was my dream. And so we get there to San Diego State, and I never was even in an organization, first of all, because my mother couldn’t really afford -like I said, she had tight reins on me [00:58:00] for the longest time. And I think she did it because I was probably the most wild one, so I couldn’t even be -maybe I would’ve pushed it, but I wasn’t in any volleyball teams or any athlete teams outside of schools and no organizations at all, nothing. So I was introduced to San Diego State, and they had this MAYA program, Mexican American Youth Association. And I thought, “Wow, what’s an organization? You know, what do they do,” this, you know, curiosity because I got the sense that because of people’s struggles, I was able to get into school. That was one of my initial understandings, so I felt an obligation to this organization. And then through them, I got to go to the Denver conference, and it was a youth conference. And I really had no idea what it was about expect that it was this man called [00:59:00] Corky Gonzales who had this poem, but you know, even with that -- JJ: What was the poem? FN: Yo soy Joaquín. JJ: Yo soy Joaquín, okay. 32 �FN: Which was very, very powerful, but still, I had a sense of being left out. And yet, it was a sense of pride. JJ: He also was a boxer at one time, right? FN: Yes. But basically, what was emphasized was the respect, the dignity, the power of the male image. But I still thought I had a chance, you know, because it still gave me pride. Because, you know, being from that culture, that background, I identified with it on an equal basis, although I didn’t sense it too much from the poem until years later. I go back and read it, then I go, “Whoa, where’s the women,” you know? (laughter) But either way, it was a step just like MAYA was a step into being proud of my identity. [01:00:00] You know, in school, I was known as Phyllis [Nunns?], and I became Felícitas Nuñez. And I was always like, “God, you know, why did my mother give me this name? You know, who has a name like that?” And now, it was like, “Whoa, my name is Felícitas,” and I wasn’t embarrassed or ashamed of it. So we go to the Denver, Colorado conference, and oh, my God, it was immense. It was like being in an ocean. JJ: And what year was this? FN: Was it 1969? JJ: Sixty-nine or ’68. FN: Sixty-nine. JJ: Or ’69. FN: And that was my first introduction to a massive -- JJ: Who was there, and -- FN: Who was there? 33 �JJ: -- what kind of population? FN: Basically Mexicanos that I knew of, and that’s where I discovered [01:01:00] that my cousin, Manuel Delgado -- because I saw him on film getting beat up. The concept of Third World hadn’t entered into my life yet, and that’s how I connected with my cousin into the Third World and started hitchhiking to San Francisco. JJ: Mm-hmm. He got beat up, you said. What do you mean? FN: He was one of the leaders in the Third World at Berkeley; you know, students fighting for -- JJ: What’s his name again? FN: -- recognition. Manuel Delgado, and he also put out a book called The Last Chicano. JJ: The Last Chicano. FN: So he -- JJ: So he was getting beat up by the police? FN: Uh-huh. JJ: Oh, he did. FN: Yeah, he did by the police, but that’s how I recognized him at that conference. And one of the persons that was there already that I got to know later was Manuel Gomez. JJ: And who was he? FN: He was also at Berkeley, and he knew my cousin. So anyway, it was -- JJ: And who were some of the other groups that were there? 34 �FN: The other groups? People [01:02:00] I didn’t know. There was a lot of students. And I remember we were sitting down, and Alurista was there, the great poet, I guess. And these young girls came -- JJ: That’s where I met him. I didn’t -- FN: “Oh, Alurista!” And we’re looking like, “What’s wrong with them?” You know, they looked like kids that were very excited by this guy that we knew, and we were like, “What the hell’s going on here,” you know? (laughter) But that was them from the outside and us from the inside, you know, having a different view or, you know, sense of saying, “What’s the big ruckus about,” right? But I think most of the people there were Mexicanos from all over. Very, very exciting, but I guess, you know, what caught my eye was the Young Lords. Oh, and talking about, you know, Sylvia and I going out of the boxes from our house and then into an organization, and then into Denver -- well, at Denver, I do recall, you know, that the people from San Diego wanted to [01:03:00] stay in a little group. And Sylvia had this, I think, sense of also exploring because we didn’t stay with a group. I mean, it was like, “Hey, you know, keep connected,” but this was a time to just explore. And I remember them going, you know, like this, and we were just going, “Hey!” (laughs) JJ: Who was they? FN: I think I remember -- JJ: Some of the Young Lords? We were doing that, or no? FN: No, the ones from San Diego State. JJ: Oh, from San Diego State telling you -- 35 �FN: Yeah, and -- JJ: -- “Come onto our group.” FN: -- we were just waving to them, “Bye,” you know. And I remember sitting next to one of the Young Lords, and he called himself Che because he says the police were after him, and he didn’t want to say his real name. And we’re in the picture. He’s in the picture with me and -- JJ: Oh, that’s him? Okay. FN: Maybe I should’ve brought that book or -- it’s all worn out. JJ: No, you can bring it here later. We’ll get that later. FN: But what really, really caught my eye was you. [01:04:00] JJ: Cut this. (laughs) FN: No, you can’t cut this. I had never seen a human like you. I mean, you were white, and your features were Negroid, and then you had blue eyes. And then with the purple beret that you wore, I just -- “What the hell is this,” you know? (laughter) I mean, it was almost repulsed, and then attraction at the same time. It was an incredible -- I don’t know. To me, it was the highlight of the whole Denver conference. And of course, probably a lot of other women fell for you at the same time, but that’s what I remember very significantly. Later on in talking to -Iris Morales? JJ: In New York? FN: Uh-huh. JJ: Yeah, Iris Morales, okay. FN: Uh-huh. She said that [01:05:00] at the heighth of -- and I remember there was -- 36 �JJ: Because she was there too. I didn’t know that until today. FN: -- fist fights because you had the nationalists fighting the internationalists, and the concept was the class struggle. And the ones from Berkeley were more exposed to the third world concept of class struggle, (Spanish) [01:05:25] then you had the other ones that were real Mexicanos. “Oh, no, we have to stay with (Spanish), [01:05:28] and our women have to be with us,” and you know, that kind of thinking, but that happened. And what was the worst part is, again, the ingroup, the limiting, the exclusiveness that comes around. And Iris says that she had forgotten or maybe put it out of her mind because it was so painful to think about it or even try to think about it that the Young Lords were told to get [01:06:00] rid of the brothers that were dark. JJ: Okay, and let me just make sure that we get this. Iris Morales is from the -- FN: From the New York -- JJ: -- New York Young Lords, okay. FN: And she -- JJ: And now, you said about getting rid of the brothers that were dark -- FN: That were Black, that looked -- JJ: Who was told that? FN: The Young Lords from New York. JJ: Oh, were told to get rid of the -- FN: Or get them out of the conference because they weren’t the right color. They were too dark. JJ: Oh, at the conference, you said? 37 �FN: Denver conference. JJ: Oh, I didn’t know that there was some -- okay, so there was -- FN: And she said that -- JJ: Because there was two conferences. Maybe they were at the second one. FN: Oh, maybe that was the second conference. JJ: They were at the second conference because the first one, I think, was maybe Chicago Young Lords at that time. FN: Did you guys have any -- JJ: But I mean, she was there too. Like you said, she was there, but then there was the next -- we went to the second conference there the following year in ’69. So we did go to that, and then there was one in ’68. Was there -- FN: I don’t remember that one in ’68. JJ: Okay, but maybe that was in ’70 that they went to. FN: Mm-hmm. [01:07:00] So that was just an example of, you know, how limited our views are that Iris said, “You know, how could we tell our Black brothers to leave the conference?” And (Spanish); [01:07:13] you know, brown, or -- JJ: Yeah, I wasn’t aware of that. So that happened in -- FN: That happened. JJ: -- what, probably the ’70s? FN: Probably. JJ: And again, I’m not sure if that -- FN: But Iris could bring it up. JJ: But she did say that that happened? 38 �FN: Yeah, so they left. They all left. JJ: But who was telling ’em to leave the conference? FN: I guess the leaders who were organizing the conference. She could tell you more, but the -- JJ: Okay. Like you said, there’s racism within our communities. FN: There’s racism within the family. I mean, when you have a child that’s lighter, you’re going to -- you know, it happens. You know, the one that light is always told how beautiful she or he is compared to the darker ones. JJ: Right, [01:08:00] that is -- FN: But that’s what I mean. We carry the scars so deep. JJ: Right, because my mother was excited. She says I’m going to be a lawyer because I’m light-skinned, and I told her, “Well, when they go to court...” (laughs) But -- FN: Uh-huh, you went to court too. So yeah, that’s what Iris remembers, and I -- JJ: And the conference was very -- you know, it impacted us. How did it go for -- FN: Oh, we came back as MEchA, which was, in a way, a good concept because it was uniting all of the school organizations in the universities. And at the same time, it started taking away the autonomy. You know, if you’re moving your fingers, you don’t have to move your feet and vice versa. But when it’s all under one control of heading, everybody’s [01:09:00] got to move, and you got to balance it. You know, “Yes and no, yes and no.” But what happens is the MEchAs got controlled by more of the administration coming from the institution. JJ: Can you explain to me -- what is MEchA? I mean, what is it? 39 �FN: MEchA’s Movimiento Estudíantil Chicano de Aztlán. JJ: Aztlán, okay. And so you came up with that concept, or other people -- FN: No, we went back with that concept of the -- JJ: But why? Was there a MEchA group there already, or no? FN: No, we were MAYA. JJ: You were MAYA, but you turned into MEchA. FN: Uh-huh, and then there was -- JJ: So MAYA turned into MEchA? FN: Uh-huh. All of the autonomous organizations in the universities had their own names like -- JJ: So MEchA was a coalition name? FN: Mm-hmm, yes, like an umbrella. JJ: Like an umbrella, yeah, okay. FN: But at the same time, they get -- JJ: So what were some of the other groups? What other -- FN: You know what? I don’t remember, but -- JJ: Okay, but there were a lot of [01:10:00] autonomous groups -- FN: Mm-hmm, there was a lot of the -- JJ: -- and then MEchA became the umbrella? FN: Mm-hmm. But the autonomous groups were, I think, more united in our concept of political consciousness, collective consciousness. Later on with MEchA, it becomes more watered down, and maybe because of the times too, you know. JJ: Collective consciousness. What does that mean? 40 �FN: Collective consciousness? That all of us wanted to do good for the greater, and - JJ: It becomes watered down as that -- FN: Watered down to that -- it becomes more under the control of institutionalized administration. You know -- JJ: So the school itself? FN: -- now, it’s limited. “No, you can’t strike. No, you can’t protest.” It was like a -- JJ: So the schools come in, they give you a little money, and then they start to intrude? Or am I putting words in your mouth? FN: No, actually, MEchA -- [01:11:00] well, it’s a way of getting funds from the school too, you know, but -- JJ: So -- go ahead, I’m sorry. [What were you saying?]? FN: No, I just think that to some extent, it got weakened when it became MEchA in general, you know, as opposed to giving everybody their autonomy. And yet, having that understanding that we are all there to bridge from higher education to the community -- because one of the strongest concepts we had was to always keep that bridge open and enforced where the community and the higher echelons of education have that connection. You know, but MEchA seemed to lose weakness along with everything else, though, because look at what happened in the late ’60s and the ’70s after all of that protesting of civil rights and stuff. We did get more opportunities. We were able [01:12:00] to progress. I mean, I was able to get a job. Now, some people have master’s, probably even PhDs, and they can’t find a job. So, you know, things seem to get worse, and 41 �you know, the education has slacked off. And I’m talking about not just classroom education, but education of the collective consciousness where we keep together, you know, that commonality of doing social justice. So -JJ: And it was vibrant at that time. FN: Oh, it was at its heighths because of the Civil Rights Movement. It had such an impact. And you know, there’s a book by bell hooks that I have not read, but that I have heard of. She explains how the hippie movement -- [01:13:00] that was very significant for me. It also had a very big impact on me because it was talking about even closer to Mother Earth style that I think we all need. But somehow, it started getting very -- the Civil Rights Movement had that approach of, you know, doing things under nonviolence. Cesar Chavez was incredibly strong in that, you know, to bring social justice -- JJ: And you said you remember him. FN: Oh, yeah. I mean, he led a lot of people, but I’m just talking about in general of -what happened to our movement is that drugs completely invaded every single organization down to the communities, and then the image of the (Spanish) [01:13:52] started taking over. You know, from the civil rights, it went into -- the Black Panthers came from there, the Brown Berets, [01:14:00] and it was like this big, macho stance that it became so testosterone. You know, we started adopting this imbalance within the movement that could’ve been more progressive if we had kept balance with what you can call feminine energy or that energy that Cesar Chavez had or that Gandhi had or Mother Teresa had. You know, that energy of nurturing was sort of pushed to the side, and this other 42 �forcefulness took place that went along with the institution that we have in government, you know. JJ: So you felt that this new movement that was being created, the New Left, the Brown Berets, the Black Panthers, the Young Lords, and all that -- FN: Later -- JJ: -- was just a macho movement. [01:15:00] And -- FN: Uh-huh, became a macho movement, and I’m not saying it was that consciously. I’m saying that because we lack education and critical analysis. Critical analysis is so essential to the way we act because you start saying, “Well, wait a minute. What did I do?” Again, you know, “If I do this today, how is it going to affect seven generations ahead?” We don’t think like that, so the fact that you come out as a big macho and forceful -- you know, what is this effect going to have on your children, on elderlies looking at you on television or a movie or whatever? We really have to understand what we’re doing. And of course, we’re going to make mistakes, you know, but when you’re educated, it helps a little bit more. And I’m not saying that you get educated in [01:16:00] higher institutions. I’m saying education on your own where you explore, where you read on your own, where you even hold book clubs; study groups, which is about the same. But where you understand yourself, how you’re going to affect others, how it’s a global, you know, village -- I mean, I just learned about the Gregorian time and the 13 moons, that the ancients used to have a 13-month moon calendar. And it was turned into a 12-month which became a machine for making money. Twelve months, 60 minutes -- that’s what we live by. “How much money am I going to 43 �make every hour,” instead of seeing the cycle of the moon is between [01:17:00] women’s hips, you know? And that 13-month was -- you knew that the cycle of the moon moved in 28 days completely, and you were in rhythm with the cosmos. I mean, now we have to have special classes to connect us to the cosmos, you know? Take a yoga class and, you know, go over there on the other side of the world to do mantras or meditation. We all had it; it was part of our nature. This is going back to the Indigenous understanding of respect and love for nature. I told you I can talk forever. JJ: No, you’re doing fine. FN: Did you -- JJ: So -- FN: -- want a break? JJ: It’s up to you, but I don’t -- FN: No, I don’t. Watch out for that. JJ: Okay, so what about the women that were involved? There were women in the Panthers. There were women in the Brown Berets. [01:18:00] There were women in the Young Lords. FN: The Young Lords. JJ: And the -- FN: Well, you probably have a good idea. It’s that they probably felt left out, and they became a meat market. You know, it was a place to go -- yeah, you became a Brown Beret, but look at all the women that are going to come to you. (laughs) Or they have the same -- women love men in uniform whether it’s a prison 44 �uniform or a Brown Beret or a police or -- I don’t know. That’s a saying. I guess it applies to everybody in a uniform, (Spanish) [01:18:36] the lack of the respect of women taking leadership, I think, was one of the downfalls. And it continues to be a downfall because you don’t see women that are for the common good in leadership positions. Most likely, you will see women [01:19:00] as heads of -(Spanish) [01:19:01] COEs or people that are head of corporations? What -JJ: CEOs? FN: CEOs, uh-huh. And they have done testing where these women have more testosterone than the men because they have had to fight in this greedy, masculine, profit-making world, you know. They have built up more testosterone than men, and so this is the kind of woman you have in lead positions. But you don’t have that nurturing, and any man that has this nurturing is considered soft. I mean, I even remember Cesar Chavez being criticized because he was too soft. He wasn’t strong and brutal and demanding, you know. He was a soft, nurturing, inclusive -- he was incredible because I didn’t realize until a year ago that one of his favorite songs was [01:20:00] De colores. And I always thought that -- well, to me, it’s not a very romantic song. You know, most likely, I would think of it a song for kids, but to him -- from what I understand, these women that worked very, very close to him -- it was inclusive of everyone in the struggle for workers’ rights, for the dignity of workers. JJ: Because De colores means “Different colors”? FN: Everybody, and that is amazing to -- JJ: Like the colors of the rainbow. We had a rainbow coalition, so... 45 �FN: And I think that if it hadn’t have been for my understanding of what the United Farm Workers were at that time, I would have been probably very much spaced out of it completely, out of the movement, because you saw a lot of this aggressiveness, [01:21:00] a lot of disrespect, drugs. Then getting into the same pattern that exploiters get into -- you know, making money and to hell with everybody else, or just focusing on the nuclear family and to hell with everybody else; putting away the elders and, you know, having no respect for them. So the United Farm Workers, even though it’s not as strong as it used to be, had one of the greatest impacts. And probably one of my biggest foundations is -- because you could say I got to see Christ in action, you know, and that was Cesar’s image. Because when I left my house, one of my vows to myself was that I was never going to get mixed up with a Mexicano because of [01:22:00] my father’s role in my life. I said, “Man, these Mexicanos are not good, you know?” So when I saw Cesar Chavez, it was unbelievable that a man in such big power -maybe he didn’t recognize his power. Maybe he did, but he didn’t abuse it, and to me, that was so incredible. And I had that opportunity to be maybe -- oh, my God, I sat next to him, so I will go back to that story. When Sylvia and I used to hitchhike, we were going to San Francisco to party with my cousin who was in the Third World Movement, right, one of the leaders. And I remember I had these pink, plastic, hard rollers because we were going to go party, and we were outside of this little town called [Yuha?] at a gas station. It was dark. It was about [01:23:00] probably ten o’clock at night, and so I’m in the bathroom. You know, we had stopped at this bathroom, and we’re going to get out back on the 46 �freeway and start hitchhiking again. And she says, “Cesar’s here,” and I thought she was talking about some guy at San Diego State. I said, “Oh, that guy! Can he get away from us,” or something like that. So anyway, she’s serious now. She says, “No, it’s Cesar Chavez.” I said, “What?!” You know, I couldn’t believe it, so I walk out there. And sure enough, they saw us. You know, we were coming out of the bathroom, (laughter) and I had this -- you know, they’re bright pink rollers, hard plastic. And so, you know, I got so embarrassed because we had been in Delano, and had been there helping out with the boycott with [?]. And I think, you know, we helped wherever we could. You know, we had gone with the [Regretas?], who were very, very strong [01:24:00] as organizers and everything else. They were very influential there, so I was afraid that he was going to recognize me, but I guess, you know, he had too many people. He didn’t, right, but he sent one of the guards over, and he says, “Cesar wants to talk to you.” (laughter) I didn’t want to go because I was so embarrassed that the only reason we were out hitchhiking was not to do any work for the common good. We were out there to party. And so he said, “Well, what are you doing,” and I lied to him. I said, “I have a very sick aunt in Fresno that I’m going to go see.” I don’t know if he swallowed that story or not, but I sat in the backseat. I remember sitting in the backseat, and my friend, I think, also -- they had two guards and two dogs, or one dog. I don’t remember. And I remember I questioned him about [01:25:00] nonviolence. I questioned him about the Black Panthers, the violence, nonviolence, and he was, you know, very calm, very patient. And one of the things I remember him talking -- because he used to say 47 �stories are very simple to the people. And I know this because of the women that I have connected with in Coachella that he used to tell stories to be able to grasp the people’s attention at a very folk level. And he says, “I’m a leader, and I’m going up the mountain.” He says, “But when I get to the top, I can’t continue down because they will lose sight of me. I have to stay very close,” and so, you know, that’s the way he would explain it. He couldn’t do anything without the approval or acceptance or the [01:26:00] belief of the people that were supporting his philosophy. JJ: What do you mean, close to the people? You mean that was his important [thing?] -- FN: And there was no way you could just lash out in front like a big egotripper. JJ: But you were challenging his nonviolence. You mentioned the Panthers and that. FN: Yeah, because I was telling him -- JJ: Was that your frame of reference, or...? FN: Well, because people had always said, “Oh, you know, he’s too soft, and you know, we need people out there that really know how to knock teeth out and --” JJ: So at one point, you did believe in that? FN: Well, no, I would hear -- JJ: Oh, you would hear it. FN: -- and I would question, and I would think, “Well, why?” JJ: I mean, because the Panthers were more into self-defense. They weren’t really promoting violence, but -- 48 �FN: Mm-hmm. But then again, it’s a lack of education, and on a personal basis, you know these images that came across as very egoistic and very macho. [01:27:00] Look at Chicago when they arrested those seven guys and -- who was it, the guy that was the Black Panther? JJ: Oh, Bobby Seale, okay. FN: No, I don’t think it was Bobby Seale. JJ: Yeah, you mean the Chicago Eight trial? FN: Yeah, it was -- JJ: Yeah, Bobby Seale was the eighth person. FN: But he didn’t want to cooperate with the other ones. JJ: Right, he felt it was important to be separated because of -- he was being treated differently. He was an African American being treated different. He felt that, you know, because of the -- FN: See, but the way that comes out is that -- JJ: We actually were taking people downtown when he was there. FN: Again, a lack of education because the way it comes out on the media is that he just didn’t want anything to do with whities. JJ: No, absolutely not, because I remember the Panthers had a rainbow coalition. We were part of that, and so was the Young Patriots. FN: (Spanish)? [01:27:55] JJ: Hillbillies were part of that, (laughs) so -- FN: See, but -- 49 �JJ: [01:28:00] -- hillbillies wearing the rebel flag and all that of the South on their field jackets -- FN: Confederates? JJ: The Confederate flag on their field jackets were part of the rainbow coalition that Fred Hampton of Chicago -- Bobby Lee also -- organized at that time. So like you said, the message was not that [race was?] -- FN: The media portrayed them as very brutal and uneducated, and of course, the drugs infiltrated everywhere. They connected them with drugs. JJ: And you said a real good point there. The media [dug?] into that. The media, you know -- FN: So the questions that I got to ask -- JJ: Okay, so -- FN: -- Cesar Chavez was, well, how did he feel about the image of, you know, this force. And maybe not in those exact words, but I was fishing for understanding. JJ: So you’re anti-macho, but you’re still saying, [01:29:00] “How come you’re not a macho?” FN: Because I was fishing for understanding. JJ: Oh, you were fishing, so you were playing devil’s advocate at that point, which -- FN: Yeah, well, I guess to some extent -- JJ: At that time. FN: -- but he was very staunch in his explanations. I mean, he never felt challenged by me in no way. You know, here, I had these big old pink rollers on, probably -I don’t know. I just -- 50 �JJ: Okay. Do you think that also maybe his movement was more mature than these other movements that were just beginning, or -- I’m putting words in your mouth. FN: Yeah, well -- JJ: Could that have been it too, or...? FN: -- I’ll tell you I thought there was more discipline, more respect, more dignity, and there was less of this brutal image that came out. You know, [01:30:00] (laughter) with the Brown Berets and with the shades, you know, they came out - JJ: Yeah, that’s how it was. I mean -- FN: You never saw Cesar Chavez do that. JJ: -- we had people like that too because actually, what I meant -- for example, the Teatro Chicana, right? I mean, in the beginning of any organization, any movement, you know, there’s a lot of mistakes made. You know, it takes a while before it gets mature to be more inclusive, so tell me about the Teatro Chicana. How did that form? FN: You don’t want to -- JJ: Because that was -- FN: -- take a break? You don’t want to get a more comfortable chair? JJ: Yeah, I could take five seconds, so a second with the -- (break in audio) JJ: Okay, so as -- FN: So in general, I think what I want to emphasize is education is not just learned in a university or a classroom setting, that education is learning [01:31:00] the 51 �inside of -- for example, I had no knowledge about the Black Panthers being so expansive in their minds to be inclusive because the image I said that was portrayed was that they were very macho, very into just Black people. That was very, very strong. And everything else, you know, that is happening in our movements is to emphasize the need to be critical and analytic (Spanish) [01:31:39] we get a certain image of -- to understand, we really need to go further than what is presented in front of us. And that goes for everything, so to be an educated person is beyond a university credential. [01:32:00] It’s being a savant, and to be able to intuit -JJ: Savant? FN: Savant in understanding the need for people’s emotions to be interpreted in a more objective way, to have respect for intuition or your gut feelings of certain things that you don’t understand, but to explore it further; or go with your gut feeling so that you’re able to progress. JJ: Okay, so you said -- FN: So now, what happens -- one of the things that was always put out to us by the macho mentality, and I’m talking about also women in the movement, was that we were not [01:33:00] the same as the women’s liberation movement going on at that time. And -- JJ: What do you mean? FN: That, you know, we didn’t want to be identified with them, and yet, you know, they were women. We all have vaginas in common, right, going back to the common foundation. But the fact that we were a little bit more open -- we were 52 �very glad that most of the Anglos at San Diego State got the first women’s studies department recognized in the nation at San Diego State University. JJ: At San Diego State? Okay. FN: And that was outstanding, and they did have an influence on us because we were saying, “Yeah, you know, we’re all women,” and we had something very, very common there. But this whole thing was this fear. “Oh, you know what? You’re not a woman liberator. You’re not a feminist,” you know, so what is a feminist? What is the origin of feminist? [01:34:00] It means “minus faith”. Fe, faith; minus, feminine. That jump came about in the Inquisition. JJ: Oh, really? FN: When the Catholic church was dominating the Indigenous spirituality or religions, women that had knowledge of medicine, women that were independent and very intelligent, were labelled feminist because they had no faith in a patriarchal institution. So they were hunted down, tortured, burned, killed, and murdered in massive amounts to wipe out that connection to nature, that connection to the intelligence of being able to measure. Menstruation [01:35:00] is so much connected to the 13 moons in a year. It’s connected to mental -- mind, moon. It’s connected to Medusa, the goddess which stands for medicine measurement. And women of those days learned how to use -- just like today, except now it’s put in a pill form, and it’s more institutionalized from a college. Whereas at one time, it was in the hands of women who knew how to use these medicines and became savants in how to cure, how to alleviate pain in labor, but they became witches. And even the term witch means “wit”, that you had wit. And under 53 �dominating male supremist patriarchal religions, women [01:36:00] are not supposed to be intelligent. I mean, even in the Bible, Eve wanted to have intelligence, so she ate an apple. So from there, you know, we have our foundation. Whether it’s very sanctioned, the sacred and whatnot, (Spanish) [01:36:17] had that to go by. You know, “Hey, wait a minute. In the Bible, you came from my rib,” and I’m going like, “You can shove that Bible wherever because I’m not going to accept that.” So we have that foundation already in the Chicano movement, and this struggle for being respected, for having dignity -because, you know, if you enjoyed sex, you were a slut. If you didn’t have sex, you were labeled frigid or a lesbian. I mean, we got to a point where we said, “So what? You know, [01:37:00] whatever you think -- what I’m doing is I’m working towards a common good. That’s what’s important. That’s my action, and whatever you want to label me because of your personal macho attitude also coming from other women who...” Then, you know, it’s our action that’s going to speak out, so we didn’t completely go with the women movement. I mean, we stayed within our organization, but at the same time, without knowing, we had to build the space. And I think that’s why the Teatro emerged because one of the things that -JJ: The Teatro Chicana, it was called? FN: The Teatro Chicana, but it was actually -- JJ: It had different names, right? Did -- FN: Actually, all of us were Chicanas, and the Teatro comes from a bigger group because the women at that time in MEchA, you know, were feeling this sense of 54 �disunity and disrespect, so we band together. And one of the things -- we said, well, we needed to have a conference where we could [01:38:00] tell our mothers who we were, what we had become, and what we saw. And even though we didn’t want to be in the tradition of our mothers, we still wanted them to know where we were going. And also, at the same time, we developed study groups. The Woman Question was one of the books that we read. JJ: Oh, you did read The Woman Question? FN: And then from the women’s movement, we learned about the origin of the family state and private property, which gives you a good background on a different view of how all of this happened. You know, the concept of private property, the government, the inferiority of women as a whole -- so it’s a very good book that became a basis, you know, of our understanding. And we had study groups, and then we developed into our -- JJ: What was the study group or reading group? FN: A study group was where we all read the same material, [01:39:00] and then we rehashed it. “I have a different view. You have a different view,” so we try to put all these views to make sense of where our understanding takes us to have some kind of common ground. And so one of the main things is that we wanted to include our mothers, which became later on -- now as I read from an article, it was very significant because nowhere in the women’s movement did they bring the mothers into the changes that they were going through. JJ: Was this when the play -- FN: Chicana Goes to College? 55 �JJ: Chicana Goes to College, okay. FN: You know, first, we had to separate from the family, the mother, the box of being in a family and not moving from there. And then we move into the university setting, which we find is conflict with trying to adjust because we came from -- we were not college-prepared [01:40:00] students, so we were struggling in college, you know. A lot of us dropped out. And okay, then we get into the Chicano movement, and oh, my goodness -- slap in the face, you know? But we stayed, and we struggled -- JJ: What do you mean, slap? FN: Well, because of the disrespect. Like I said, you know, men could have all the sex, and they were not downgraded. But if women had a lot of sex, they were downgraded. Well, why? You know, what is this all about? So we were all in the social justice movement. We were all there for equality, you know. What was the double standard being played out, you know, within our social justice movement? So the Teatro came out of a need to -- I guess what they call today these fancy terms like a third space or sacred space maybe [01:41:00] where you can express yourself; (Spanish), [01:41:03] your doubts. Because I mean, like I said, you can be one of the most educated people, but you still make mistakes. And we will always be learning, but it’s that experience of working through errors and mistakes. It goes beyond what is learned in books, you know? It’s the experience of walking hand-in-hand with education and experience, so the Teatro became a sacred space, and I didn’t know it then. I didn’t understand the importance of it. 56 �JJ: Well, how was it formed? I mean, what was the -- FN: Well, one of the -- JJ: -- first meeting of the Teatro? FN: -- first things that I always remember is Delia Ravelo, who was the cofounder. JJ: Okay, and who was she? FN: Delia Ravelo was about two years younger than I was. She came in in 1970. I came in in 1968, [01:42:00] so I was already mature, you know. JJ: Came into the school? FN: San Diego State University. And I remember her being with [a black rose on?], and really, she didn’t want to look at me. But I sort of searched for her, and when she looked at me, it was like some kind of connection that I couldn’t understand at the time. But I knew that there was this need for these younger women to connect somehow with those of us that knew a little bit more, and then on, you know, we worked in the organization. We mopped and we swept, but we also wanted to do speeches, you know. We also had a mind -- JJ: What organization? FN: MEchA. JJ: Oh, okay, so she came into MEchA, and you met in MEchA. FN: Yeah, we were all in it, and we were very active. JJ: So the Teatro came out of MEchA? FN: Yeah, the Chicanas came out of MEchA. The Chicanas was a bigger [01:43:00] group of women. The Teatro came out of this group of women. JJ: Of the Chicanas? 57 �FN: Of Las Chicanas of San Diego State. JJ: So you have Chicanas that are separate from the other (Spanish)? [01:43:10] FN: Which other (Spanish)? [01:43:13] JJ: Because you said the Chicanas were a separate group of MEchA. FN: Well, Las Chicanas were the members of MEchA who were female, and so -- JJ: As the -- FN: -- from there, we formed the conference. And that conference is where the Teatro emerged from. JJ: Okay, from MEchA -- FN: Because (Spanish). [01:43:35] JJ: Okay, I’m thinking MEchA -- FN: (Spanish) [01:43:40] -- JJ: -- is a woman’s group, but it’s not a woman’s group. It’s everyone. MEchA’s everybody. FN: The female members of MEchA -- JJ: Okay, the female members of MEchA. FN: -- at that time. And maybe some of them weren’t even members of MEchA, but - JJ: Yeah, some of the -- FN: -- we sort of magnetized towards each other. JJ: So the female members of MEchA [01:44:00] organized this Teatro? FN: No, organized the conference. JJ: Organized the conference. 58 �FN: And from the conference, some of the women wanted, through poetry, dancing, song, Teatro, a history panel, to do this for our mothers. So all of us were in the same group, but we divided into doing different types of presentations for our mothers. We became the Teatro because -- JJ: And what was the first things that you did as a group? FN: We did Chicana Goes to College, which is the female -- JJ: The play? FN: Yeah. JJ: Can you describe something of the -- FN: She leaves the house. She gets into the university, conflicts with the university and the superstructure and racism, and then the third stage is inequality within her own movement [01:45:00] for social justice. So that was the foundation of Teatro Chicana, although I thought that it was only going to be for our mothers. But the ones that moved it forward was Delia Ravelo because as always, we were always very active in MEchA. We were organizing a recruiting conference. It’s an annual conference -- I still think it goes on -- where you get buses for all the high school students around San Diego and ship them into a big auditorium in San Diego, and then talk about recruitment and the opportunities of college and whatnot. So she says, “Well, we should do that (Spanish) [01:45:38] for the recruitment conference,” and I said, “No, that was for our mothers.” And then she says, “But it still applies because it’s pushing forward the need for education.” And so, you know, Delia Ravelo and Peggy Garcia were the ones that really pushed it, and from then on, you know, we kept [01:46:00] on. You 59 �know, then the book explains the stages of Teatro Chicana, which goes into Teatro Laboral, which goes into -JJ: Which book is that? FN: It’s called Teatro Chicana, edited by Laura Garcia, Sandra Guiterrez, and myself. JJ: Okay. That’s a recent book that came out, or...? FN: In 2008 -- JJ: Two thousand eight? FN: -- published by the University of Texas, and I guess this is where Laura comes in. JJ: Well, yeah. I mean, you can kind of describe it if you want to move [into it or?] -- FN: No, I think she can take over. JJ: Okay. Well, let me ask you then about the murals at the church. Okay, what -- FN: Well, the reason I went to Chicago -- I think I was 19 or 20, and I was going to go see you. I was going to go be with you, but that didn’t happen. (laughs) JJ: Okay. But I mean, how was that -- FN: Well, that’s part of the murals. So when [01:47:00] you and I did not become an item in more or less terms, then I still had three weeks’ vacation. And my plane ticket, you know, was for three weeks that I was going to stay in Chicago, and so since I was at that time already with the intentions of becoming a registered nurse, there was a clinic set up. And I remember -- JJ: In the -- FN: In the church, uh-huh. JJ: -- People’s Church? Okay. 60 �FN: And so I started volunteering there. I said, “You know, just because you have a personal breakup in a relationship, what does that mean?” That’s sad, you know, but still, at that time -- to me, you know, you were my first revolutionary love, so I love -- JJ: Okay, but I don’t understand. How did you come to Chicago? What was the -- FN: Because of you. Because of our revolutionary love that we had through letters. JJ: But when did we meet? FN: We met in Denver, Colorado. JJ: Oh, the Denver, Colorado conference, okay. FN: Mm-hmm. And so I started volunteering [01:48:00] at the clinic, and I -- JJ: But did we establish a relationship in Denver, Colorado? I mean, I -- FN: We connected as long distance lovers. (laughs) JJ: Oh, okay, I see. FN: Yeah, we wrote letters, and I have one of your letters. JJ: Okay, so you definitely have proof, great. (laughs) FN: Yes, so -- JJ: Okay, so we connected. So we were writing letters? FN: Yes, uh-huh. JJ: At that point, okay. But then when you came to Chicago, I was married or -- I wasn’t married legally. FN: You were with another woman -- JJ: I was with someone else. FN: -- more or less. 61 �JJ: And that’s what happened. I was a clown. FN: That and whatever, but anyway, it was a disappointment. But still, you know, our love was bigger than just you and me, right, because we claimed our love for the people. JJ: For the movement, so -- FN: So I stayed around at the clinic and volunteered, and then I had the younger Young Lords -- I guess, you know, your peer group that used to hang around. It’s Cosmo and [01:49:00] Tarzan and -- JJ: Yeah, we had -- FN: -- [Comraddy?]. JJ: -- different levels of the Young Lord. We had a local branch, a state branch, and the national branch. FN: Well, I was just with the locals that hung around the neighborhood. And what was so strange is that the Latin Kings used to hang out -- JJ: They hung out there too, uh-huh. FN: -- a lot more than the Young Lords. JJ: Yeah, they hung out more on the street. FN: But the Young Lords, like I said -- Comraddy, Tarzan, Cosmo -- were around a lot, and so we started cleaning the place, you know, because after you stay a while, you say, “God, that’s messy,” you know? You start cleaning, so we were putting things away and throwing stuff away, and we came to this closet full of paints. And I told Cosmo or -- I don’t remember who it was -- Tarzan or someone, “Hey, what’s all this,” you know? “Oh, that’s paint that they use for the 62 �church.” I said, “Oh, isn’t this going to waste, or is it going to be used?” He says, “Oh, you know, well, we thought about putting a sign --” JJ: Well, [01:50:00] it came from the hardware store. It was a donation. FN: Oh, okay. “So we were thinking of putting a sign up, ‘The Young Lords’, in front of the church.” And I said, “Well, why don’t you guys do it? The paint’s here. Do it.” And so I think somebody did volunteer. I don’t remember who it was, but they were doing the letters so crooked. I said, “You know, I can do better than that, right?” Not that I was trying to put down the brother, but -- JJ: But you were an artist. FN: No, I wasn’t an artist. I mean, I loved artists -- JJ: You were -- FN: -- and I was going to school to become a registered nurse, but I always wanted to be an actor. And so the first one we did was Che Guevara, and I said, “Well, you know, I can do the print.” And they say, “Well, how about doing this?” You know, and so then -- JJ: And then Che Guevara was right by the door, and I think it said “Young Lords Organization” or “National Young Lords”, something like that. Do you have a picture? FN: Yeah, I have a picture of it. [01:51:00] And then from there, one time -- JJ: Lower it and hold it up to the camera there for -- FN: -- you showed up. JJ: Oh, you have a picture of the church back then too. 63 �FN: Yeah. This is how I looked when we met in Denver, Colorado. This is me talking at the Denver, Colorado conference. JJ: You spoke there also? Okay. FN: Yeah, a little bit. I don’t know where this picture is. JJ: But the picture of the church is -- I mean, if it’s showing the murals. There’s none with murals. FN: Yeah, these are the murals that Carlos Flores took pictures of. Otherwise, we would have no knowledge about ’em, but -- JJ: Actually, we have some photos too of the church. FN: Oh, yeah? JJ: Both Carlos and some of -- there’s a confusion of who was there. FN: Well, he was one of the main ones taking pictures at the time with a rinky-dinky camera. Oh, yeah -- JJ: There it is. FN: -- this is it, and it doesn’t look like Che Guevara. JJ: Okay, hold on one second. FN: But that was an attempt of the image at that time [01:52:00] to put forward. JJ: Okay, bring it up a little bit. Okay, there you go. Okay, so you painted Che Guevara and “National Headquarters Young Lords Organization”? FN: Yes, uh-huh. JJ: Okay, so you painted our -- FN: So then from there, I went on -- 64 �JJ: What do you call the sign of an organization in the front? Our logo. You just painted the -- that wasn’t our logo, but that was our -- FN: Uh-huh. I didn’t paint the one in the front of the church. JJ: You didn’t paint that big logo? FN: No, I didn’t. JJ: Oh, I thought that was you. FN: No, that was somebody else. JJ: Oh, so that was Peter Clark. Peter Clark was the other muralist, okay. FN: Yeah, no, I didn’t. I -- JJ: Okay, I’m sorry. I thought that was you. Okay, but you painted Che. FN: But again, I was so mad at you, okay? You came one time, and you said, “Oh, you should do this,” and so I sort of did follow it. I did Emeterio Betances, Lolita Lebrón -- JJ: That one was specific, I remember. FN: -- Pedro Albizu Campos, and then the last one -- I said, “I’m going to do one of myself.” Not myself specifically, but -- JJ: Adelita [01:53:00] de -- FN: -- Adelita de Aztlán. JJ: Okay, but I did tell you to paint the ones -- FN: Yeah, you went around one time, and you said, “I want you to do it.” But, you know, I was going to be flying out in a couple of days, and then I was so mad at you anyways, so yeah, I said, “No, I’m leaving, you know. I can’t do it,” or whatever. So you must have gotten somebody else to do it. 65 �JJ: Oh, you didn’t paint those? FN: Not the logo in front of the church, just everything on the side. JJ: So you put the -- FN: All of the murals on the side are mine. JJ: Okay, if you could put that close to the camera -- FN: But you can’t -- it’s not a very good picture. JJ: But if you put it close, you can see the -- FN: Yeah, all of these on the side, I did; five, actually. JJ: On the side of the church. FN: And the one on the front must have been by Peter Clark, you said? JJ: Yeah, Peter Clark was the other muralist. And if you put -- FN: (Spanish)? [01:53:44] JJ: Yeah, there you go. Leave it right there. Okay, so you painted those right there on the side of the church. FN: All on the side, Emeterio Betances -- JJ: Lolita Lebrón. FN: Lolita Lebrón -- JJ: And then -- JJ: -- and Pedro Albizu [01:54:00] Campos. JJ: Right, okay, because -- FN: And that came out of an attraction for you, all of those murals. But like I said, you know, I always understood my attraction to you -- that was my first revolutionary love, so it was bigger than just the two of us. 66 �JJ: Right, and [I couldn’t be?] -- FN: And the murals were that explosion into a bigger part of us, and that’s how they got done. JJ: Okay, we definitely appreciated it. They’ve had an impact for the community, and it, you know... FN: You know, I remember people used to stop and look at them, and they’d say, “Oh, she’s a gypsy.” They didn’t know who I was. “She’s a teacher that was --” JJ: Oh, while you were painting it, you mean? FN: Yeah. And then I remember people would feed me sometimes because I mean, geez, you know, I was there with nothing. And I got fed, you know, and then -- JJ: Because we had [01:55:00] food with the breakfast program and all that stuff -- FN: And then Hilda also -- JJ: -- so everybody kind of ate. Oh, you met Hilda at that time? FN: Oh, yeah, I was living with Hilda. I stayed with Hilda. Otherwise, I wouldn’t have had a place -- JJ: Oh, was it Hilda Ignatin, or another Hilda? An older woman or a younger -- FN: No, younger. She was -- JJ: Oh, Hilda -- FN: Yeah, Hilda. JJ: -- [Torres?]. FN: That’s how come I remember her so well because without her, I wouldn’t have had a place to stay. And she allowed me to stay there, and I could come and go as I pleased, you know, so that was very helpful. 67 �JJ: So I mean, you’re coming in there talking about image. You know, we were a gang. I mean, we didn’t incubate. We went right from the gang into the political group, so we made a lot of mistakes because -- FN: Oh, we all did. JJ: -- of that. Where other groups were able to sit back and do a study group or something, we just went right into that. But I mean, can you describe the -- when you first come here, [01:56:00] I mean, you’re expecting one thing, but you still saw those people working. How were they? I mean, we’re just right out of the gang, you know, but how did you see it? FN: Well, I know they had the slogans, right, because as soon as I left the airport when I got into Chicago, I got on a taxi. Get off the taxi, see you with another woman, and then there was a parade -- Puerto Rican Day, July. And all of the slogans -- everybody was well aware of Libre Puerto Rico and -- JJ: In the neighborhood, you mean? FN: Yeah, right there at the side of the church, people were organizing for the march. And all of these community -- like Cosmo -- JJ: Oh, so we’re having a demonstration as you come in? FN: And we march. JJ: And it’s about Free Puerto Rico? FN: Mm-hmm. JJ: Is it -- FN: But it was Puerto Rican Day. It was a big parade in Chicago, and [01:56:00] we didn’t have a license or permission to be in that parade, but there we were. 68 �JJ: We got in. That’s what I remember, right. FN: Uh-huh, and I mean, I said, “Dang,” you know? JJ: And we got in, and we’re talking about Free Puerto Rico, right? FN: Yes, uh-huh. JJ: Yeah, I remember [I had a girlfriend?], and this is probably [why you remember that one?]. So you came in right at that moment as we -- FN: And I was in the parade without permission from the authorities. JJ: (laughs) And we went right in. FN: Yeah, we were in there, so I knew that there was a lot of heart. There was a lot of poverty. There was a lot of ignorance, but there was this willingness to -- JJ: Poverty? What do you mean? FN: When I went to the store on the corner, the vegetables were bad, you know, to me. Coming from an agricultural rural community where they looked so beautiful, you know, I just thought, “Wow.” And then where I stayed with Hilda -- I mean, it was infested. I remember it [01:58:00] being infested with roaches, you know, because -- JJ: You’re talking about somebody else’s house now. (laughs) FN: Well, no, the apartments that people lived in -- very crowded, very dark, and you know, dingy. JJ: But was it in that community? FN: Uh-huh. JJ: Okay, so what -- 69 �FN: Yeah, I used to walk every day to the church to continue painting, and so I remember that. And then I remember that people don’t have access to recreation, so the hydrants were open, the water hydrants. JJ: So they were open. Yeah, I -- FN: And then one time, the police came and shut ’em off twice. And the third time, they showed up with billy clubs and paddy wagons, and people got arrested and everything. I mean, that was one of the first kind -- I mean, I was sort of shocked. I was barefooted because, you know, we had been going in and out of the water, and I had been painting, you know. And I just went to get my feet cooled off, and they had the congas. You remember everybody used to play the congas? And everybody [01:59:00] came out of their little what you call ratholes, I guess, or their little houses or places that they had. And all the children playing, dancing, and running, and the mothers, you know, gossiping -- I mean, it was very, very community, and all the congas were fabulous. You know, the heartbeat of that beautiful darkness was there, and yet -- you know, so much light and water and children running, and people in the community. And the third time when the cops showed up, they showed up with all of this force, you know, and they stood in a row. And, you know, I remember they started -- I said, “What are they going to do,” you know? And so they started charging, and somebody says, “Run!” Somebody grabbed me, and we were running through the alleys in broken glass. You know, I cut my feet and [02:00:00] everything. We were hiding behind trash cans, and I remember the cops coming and banging the trash 70 �cans looking for anybody, I guess, they could get a hold of. And people did get arrested that evening, so that was an eye-opener for me. JJ: But the community -- how did they feel towards the Young Lords? FN: Well, they all looked very at peace, and they were enjoying the congas. And they were enjoying whatever little scenery there was. You know, part of the murals were already done, little skinny trees that they had. JJ: So they’re hanging out by the mural and by the church outside in the summer? Okay, and then when -- FN: So that was a very different kind of atmosphere that I hadn’t experienced because first of all, you know, those hydrants had been turned off twice, and we weren’t [02:01:00] doing wrong, you know. But then there was so much comfort and so much delight in that fountain of water spurting everywhere, and everybody got wet. It was like a cleansing, refreshing -- and that’s all they could do. I mean, we couldn’t go in a boat cruise and, you know, be waited on. I mean, that was the heighth of entertainment recreation. JJ: So the Young Lords -- you didn’t see them marching all over the place formal or anything like that. Would you say they were formal or informal, or...? FN: Well, we were very infor-- I’m saying we because I was with them, and there was nothing really formal to be about. It was just everyday trying to survive, everyday existence. And you could say, well, that was very dull, but if you didn’t make that space or [02:02:00] you didn’t bring that inspiration, it was almost like a dead silence. But it had to come out of you to put out. 71 �JJ: Yet, people were cleaning the church, you were painting murals, and there was programs in the church. FN: Oh, yeah, people were coming in to be medically assisted. JJ: How would you describe the clinic there? FN: Well, it was attending the community. JJ: I mean, did it look like a regular clinic? FN: Well, I mean, I’ve seen better places, but they were doing their best. I think the guy that was working was Martha and Alberto. JJ: Alberto Chaviro, right. He was there at the clinic. FN: Very, very devoted people. I mean, just -- JJ: He was the master of health, yeah. FN: -- good people from the heart, you know? They just weren’t doing it to show off or -- JJ: And actually, he wasn’t Puerto Rican. FN: Yeah, he was Mexicano. JJ: So Chicago had other [02:03:00] Latinos, right, not just Puerto Ricans, although we were supporting independence for Puerto Rico. So Alberto Chaviro was Mexicano. FN: (Spanish) [02:03:11] Martha. JJ: (Spanish) [02:03:12] Martha, and there were others at the clinic. FN: And that’s how I got close to them because I worked at the clinic and -- JJ: You did work at the clinic? FN: Yeah, I volunteered. 72 �JJ: Okay, but see -- FN: I mean, remember, you and I didn’t continue, but I had the opportunity to invest more time in what was going on, definitely. It probably would’ve been the same whether I had been with you or not, but I was volunteering at the clinic. And that’s how we discovered the paint when we started cleaning other areas of that church; the basement or the kitchen or the closets. And, you know, that’s how we discovered it. JJ: But it wasn’t disrespectful. I mean, it was because I was with someone else at that time. I wasn’t being disrespectful to you or to what [02:04:00] we -- you know what I’m saying? FN: No. JJ: You didn’t take it like that, but I was trying to be respectful at that time. No? FN: I don’t know. (laughs) JJ: Okay, you don’t -- FN: I just know that -- JJ: Okay, well, it didn’t work out then. FN: -- yeah, you and I did not become an item like they say. But, you know, I knew that you and I were bigger than just us. I knew that. JJ: Okay, I appreciate that. Okay, so I’m just trying to describe the clinic because I think you’re very good at describing things. And I’m trying to -- you know, if you can describe not just the clinic, but I mean, how it functioned and -- what do you recall? 73 �FN: Well, I remember Alberto being the doctor. And of course, when a patient comes in, you take their blood pressure; you know, the elementary stuff that determines, you know, their condition further on. And the people felt, you know, [02:05:00] pretty comfortable going in there. And of course, the people that attended them, you know, like Alberto and Martha -- their hearts were in it, so I think that made a big difference in the way the program was run with the very little that we had. We had more love to give than anything else, but they did their best in those conditions. JJ: What about some of the other volunteers? FN: To tell you the truth -- JJ: What type of people were they? I mean, I -- FN: They were in their -- probably not credentialed, but they did the best they could. And I don’t remember too much, the other people, to tell you the truth, but the whole spirit of that clinic was to serve and not [02:06:00] for profit, not for greed. It was to serve at a human level. JJ: In fact, did anybody pay money to come to the clinic, or...? FN: I don’t think people had money to pay. JJ: So it was a free clinic? FN: Yeah, it was a free clinic. JJ: It was a free -- now, what about the breakfast for children program? That was run out of the church too. Were you familiar with that? FN: I really didn’t get to see that. JJ: So you didn’t work on that one? 74 �FN: No. JJ: Okay, but you did some there with the mural. They were talking about a daycare center at that time. Did you -- FN: No. JJ: No, you didn’t see that, did you? FN: No, I basically -- JJ: That was later because when you -- FN: -- was just at the clinic and stayed at the church. JJ: But you were there when it was just getting painted and started in the neighborhood clinic. They were painting the inside too. That’s why we got the paint. There were murals inside too, no? FN: I don’t remember seeing murals inside. JJ: Okay, that was Peter Clark. He put in -- FN: Yes, because then when I did the side, then the front came on later. JJ: [02:07:00] Oh, that came later. Okay, that’s the “Tengo Puerto Rico En Mi Corazón” sign, but you did Che. FN: Yeah, I did Che -- JJ: You definitely did Che. FN: -- and the other five murals. JJ: Yeah, you did five murals, okay, the other murals. Okay, you didn’t do the People’s Church one. There was a People’s Church one too. That was Peter? FN: Correct. 75 �JJ: Okay, all right. Okay, so you go back from there. And then where did you get involved after that? You’re still with the Teatro, or no? FN: Oh, yeah, the Teatro went on for 12 years after we got out of the college, and then we got into the community. And we were able to keep it for 12 years. And then after that, I moved up north, and of course, later come back and reconnect. But Delia and I never disconnected, Delia Ravelo, so that’s when the idea started brewing -- [02:08:00] and I guess Laura can tell you this. You know, she took a class, and she wrote this article about her participation or her days in Teatro, and people got very interested. And then Suzanne Oboler told her, you know, that that could be published. And then she showed up at a reunion, and then that’s when we all started getting the idea, “Well, we should all do the same and put a book together.” But of course, like everybody else has their dreams, Delia Ravelo and I were going to be writers. When her last child left from her house to go to college, that’s when we were going to start, but Delia got very sick with stage four cancer, and she struggled. She was able to -- JJ: She’s still alive, or no? FN: No. She was able to live another 18 months, and during that time, this idea started building up. She was able to write her story, [02:09:00] and I was able to help her because she was very debilitated. You know, but Laura actually started moving us sooner than what we expected because of that. But Delia passed away, and of course, you know, I was very angry because we were supposed to be writers, and her last child was going out of the house. But I will never -- she’s 76 �always with me. And from that first time that I saw her -- she’s always with me, well, in a way. (laughs) JJ: Okay, yeah. Well, thank you very much. END OF VIDEO FILE 77 � https://digitalcollections.library.gvsu.edu/files/original/1320e625755122a54af70fdda9498da3.mp4 3ee752ee86225f6f0002d893b1c202d8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Young Lords in Lincoln Park Collection Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Personal narratives Social justice Community activists--Illinois--Chicago Description An account of the resource Collection of oral history interviews and digitized materials documenting the history of the Young Lords Organization in Lincoln Park, Chicago. Interviews were conducted by Young Lords' founder, José “Cha-Cha” Jiménez, and documents were digitized from Mr. Jiménez' archives. The Young Lords in Lincoln Park collection grows out of the ongoing struggle for fair housing, self-determination, and human rights that was launched by Mr. José “Cha-Cha” Jiménez, founder of the Young Lords Movement. This project is dedicated to documenting the history of the displacement of Puerto Ricans, Mejicanos, other Latinos, and the poor from Lincoln Park, as well as the history of the Young Lords nationwide. Creator An entity primarily responsible for making the resource Jiménez, José, 1948- Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park collection (RHC-65)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-25 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng spa Type The nature or genre of the resource Moving Image Text Identifier An unambiguous reference to the resource within a given context RHC-65 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2012-2017 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Título Spanish language Title entry Felícitas Nuñez vídeo entrevista y biografía Sujetos Spanish language Subject terms Young Lords (Organización) Puertorriqueños--Estados Unidos Derechos civiles--Estados Unidos--Historia Lincoln Park (Chicago, Ill.) Puertorriqueños--Relatos personales Justicia social Activistas comunitarios--Illinois--Chicago Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park (RHC-65)</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-65_Nunez_Felicitas Title A name given to the resource Felícitas Nuñez interview and transcript Creator An entity primarily responsible for making the resource Nuñez, Felícitas Description An account of the resource Felícitas Nuñez lives in Bermuda Dunes, California. She and Delia Ravelo are co-founders of Teatro de Las Chicanas. The concept began when women of Movimiento Estudíantil Chicano de Aztlán (MEChA) brought their mothers to a university setting. There they organized a “Seminario de Chicanas” so that the mothers could understand what their daughters were going through. They wrote and performed “Chicana Goes to College.” And as a result of the audience’s positive response, Ms. Nuñez and Ms. Ravelo formed the Teatro de Las Chicanas. In the beginning years the core group consisted of just Ms. Ravelo and Ms. Nuñez, but many young women participated in the Teatro. Though working in San Diego, they were influenced by the leftist political ideals of the San Francisco Mime Troupe. They also united with the objectives of the Chicano Movement which included, among other things, social justice, bilingual education, and unionization. It also went further to address women’s equality. Several of the plays written and performed by the Teatro as well as the memories of their core members have been published in Teatro Chicana: A Collective Memoir and Selected Plays (2008). Most of the women who joined the Teatro came from farming towns throughout California and most of them were the first of their families to attend college. Around the early part of June 1969, Ms. Nuñez traveled to Chicago and met with the Young Lords who were transforming themselves from a local Puerto Rican gang into a human rights movement. One month earlier, the Young Lords had occupied the administration building of McCormick Theological Seminary (today on the campus of DePaul University) with 350 neighborhood residents and held it for an entire week. The Young Lords won all their demands, including $50,000 seed money for two free health clinics, $25,000 to open up the People’s Law Office which still operates today, and $650,000 to be invested by the seminary in low-income housing. One week earlier, the Young Lords had occupied a huge United Methodist Church on Dayton and Armitage, which they were in the process of transforming to become the Young Lords National Headquarters. The church would also house their Free Community Day Care Center, Free Dental and Health Clinic, and Free Breakfast for Children Program. All these programs were modeled after the Black Panther Party programs, of which the Young Lords had recently also connected via Fred Hampton’s Rainbow Coalition that Field Marshall Bobby Lee had also helped to broker. After the take-over of the church, the Young Lords quickly made amends. They did not want to disrupt any church service. When asked by the press if the Young Lords were going to allow the church to hold service, Mr. Jiménez quickly responded, “that it was not really a take over as the doors were now open to everyone, and that he and other Young Lords were planning on attending the services, being led by Rev. Bruce Johnson.” Some members of the congregation left but the Young Lords started meetings with the rest of the congregation, and together they designed the People’s Church symbol and produced a button that showed chains being broken. The Young Lords were cleaning up the church and adding needed paint when Ms. Nuñez arrived and volunteered to organize a group of muralists. Inside the church, Ron Clark and others were painting a mural of Puerto Rican history in the gymnasium. Outside, Ms. Nuñez’s group painted the Young Lords symbol of ”Tengo Puerto Rico En Mi Corazón” or “I have Puerto Rico in my Heart.” This lettering was in purple, with a green map of Puerto Rico, and a brown fist holding a rifle. (It had been designed by Ralph “Spaghetti” Rivera and Mr. Jiménez. The first buttons were printed at the Green Duc Button Company at Lake Street and Halsted). Other murals that Ms. Nuñez and her volunteers painted on the church walls were images of Adelita, Emiliano Zapata, Lolita Lebrón, and Don Pedro Albizu Campos. Someone else, probably Ron Clark, painted Che Guevara by the side entrance to the office, with the lettering “Young Lords National Headquarters.” These wonderful murals could not be overlooked in Lincoln Park. Not only were they featured in the news, but Lincoln Park residents would drive by and stop in to see the various programs and activities, making People’s Church the center of the Lincoln Park neighborhood. By then most Puerto Ricans had been forced out of Lincoln Park and there was also plenty of room for others to join the Young Lords Movement. Hispanos representing all Latino nations joined the Young Lords, including members of other minorities, middle class individuals, workers, the very poor, and students. The Lincoln Park Poor People’s Coalition was formed and Mr. Jiménez was voted president. The Northside Cooperative Ministry, of which Rev. Bruce Johnson was a prominent member, was also established during this period, and it supported the Poor People’s Coalition and the Young Lords. Just sixty days before Mark Clark and Fred Hampton were shot to death, assassinated in a predawn raid led by State’s attorney Edward Hanrahan, Rev. Bruce Johnson and his wife Eugenia were also discovered in their beds stabbed multiple times, in a cold case that remains unsolved. The Eulogy was given at the church with Young Lords fully participating, providing security and traffic control. There was also a spontaneous march through the Lincoln Park Community where Rev. Bruce Johnson worked with the poor. Ms. Nuñez left Chicago unaware of the impact she had made in the Puerto Rican community and in Lincoln Park. The Teatro Chicana did participate in the impromptu Lincoln Park Camp in Michigan in the 2000 and the Young Lords 40th Anniversary celebration in Chicago in 2008. Contributor An entity responsible for making contributions to the resource Jiménez, José, 1948- Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Personal narratives Social justice Community activists--Illinois--Chicago Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Date A point or period of time associated with an event in the lifecycle of the resource 2012-08-25 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/fa921b9e57dc68e9605a1f3bc8e11196.pdf e801f1023562e3d18d28ae971964a140 PDF Text Text Young Lords In Lincoln Park Interviewee: Felipe Luciano Interviewer: Jose Jimenez Location: Grand Valley State University Special Collections Date: 3/15/2013 Runtime: 01:13:52 Biography and Description Oral history of Felipe Luciano, interviewed by Jose “Cha-Cha” Jimenez on March 15, 2013 about the Young Lords in Lincoln Park. "The Young Lords in Lincoln Park" collection grows out of decades of work to more fully document the history of Chicago's Puerto Rican community which gave birth to the Young Lords Organization and later, the Young Lords Party. Founded by Mr. José “Cha-Cha” Jiménez, the Young Lords became one of the premier struggles for international human rights. Where thriving church congregations, social and �political clubs, restaurants, groceries, and family residences once flourished, successive waves of urban renewal and gentrification forcibly displaced most of those Puerto Ricans, Mejicanos, other Latinos, working-class and impoverished families, and their children in the 1950s and 1960s. Today these same families and activists also risk losing their history. �Transcript FELIPE LUCIANO: Okay. My name is Felipe Luciano. I was born in the old Metropolitan Hospital on Welfare Island. It’s now called Roosevelt Island. I was born on November 24th, 1947, two years after the big war. I was born in East Harlem. That’s where we came to, my mother and father, after I was born. And we were a barrio family. JOSE JIMENEZ: FL: Where did you come from? My family comes from Puerto Rico. My mother was born here, so she’s part of that generation we call the pioneros. They were the first Puerto Ricans here, born here. JJ: What’s her name? FL: Her name is Aurora Luciano, my mother’s name. She’s passed two years ago. JJ: Your mom? FL: It still hurts to even think about it. My father was born in Puerta de Tierra, Puerto Rico, which is in San Juan. His father’s from Camuy, Puerto Rico. My maternal grandmother comes from [00:01:00] Cataño, Puerto Rico, which is primarily a Black area. And I’ll start with my grandmother. My grandmother, fleeing Puerto Rico’s poverty and the lack of real jobs for single women, left three of her kids. She had three kids from two gentlemen in Puerto Rico. One was Haitian. She had two with the Haitian, and in those days, by the way, Caribbean people traveled from island to island, and I owe a great deal of gratitude, we all do, to the Haitians because it was the Haitians who made revolution a reality. After 1 �they had their revolution with Toussaint Louverture and Dessalines, they traveled to the other islands, like Puerto Rico, advocating that slaves overthrow their Spanish slave masters. And there were laws [00:02:00] that stated emphatically that they should be killed onsite. But it was Haitians who literally fomented revolution and rebellion in Puerto Rico against the slave masters. My grandmother, having already separated from two of the gentlemen that she had three kids with, decided that her best bet was to come to New York, so she gets on a steamer. In those days, they had re-converted cargo freighters. One of them was called a Marine Tiger. In fact, it was that name, the Marine Tiger, that became a pejorative among Puerto Ricans here in New York because if we called you a marine tiger, it means you came on a ship. And many of them were cane cutters. Some of them were urban people, but most of us come from agricultural families, country folk. Interestingly enough, my father’s mother -- so I’ve dealt with my mother’s mother, Margo, Black, [00:03:00] African, always proud of her African past, had horrible memories of the Spaniards. Her mother, Rosa, went to Spain with a family, and she served as their nanny, and the experiences that she related to my grandmother, who then related it to my mother, who then related it to me, were traumatizing. They were horrible, the way they treated her, the disrespect, the humiliation she had to go through. When she came back, she said, “You can’t trust any of these Spaniards, any of them.” JJ: What do you mean? How did they treat her? 2 �FL: They beat her. They mistreated her. They spoke to her in ways that were inhumane and that were less than civil. By the time she got back to Puerto Rico, she never did it again. She said she would never work for them again. My grandmother tells me that during the time of the invasion, before the invasion, the Spanish troops would come through towns and just rape women whenever they wanted to. [00:04:00] And she said, “You can’t trust a Catalano,” because many of the soldiers from Spain were from Catalan, at least where she was. And she never, ever saw -- JJ: And she was in Cataño? FL: She was in Cataño. And of course, she traveled around also, but she told me that she could never trust a Spaniard again, so my family was versed and immersed in Blackness and Négritude, sometimes negatively. Sometimes they were Black through negativity. That is, “We’re Black, and therefore we’re not this, and we’re not that.” My grandmother with me though, that is, my mother’s mother, having seen what negativity could do the mind of a young man, she always promoted Blackness in me. (Spanish) [00:04:52 - 00:04:58] around her head. She used a bandana [00:05:00] around her head. She used to cook with wood. She would actually put her hand in the fire and take the wood out. She was an incredible woman, and she used to -- the earliest memories I have, the first 10 years of my life, is of her tracing the lines of my nose, the lines of my eyebrows, my lips, and saying, “What a beautiful child you are.” I mean, she would marvel. She would coo at me, so I remember that throughout 10 years, I would lie on her lap, and she would coo. And she used to call me (Spanish) 3 �[00:05:25]. And she used to sing, (sings in Spanish) [00:05:29 - 00:05:38]. And then she would say, “Ay, que frio. Ay, que frio.” And it was a contradiction because she was saying it was hot, but he would say that it was cold so that he could eat it. So, I’d go put all of these Africanisms, (sings in Spanish) [00:05:53 00:06:00]. You would say that to the babies. So, I grew up with this tremendous, tremendous pride in being Black, but I never grew up feeling that Black was ugly or that it was inferior. I grew up, long before James Brown said it, that Black was the most beautiful thing there was. And so, my grandmother would take my nappy hair, and she would put little mounds. She would make little [monitos?], we call it. And I grew up with a tremendous sense of beauty. As I grew older, I realized that many of my African American friends and even some Puerto Ricans had not been brought up in that meilleur. And so, I had many fist fights because they would say, “You know, well, we’re ugly. We’re ashy. We’re this. We’re that.” And I said, “No, man, I’m pretty.” And they would ask me, “Well, who told you pretty?” I said, “My grandmother did. She says I’m a pretty negro.” And they would say, “Well, your grandmother’s lying,” and [00:07:00] to tell me my grandmother was lying was an instant ass-whooping, so I definitely got into some fights over that when I was a kid. So, I never had a problem with my nose, my lips, my hair, my ashiness, never had a problem with that. El Barrio at that time -oh. JJ: You’re talking about -- FL: It was a Black Puerto Rican community. Now I’m going back to my father’s family. Now, my father’s family was an interesting mix. My father’s family were 4 �all revolutionaries. My grandmother, Rosa, another Rosa, was one of the first followers of Albizu Campos. She escaped the masacre de Ponce in 1937. She was one of the few who got away. From what my father tells me, she -JJ: What was her name? FL: Her name was Rosa. JJ: Rosa. FL: Rosa Luciano. Rosa, Rosa, what was her last name? Alvarez is my family name on that side. [00:08:00] And when my father described it to me, he didn’t see any -- she died when he was 13. She had to sell her body from time to time to make money because that’s the way it was in Puerto Rico in her barrio of her class. She couldn’t make money, so she did that. My father was confronted with that several years later by some friends, some people who knew his mother, and he said he almost knocked the guy out, but in fact, it was true. My family’s always been street on that side of it. Her brother, Carmelo, ended up in the same nationalist party with Albizu and spent 10 years in Atlanta Penitentiary as a body guard for Albizu Campos. He stayed with him. His name is Carmelo Alvarez. I looked it up, and he’s there. My father from Vega Baja came to San Juan, stayed with his father, and it was traumatic for him because his father was not used to taking care of a kid. He went through a rough time, never quite learned [00:09:00] what the meaning of family was. Told me that he -- and I realized this as I got older, that he never really experienced what having a family was, certainly having a woman around, and that hurt him later on. So, now you have my paternal grandfather from Camuy, my maternal grandfather from Arecibo, and 5 �then they all come here. My grandmother comes on a boat and lands in Brooklyn, in Williamsburg, because in those days, the first Puerto Rican community was Williamsburg, Brooklyn. They were citizens already in 1917, so those who came, they came on these huge freighters, and they would drop some off in Ellis Island, and the rest would come to Williamsburg because that’s the way you did it. They were already citizens by 1917, the Jones Act. My grandmother came with a little piece of paper, and she looked for her friend or [00:10:00]a friend or a contact, found one, ended up on Front Street in Brooklyn. The building still stands to this day on Front Street. Before my mother died, we took her there, and she -JJ: Is this Williamsburg? No? FL: Williamsburg, yeah. And she, my mother, was so happy to see that building. She said, “That’s where I grew up. That’s where I was raised.” Her father, my grandfather, my maternal grandfather, was named Phillip, and he worked for the mob. And what he did is he did bathtub gin, and they say, this is just a legend, he was the best at it. I think historically, if we look at it culturally, Sicilians were the closest to Puerto Ricans because the language is very much the same. They look like us. They were dark, have curly hair, the works. And since they were in charge of the streets, the only way you could make money if you didn’t speak English and you didn’t have a job was to do the street thing, and so it would be like selling drugs [00:11:00] today, because it was illegal. Tell you a little story. He’s a very standup guy, from what I hear. His character was intact, very rigid, but he had integrity. I was doing a story one time as a reporter, and I had to do a 6 �story on a so-called mob infiltration of the South Street Seaport, which is where they handle the fish and distribute the fish in the city. I couldn’t get headways. The former Mayor Giuliani was asking them to move to the Bronx. They wanted them to relocate, and he was going to investigate them. There were loads of records in a huge warehouse. Those records suddenly spontaneously caught fire, and of course nobody could be indicted because all the records were gone. I’m trying to do a story on this fire, and I couldn’t get headway. And I’m up at six in the morning because I had to do three live shots for Good Day New York. And the six-o’clock [00:12:00] didn’t go so well. The seven-o’clock didn’t go so well. I had one more, the eight-o’clock. Our show ended at nine. And I get a nudge in the back from a young Italian kid with a grappling hook the longshoremen use, and he goes like this. And I figure, uh-oh, we’re in for some trouble.” And he says, “Is your name Felipo?” I said, “Yeah.” He said, “My grandfather’s watching you on live TV. He can’t believe that you’re the grandson of Phillip Luciano. You’re the grandson, right?” I said, “Yeah.” He said, “He told me to tell you your grandfather was a standup guy.” And he turns around to the guys, and he says, “Whatever he needs, you give him whatever, within reason.” (laughs) So, I got a great story about working-class Italian men and their trials and tribulations. It was a great story. But that’s how my grandfather was viewed by the boys of The Family, as we say in East Harlem. [00:13:00] Well, needless to say, we stayed with Italians mostly. We still have very good relationships with Italian Americans, with Sicilians in particular. And as they moved, we moved. So, Williamsburg got a little tough. We couldn’t afford the rent, according to my mother, so they 7 �moved. My father and my grandfather died, and they were poor. They were broke, so they went where the rents were cheap, and in East Harlem at that time, you could live for three months free because landlords were offering it because they wanted people -- the buildings -- it hadn’t been populated yet by Puerto Ricans. The Italians were slowly leaving. So, since Sicilians were going there and the Irish and the Jewish Americans and some of the Scandinavians, believe it or not, East Harlem used to be a very heavy Scandinavian neighborhood, left, Irish too. My grandmother decided to go to one of these apartments in there. She went, and we followed the Italians there. The earliest memories I have of East Harlem [00:14:00] are both wonderful and horrific, wonderful in that my grandmother, I had my mother, my grandmother. I remember my father, my aunts, and uncles who were just incredible. Each one of them had a personality. Each one of them was a character. So, it was wonderful, in that I felt totally, totally loved. I would get up in the morning, and I would smell the coffee grinds. I would smell the way made coffee in El Barrio. I would hear the music. We played trio music in those days. The Mexican trios were, and still are, considered sacred music to Puerto Ricans, Trio Los Panchos, Trio Los Astros, Ases, [con?] Marco Antonio Muñiz Muñiz, Vegabajeño, Trio Borinquen, all of those old things. And even then, I loved it. Later on, I didn’t want to get close to it because I thought it was hinky music. Now I have all, the entire collection of Trio Los Panchos. And I remember the familiarity, the family [00:15:00] atmosphere was just so much fun being in East Harlem. You always had a loving shoulder, a loving embrace. The men watched out for their kids. Families were together. 8 �There was a work ethic that was beyond description. I remember getting up every morning. When I got up early to go to school, men were going to work. They were going to the factories. Women were going to the factories, in the ’30s, between Sixth and Eighth Avenue, the textile factories. So, I never saw laziness. I never saw what they call poverty or victim behavior. Men stood up for their families. There were house parties. The music was fabulous. I grew up in the ’50s, so I remember Machito and his Afro-Cubans, who lived on 111th Street, and in fact, spans three generations. Before he died, he used to say, “I knew your grandmother; I knew your father, and now I know you.” And he knew my kids. It’s four generations of people that he knew. I grew up with Tito [00:16:00] Puente. I grew up with Tito Rodriguez. JJ: They were in your neighborhood? FL: No, no, Tito was from 110th Street, but he had already left, but Machito was still there. Tito Rodriguez was in Puerto Rico at the time. I loved it. So, A, I grew up with a tremendous sense of Négritude in being an Afro-Boricua. B, I grew up with a really refined ear because while my mother loved Latin music, my father loved jazz, so Billy Eckstine, Sarah Vaughan, Ella Fitzgerald, Gerald Wilson, Stan Kenton, Basie, Ellington were part of my -- Jimmy Smith, the big baritone horns, Gigi Gryce and Sonny Stitt, these guys were part of my background. Sonny Rollins and the others come later. Coltrane comes later. But that was it, Dizzy Gillespie, Chano Pozo. [00:17:00] In the ’50s, we also had, in the early ’60s, we had Johnny Pacheco with the pachanga. It was just -- Kako, Cortijo y su Combo. It was a tremendous time to be alive in El Barrio. And I don’t remember anything 9 �but love in that matrix. The one horrifying moment for me, traumatizing, is my father left. And I remember exactly when it happened. My mother had caught him with someone else. In those days, men strayed. It was part of the culture, almost institutionalized. You had your wife, and then you had your thing on the side. The difference was, is that my father pushed past the envelope. He had actually come into the community, and he was with her in the community, and people of course came and told my mother. And I remember my mother holding onto my arm and screaming at this woman -- she was a Jamaican woman -screaming at her, calling her -- I couldn’t believe it. My mother was Pentecostal and was holy, and the words that came out of my mother’s mouth. Well, after that, I knew it was over, and [00:18:00] I remember him coming in on an afternoon. It was an afternoon, a Saturday afternoon, and she had my had, and she said, “You’re not gonna come up these stairs. I don’t want you back in this house.” And I knew immediately it was over. I just knew. I knew we were in for a rough time. We were already going through rough times, but I didn’t really notice it because I had a mom and a dad. And I remember when, after they had made love, of course she never wanted this to happen, but I would run into the room because the air was full of love. And I don't know why people deny children the ability to be with them in intimate moments. I loved it. I don’t mean to be with them when they’re doing their thing, but I mean, it was just a lovely feeling. It was like star particles in the air, and I would jump in between my mother and my father, and I would just be in between them. And I couldn’t -- there was nothing -it was heaven, between my mom’s breasts and my father’s cross. He used to 10 �have a big cross. He was a boxer, so he’s pretty well defined, regular-looking guy. My father [00:19:00] always had this sense that I could do things. He never felt that I couldn’t, and I remember even at two, he would bring me a to Highbridge Pool, not too far from where we’re recording this, and he had taught me how to swim a little bit, and so I had to go from the middle of the pool, which is about 25 yards, to the end. And the first time, I choked. The second time, I choked. And then I told him, “Leave me alone, daddy. Leave me alone. Let me do it.” And I don't know how I got to the end, but I did, and he and I both congratulated each other, “Yeah, we did it!” And I didn’t need him to hold me under my stomach. My mother was more protective. I realized later on, my mother was never meant to be alone. She loved him dearly and continued to love him. She never went out with another man. I don’t understand this, but this is a breed of Puerto Rican women that was for one man only, and that was it. From what I hear and what she told me, [00:20:00] she really adored him, and he broke her heart. And she said that on that day, I was on the second-floor landing of the Johnson projects when she told him to leave. She said, “I was waiting for him to go up the stairs and push me out of the way and say, ‘This is my house. These are my kids. You are my woman.’” And she was sad that he didn’t. He was a strong guy. He wouldn’t take too much guff from anybody, but he wasn’t strong enough to do that. JJ: Can we get his name? FL: Jose Luciano. He’s now passed. It was traumatizing for me because I really needed my dad. It was a difficult time. And I knew when my mother was crying, 11 �tears were coming down her eyes, she, “I don’t want you to come up here.” And all he needed to do was, “Hey, it’s my house.” She said she wished that he could do that. She told me later that the reason she admired and respected me -- can you imagine a mother telling you this -- is because I would do stuff like that. I would say, [00:21:00] “I don’t care, mom. You could say what you wanna say. This is what I’m gonna do.” And I’d gently move her out of the way and do what I had to do. She said that’s what she admired most in me, my honesty, and I would never lie to her, whether I stabbed somebody. Whether I was high on drugs, whether I was in a gang fight, whether I had a woman in my room, two women in my room, whatever it was, I would tell her, “Mommy, this is what I’m doing, and this is what I’m happening.” So, my mother and I had a very tight relationship. She was 21 when she had me, so we grew up together basically. The beginning of the end was when he left, and I remember it because my mother lost a lot of confidence. We had to go on welfare. It was difficult. And I began to see what institutionalization can do and how an institution like welfare can destroy a spirit. We always had to struggle for clothes. We always had to struggle for food. I don't remember struggling before my father left. I was three when my father left, [00:22:00] but I remember before that, always eating. After that, eating was optional. Sometimes you had food, and sometimes you didn’t, and it was difficult for my mother. My mother was Pentecostal, so that helped her ease the pain. Evangelistic fervor helped her out, but it was a very repressive Pentecostalism. Women were not supposed to wear earrings, not supposed to wear pants. You couldn’t sit alongside men, very difficult situation for me. I don’t 12 �remember not being interested in sex. I don’t know this period that guys, little guys are supposed to have where they’re not interested. I was always interested in women, always. They were fascinating to me. And since I was always nurtured and loved by them, I became a bit spoiled. My grandmother thought I could do anything, and that, in the end, helped me tremendously, the love that she gave me. And my mother, even though I got whoopings, and I mean [00:23:00] I don't know how other cultures -- I know how other cultures handle punishment. Black folks, Southern in particular, will tell the child, “Go out and take a twig off the tree,” and hit you with the twig. Puerto Ricans are Spanish inquisitors. Theirs is torture. Theirs is you kneel down on a grate, on, you know, the grater you use for the cheese or on rice, and they beat you while you hold the Bible in your hands. It’s some sick stuff. My mother would make me smell the belt. She would say (Spanish) [00:23:32]. She would make me -- (Spanish) [00:23:35]. But before she would do that, she would say, “Take a bath,” because it hurts more on a wet body. I used to tell her, “Mommy, if there were child abuse laws, you’d be under the jail.” So, I got beaten a lot because I always rebelled. I was the oldest child. My mother had two more with my -- my brother and my sister, Margie and Paul, Paul and Margie. And I remember seeing the gangs, and that was where [00:24:00] -- I didn’t have a family. Remember, the family’s gone. I remember admiring these guys with club sweaters, with pompadours, mambo boots, tight pants, snap clothes, collars with thin, skinny ties, and how they protected us and how they seemed to be afraid of nobody. I remember admiring them even then. 13 �JJ: How old were you then? FL: Seven, eight. By the time I was nine or 10, I already knew what time it was. We played with the pump. We knew when to run when the cops came. It was already us and them. We already knew that we were poor. We already knew that cops were not our friends. JJ: This is in Harlem? FL: This is in East Harlem, in El Barrio. My mother made a conscious decision never to deny love, meaning that if -- in those days, Puerto Ricans [00:25:00] were very, very anti-Black. They moved away from anything that would suggest that they were Black or that they acted like Blacks, like American Blacks. My mother did just the opposite. My mother developed some very good friends in the Johnson project, Lorraine Mims, Marion, and she never allowed us to ever think that we were something other than we were. We were Puerto Ricans, and we were Black, not “but” we were Black, “and” we were Black. That was a wonderful thing. Now, the Puerto Rican community at that time would kinda look at her a little differently because she could easily move from talking with her Black friends from Charleston, South Carolina, and then going to speaking to some people from Ponce. She did it effortlessly. I do it to this day. I don’t even know when I’m moving from Spanish to English, from Black English to -- it is effortless for me. It’s the way I was raised. And by the way, I had many Black friends who were raised the same way. My babysitters [00:26:00] after my grandmother moved to California, my babysitters were all Southern Black women who taught me a lot about God, the God of the evangelical Black Southern tradition, and who 14 �gave me a sense of beauty and awe about God. Long story short, my grandmother decides one day -- I’m in the third grade now. My grandmother decides she wants to go to California. She’s tired of the affairs and all of the madness that her sons and daughters are putting her through. She goes to California with her youngest son Phillip. And she says she wants to take me with her. Now, there is a little-known law among Puerto Ricans that the grandmother has the right to take one child, even if you have a mother and father, but particularly if you have no man in your life, the grandmother has the right to take one. Now, in my grandmother’s case, I had an older cousin, but she liked me a lot because she was closer to my mother, [00:27:00] and she adopted me in a sense. So, she said, “And I’m taking Phillip with me,” and so me, my brother, my sister went, ended up in Wilmington, California, and I loved it. Even then, I had wanderlust. Even then, we traveled across the country for five days in a big, beautiful Cadillac, and I was in love. I saw Arizona. I saw deserts. I saw the wheat fields of Kansas. I mean, we went through the entire length of the United States. And we ended up in Wilmington, California, which I love. And for the first time, I was oil wells and palominos, Mexicans and Japanese, sun all the time. It was just a lovely time. I was in the fourth grade. We couldn’t make it, and we had to come back to New York. I was heartbroken. I tried to run away. I wanted to stay with my grandmother, and I definitely wanted to stay in California. Little did I know that my mother felt completely lost without me, she told me later. And I was the oldest boy, a little bright, [00:28:00] very, very precocious, so I had to go back with her. I was very annoyed that my mother wouldn’t let me go. I kept on 15 �saying, “Mommy, you don’t need me.” She said, “No, you don’t need me, but I need you.” And that was a strange set of circumstances. We come back to New York, and we ended up in the Foster projects with my aunt, which is Black and Puerto Rican area. And I started to learn how to fight. I never had to. Now, because I was in an area that was predominantly African American, it was a very different feel, though I was totally at home. We used to fight with our pinkies out like this, and it was guys like Cece and Big Ben and Junebug and Irving and all these cats who taught me to fight with my hands, chin in and my hands up. So, I learned how to fight, and boy -JJ: So, there was no conflict? So, it was just like playing fight? FL: No, yeah, it was playing, and we’d call ‘em champ battles, [00:29:00] but they were preludes to real fights. And the first real fight I had was in the sixth grade, I think. I had some minor scuffles, but the first one was John, over a girl, and he knocked me down, and I fell out. I acted like I was knocked out. Actually, I was too tired to continue fighting. And the guys from my building were watching me, and they say, “You’re never, ever gonna lose like this again.” So, they, for a year -- John Whitaker, his name was, by the way, a very smart brother, whose house I used to go to all the time. For a year, they would hit me suddenly, smack, so that I could always learn to block and block. It was fifth grade. By the time the sixth grade came, I challenged him to a fight outside and whipped him pretty bad, [00:30:00] due to the friends who taught me how to fight, how to block, and how simply not to be afraid. Puerto Ricans are traditionally very elegant, very noble people. They never wanted to confront. Black folk would confront, so I learned 16 �from them how to jump in your face and say, “Yeah, well, let me tell you something,” and not to listen to the words and the passion or the decibels of the scream. It meant nothing. Knock this boy out, and that was it. Harlem in those days, remember, I was much more at home. I remember the Muslims coming to 116th Street, the FOI, the Pompadours. (sneezes) Excuse me. It was a wonderful time to be alive. So, I learned another part of the side. Remember, I have the Puerto Rican side. Now I’m deeply immersed in African American. I remember Sweet Daddy Grace, I remember, who was a mystic or an itinerant preacher. And we had a Dominican gentleman, Black Dominican gentleman in the church that I grew up in, which is the first [00:31:00] Black Puerto Rican church, called Templo [Betel?], that new Billie Holiday, so he was swing. I mean, so I ended up with all of these influences, everything, Sam Cooke, Little Willie John, Johnny Ace, Tito Puente, Johnny Pacheco, Machito, I mean, all of it, and I’m just a sponge. Cracktop, we used to play tops, and skelly and ringalario and Johnny on a pony and all that stuff. Well, that had to end, so my mother decided that she had apply -- we were living with my aunt, and we decided to go to Brownsville. So, we go to Brownsville, and that’s when the gang situation came in. Now, I’m leaving Harlem and East Harlem, familial, close, everybody’s family, knew one another, and I go to Brooklyn. Brooklyn was warrior city. JJ: Why was it warrior city? FL: Brownsville, Brownsville. Because everything in Brooklyn was based on your pecking order, everything, whether you got lunch, whether your sister was going 17 �to be protected, [00:32:00] whether your family. Everything was based on whether you could fight and who you could hurt, and in Brownsville -JJ: Was it always like that? FL: Brownsville has always been like that. I don't know what -- Brownsville is where Murder, Incorporated started, so it’s been like that since Jews and Italians were there. There is something about Brownsville that nurtures crime, that nurtures warrior, that nurtures fighting. I tell people all the time, if you think that Harlem is rough, now you think Black folks from Harlem, try Brownsville. Brownsville is serious. They like that. They fight in the wintertime. I couldn’t stand fighting in the wintertime. My hands were too cold. But their thing was, “Throw your hands up, baby. We’re going at it, and we’ll shoot you to the cross.” So, Brownsville gave me a whole ‘nother patina as a warrior. I hated it. I was inferior a lot of the times, but I had a brother and a sister, and I had to protect them. So, I joined a group called the Frenchmen, and the reason I joined the group is my cousin came to me from Canarsie with a beautiful coat, and we were walking to his house, [00:33:00] and a guy put a knife to his neck. And I saw it almost puncturing his skin, and I ran to get my cousin. I say, “Hey, man, you’re gonna hurt him.” And the other, his friend, put a knife to my throat. I was not scared. For some reason, I was not scared. In my mind, I said, “I hope he kills me, because if he doesn’t, I will hunt this brother down.” I never saw them again, so they must’ve been from another community. They took his coat. After that, I said, “I’ll never let this happen again,” and I joined a gang called the Frenchmen, and I never looked back. I became a gangbanger, and I mean to the best to the 18 �best of my ability, we robbed pigeons. We beat up people, and I just -- all of the anger, all of the frustration in me was translated in gang activity. My mother knew something was wrong but not quite sure. We would walk. People would tell her, “Your son is in that gang, and I’ve seen him beating up people and him fighting all the time.” I said, “Mommy, that’s not true.” I lied. I never lied to my mother. One day, she said, “Something [00:34:00] is wrong here because every time we walk up to Livonia, we walk up to Blake or Sutter, you kinda hug me close,” because we’re walking into enemy territory. In those days, they didn’t hit your mother, so they left me alone. I said, “Ma, yeah, I’m in a gang. I’m in a gang. I have to do it to protect myself,” and so she knew that something was wrong. Simultaneously, I’m also very bright, didn’t know how bright I was. I had a teacher named Ethel Shapiro who literally saved my life. She saw that I was in a gang, saw that I was antisocial, saw that I was constantly moving into destructive behavior, and started nurturing me, and I mean nurturing me. Ethel Shapiro taught me the beauty of the English language. She also taught me Yiddish, taught me Jewish history. I became a Judaism freak. I mean, I learned everything about Judaism there was. She taught me the Shema prayer, “Here, O Israel, the Lord thy God is One. Shema yisrael Adonai eloheinu Adonai echad.” I’ll never forget it. She taught me Yiddish. She taught me how to eat sable. [00:35:00] She taught me how to eat whitefish. She taught me. I mean, she literally raised me as if I were her son. She would take me in the back and go through Torah with me, and the mitzvahs, and I learned words like meshuggeneh. She would say, “He’s meshuggeneh.” And I’d say, “What does that mean?” “It means he’s crazy.” I grew up, I had the 19 �best rabbinical education in the world. I ended up becoming very good friends with the Orthodox on Eastern Parkway, the Lubavitch, and I still have great friends there after all these years. I was a [jitterbug?], but I would go up there to see them. Can you imagine that sort of juxtaposition? Miss Shapiro gave me a sense of the possible, and so I learned that I had a brain, and I learned I could write, and she loved me into that. My mother was starting to get very scared. In fact, Miss Shapiro used to accompany me home all the time. My mother knew something was wrong. Miss Shapiro would hold my hand. I said, “Ethel don’t make me hold your hand. These are all Black men watching me.” She said, “So, you’re afraid of a white lady [00:36:00] holding your hand?” And sure enough, she’d walk me through the things after we did afterschool work. And my mother, fearing for my life, took me to California again. This time, we went to LA, and we lived in East LA, which was all Mexican at that time and all gang ridden. I loved it. I loved it because I was a novelty. Here was a Black guy who spoke Spanish and felt totally at home with Mexicans, totally. I had one fight. Of course, you have to have one fight to find who you are in school, went to Hollenbeck Junior High School, and became vice president of the second-largest school in LA in three months. Now, it’s difficult to explain this, but LA is so huge, that if you’re the second largest, it’s like a second city. It’s like a city. JJ: What was the name? FL: Hollenbeck Junior High. Ken Naganishi was president. The only reason he became president, I really got more votes than him, is because I hadn’t taken a civics course, or else I would’ve become president of the school. So, [00:37:00] 20 �here I am again in paradise. My antisocial behavior, my gang activity, I just dropped it like a bad habit, and I was proud. The gangs in the neighborhood in Aliso Village came to me to join, and I said, “I can’t join.” I said, “I’m not going to join, and I’ll tell you what we’re gonna do. If you guys are ever in real trouble, you can call on me, but for now I can’t because I just came from gangs. It would break my mother’s heart. Just do me a favor. Protect my family. You protect my family and leave my family alone, and I will always be there in extreme situations.” They said okay. I was doing well, shotput, junior shotput. I was running the full 40. They were already thinking of UCLA for me, even in junior high school. They said, “This kid is smart. He’s good.” I was going to go to Roosevelt High, but they wanted me to go to another school because Roosevelt was so gang ridden, blah, blah, blah. Went out with a Japanese girl, Ruth. I was in love. I just was happy. My mother couldn’t make it. Here was the turning point. I had told the guys that they had to protect my family. My cousin, who had been in a gang in Brooklyn, was sent to California. He was still into the gangbanging thing. And he went out with a girl who he was told not to go out with. Now, the way gangs work is there’s certain laws that you have to follow, and if a guy tells you, “Don’t mess with my girl,” you don’t mess with his girl. But he did because he thought he was a tough guy. He’s from New York, and he had an arrogant attitude, and they came up to me, Sparky, I’ll never forget, and said, “Your cousin is going out with my girl, man. I don’t like it, man. Please tell him to stop.” I said, “I’ll tell him, but don’t hurt him.” He said, “Okay, but you gotta tell him.” So, I go up to Jose, and I told him, “You can’t fool around with this girl. I 21 �mean, it’s not good for us. I mean, we’re under the aegis of this gang, and you’re --” “Oh, man, these punks ain’t gonna do it. They’re just California hicks.” Well, [00:39:00] they caught him one day, and they put a hatchet through the window. They almost killed him, and they came running to me. “Your cousin, they’re gonna kill your cousin.” I ran to the backyard. We had backyards in California, two-story houses for projects, if you can believe it. You had your own little house. And I said, “Sparky, you said you were not gonna hurt my cousin.” He said, “I told him, and I told you to tell him.” I said, “But that’s my cousin.” He said, “You told me to protect your brother and sister. That’s your cousin.” I said, “It’s still my family, man. That’s how Puerto Ricans roll. This is all family.” He said, “I don’t care. I’m not Puerto Rican.” And I hit him, bang. The whole group jumped on me. I just got one shot, but I caught him flush, and we were rolling. I put my arms under his armpits, and they were hitting me into him because I put my neck under his chest. And it was real bad. Now, they were trying to hit me with the hatchet, the same hatchet they tried to kill my cousin with. Everybody ran out. My mother ran out. My aunt ran out. Both of them fainted, speaking tongues, all that stuff. My little old grandmother [00:40:00] came out, four foot, I don't know, it was five-foot-one? I don’t know how she separated us. She was talking to Sparky in Spanish, and Sparky was saying, “Yes, ma’am. Yes, ma’am.” I’ll always remember his respect for her, “Yes, ma’am. Yes, ma’am.” But he started him, and she, (Spanish) [00:40:16]. And she was talking to us like that. He said, “Yes, ma’am. Yes, ma’am.” And when she separated a little more, I hit him again, bing, and then she turn around and smacked me. And he liked that 22 �because she was being fair. Then she invited us all in for Kool-Aid, and that was the end of that gang fight. We resolved it. But my grandma said, “I can’t have you guys here,” and she sent us back to New York, sent my mother too. I knew that it was time lights out for me, and I told my mother. I said, “Ma, if we go back to New York, I’m not gonna make it. I’m gonna be back in the gang, and I know it. I can feel it in my bones.” But we came back to New York, and within two years -- I was 14 -- by 16, I was in for murder. Somebody had [00:41:00] messed with my brother, a gang in Bushwick. We had moved to Bushwick, a hovel of a one-bedroom, rats. Oh, it was horrible. Bushwick was, oof. We lived on Granite Street. I met some good friends there, friends I still have, but it was a very difficult situation for me. JJ: You’re wanted for murder. Where did you go to? FL: We hurt this guy, and one of my friends stabbed him. I was the ringleader, so we all went up. I went to Elmira, and then I went to Coxsackie, which is, again, gladiator school, and did two years there, came out, miraculously. And when I came out, I was 18. Some teacher took some [HARYOU act?], sort of [antibody?] program, took a test at me, looked at my marks, and said, “This kid is smart,” and sent me to Queens College. There was a program for ex-cons there, because no other college would take me. CCNY rejected me. Brooklyn rejected me. But Queens College, way out in the sticks, I thought, Kissena Boulevard in Flushing, NY. I went there, [00:42:00] and I became one of the five cons who was in the program. All of us did well, by the way. And I didn’t know this, but I had a propensity for scholarship. I did very well. The first semester, I got an A- 23 �plus in philosophy, in fact, an elective course called Aesthetics run by a guy named John McDermott. Math was hard. I had to take physics for physics majors. I got a D-plus in that, and I was so happy I just got a D-plus. At least I passed. I did well. But I met a guy named Saul Resnick, who was a socialist, and he began to teach me about revolution. And after I read about the French Revolution, after I read about -- what was it -- The Federalist Papers, after I read about all of the major pamphleteers at the time, Franklin, Adams, Madison, the arguments, Rousseau, we were reading Marcuse. We were reading, I mean, just Mumford. I was involved in new thought. I was also reading Stokely Carmichael and Charles Hamilton, Black Power. I started teaching courses. Even though I was still in school, I was teaching Black power courses. So, as soon as I come out, I’m in Queens College, I join a group of poets called The Last Poets, and I become the first Puerto Rican member of that group, and the last, and we start going across the country doing -- we were the spawners. We’re the godfathers of the hip-hop movement. I meet Rap Brown, Stokely Carmichael, Field Marshall Donald Cox, Bobby Seale, James Forman. Rap Brown became my main (inaudible), best man at my first wedding, with Iris Morales. And [00:44:00] I was in. Now, eventually, the poetry led me into revolutionary activity. Puerto Ricans would come to The East Wing, which is the loft we had on 125th Street, and would keep on telling me, “Yes, you’re Black, but you’re Puerto Rican, and we need you here.” And I didn’t think Puerto Ricans were ready for armed struggle. I went through cultural nationalism with Amiri Baraka, who I still love and support and befriend to this day. We had a mutual defense pact. If they messed with his 24 �people, I would be there. If they messed with ours, he’d be there. He had a group called Committee for Unified Newark. Just imagine this now. Imagine the poetry. Imagine looking at Albert Ayler, Sun Ra, Leon Thomas, Pharoah Sanders, Nikki Giovanni, Barbara Ann Teer and the National Black Theatre. It was the most incredible time to be alive. At the same time, I was also listening to [00:45:00] Ginsburg down at the Nuyorican Poets Café. I would meet with him all the time. Ezra Pound lived on my block in the East Village. I was going out with different cultures, Ronni Brown, who was Jewish, who helped me run guns at that time, Joan Meinhardt, who was my teacher (laughs) at the time but who I loved dearly, who I left. JJ: What do you mean, “helped you run guns”? FL: Ronni, we needed -- Rap and I were building a cell. Rap was building a cell, and we needed guns. And we had to transport it from one place to another. Rap was never a racist, and he would say, “Well, if that’s your girlfriend, that’s your girlfriend, but we need a car.” And I sat with her, “Ronni, let me drive.” I said, “Let me drive.” I said, “Anything happens, I’ll say I stole it.” She said, “No. If anything’s gonna happen, I’m gonna drive the car because you can’t drive. You don’t have a license. I’ll drive it.” So, this little Jewish girl form Bayside, New York -- may she rest in peace; she died, and I loved her dearly, maybe didn’t show it as much as I should have, but I did -- [00:46:00] helped me transport the guns to Rap. Rap and I were part of an underground cell, along with Sam Melville, one of the finest bombers I’ve ever met, and a few other guys in that cell, and we did what we had to do. I never met a more brave warrior in my life, 25 �bar none, black, brown, white, yellow, polka-dot, red. Rap Brown was, and to me, still is, one of the finest warriors in America and taught me a lot and was the one who told me, “You got to go back into your own community.” And I said, “I’m not -- I’m here. I’m a Black Puerto Rican. I’m helping define cultural nationalism, revolutionary nationalism, socialism.” He said, “Felipe, your job here is done. You put the B in Black nationalism here on 125th Street, you, and Gylan Kain, and Amiri Baraka and Larry Neal and the Braith brothers,” the Braithwaites, I mean. We were doing tremendous jobs, organizing workshops, but he said, “Your job is [00:47:00] to go back to your community and work with it.” So, Mickey Meléndez, David Perez, Denise Oliver, Yoruba would come over, and I wasn’t part of the group yet, came over and got me, recruited me to start a group called La Sociedad de Albizu Campos, and we started there. JJ: What year was this? FL: This was late ’68. JJ: And where was that at? FL: Pardon me? JJ: Where did you start it? FL: Where did we start? JJ: Yeah. FL: In El Barrio. We would have meetings all the time. Little did they know that I had already started a group. I had been trying to work with Victor Hernández Cruz and another guy named George Rivera. I had already gone to Bobby Seale before I met these guys and tried to start a Puerto Rican group. I’d gone to 26 �Bobby and James Forman and a guy named Pennywell, if I’m not mistaken. And I said, “Bobby, I’d like to start --” Thank God, we got a meeting with him. I was in awe. He always very humble, very noble man, and he listened to me patiently. James Forman was looking at me with aspersion, looking at me like I was [00:48:00] not equal to him. Let me just put it to you that way. And he said, “What do you want to do?” I said, “We’re ready for armed struggle.” I had already bought my first rifle. I was ready. I can’t explain to you what it felt like at that time to see the destruction of a community in stages, just started crumbling right underneath you. The Barrio that I came back to after jail was not the Barrio that I had left, warm, familial, music, gangs that protected. This was a Barrio that was riddled with drugs, riddled with materialism, and everyone was looking out for themselves. Nobody was caring for families, older people, young people. I was in shock. I was traumatized, and I knew something had to happen. And I saw cops beating up dope fiends. It was horrible. Families were broken. Families that I knew had mothers and fathers suddenly were by themselves. The women were by themselves. So, I wanted to do something, and [00:49:00] I was caught up in the fact that King had died. King was killed. In fact, I left my teacher, Joan Meinhardt, because I couldn’t live with her. I just couldn’t. I just had to fight. I had to be as Black as I could, and she said, “You’re gonna get killed.” I remember leaving her house on Bank Street with her screaming in the background. It’s a hard image. Anyway, I went with Nikki, and I went with the other Young Lords, not Young Lords at the time, and we started cleaning up the streets. 27 �JJ: Before that, there was a couple other groups. Was it The Pickles or something? FL: Yeah, there was another group with Pickle. JJ: They were Young Lords too? FL: They were part of us. The original Young Lords was me, David Perez from Chicago, Pablo Guzmán, Juan Gonzalez, and Fi Ortiz. Three of us were Black Puerto Ricans, which was interesting because that had never happened before, [00:50:00] big ol’ fros. And we started recruiting. And then we had hooked up -Fi had introduced -- we had hooked up with Pickle. JJ: Yeah, because Fi was with Pickle, right? FL: Right, Fi was with Pickle. Fi was part of a gang thing, and so we had recruited him. JJ: (overlapping dialogue; inaudible) was called the Young Lords, the gang? FL: No, it wasn’t called the Young, not that I know of anyway. But these were good guys, and I liked them, and we got along pretty well. And we all came together. Eventually, through attrition, people began to -- because we began to really deal with scholarship, began to deal with reading, began to deal with a refining period, and a lot of street guys either couldn’t or wouldn’t handle it. So, we realized as we were organizing that we’re spending more and more time on the streets than in classroom. We had to make a decision, and it was a difficult decision to make, not for me. I was definitely afraid of exams. I had got a D-plus in physics, so I didn’t want to go through that again. I left college. It was a [00:51:00] tremendous amount of anger in me. JJ: So, you guys were the organizers. 28 �FL: We were the organizers, the primary organizers for us. There were three colleges involved, CCNY, which is where we’re taping this today; Queens College, me; Nikki had gone there for a while; and the University of Old Westbury, which is where we got Denise Oliver, Pablo Guzmán, and David Perez, and [Moon?] too and a few others who had been there. Before I go any further with this, I should add, and this may come as a shock to most people, one-third of the party was African American, all supporting Puerto Rican independence. So, that nonsense that you cannot have people from other cultures supporting your particular ideological aims and vision is not true. The one-third of that group were all Muslim, so think about that. My brother, Lucky, [00:52:00] older brother, was one of the first Puerto Rican Muslims here in New York City. He’s dead now. Now we realize we’ve got to do something. We start with, I had a little group called the Harlem Action Committee, a little anti-poverty program we start. We asked the people, what do they need? And we really meant this. We took a little poll. [And we told the viejitas?], and I thought they were going to say they was tired of our kids being beaten up by police. I thought were going to talk about welfare. I wanted something that was a real target, something that was romantic and bold and violent. They told us, “Could you just pick up the garbage? Could you get the sanitation department to pick up the garbage?” My ego was so deflated. I mean, that just took the wind out of my sails, but that’s what the people wanted. Number-one lesson in revolutionary activity, listen to the people. Listen to their wants, their needs, and their visions. It’s the first thing you gotta do. So, of course, we decided to test it. We 29 �[00:53:00] swept, and we’d put the garbage in plastic bags and put them on the corner very neat. First weekend, nobody came. They would come Tuesday. Now, after a weekend of summer activity, and as you know, we drink a lot of beer, it smelled a lot. So, what we did is we decided to test it to a second week, and we did it again. By the second week, we had had it. JJ: Is that once a week or -- FL: Yeah, it was a once-a-week pickup and particularly on weekends, and they weren’t coming that many times. And if it was a two-time-a-week thing, it wasn’t enough for the garbage that was being produced. JJ: That you swept. FL: Yeah, that we swept. So, there was also community garbage. So, the first thing we needed to do was get brooms, and we went to a garbage station, and we told the guy, “Look, we need brooms.” [00:54:00] I remember this guy, kinda portly, who looked at us with such disdain. I said, “Well, could you give us some brooms? Could you let us borrow ‘em? We’ll bring ‘em right back.” “Who the hell are you?” Now, remember, I’m from jail. I don’t fear anything but God, and He and I have problems. This guy was telling me I couldn’t. I just pushed him, boom, to the side. And I remember the looks on the Lords, because I think they were thinking the revolution was romantic and that you could talk about it, but you can’t do it. But I’m coming from the Brooklyn House of Detention, where cats are getting raped, and we’re talking about [yaku?] and the white man and 66 million years of caveman activity, and Black men should do for self, and I’m coming out of the projects, where everything was about confrontation. This man 30 �was not a problem. We went and took the brooms, and we brought ‘em back. One thing I will add is that every time a leader [00:55:00] makes a moves or makes a move that is out of the ordinary for the group, something happens to the group. They begin to see him a little differently, some envy, some jealousy, just light, and it’s almost unconscious. But the seeds of the destruction of the Lords started right around there. But I’ll give you some other examples, and we gotta go because you gotta get outta here. JJ: Yeah, we’ve got about 15 minutes. FL: Okay. We put the garbage on the streets. Sanitation didn’t come. We put the garbage on the streets, and it stopped traffic. We didn’t know that when you stop traffic, you stop commerce. We did that for several weeks running. It was called The Garbage Offensive. And when the cops started realizing that we were going to do this every Saturday or every Friday evening, they decided to come in squads of sanitation men and police cars and throw the garbage out and put it into the garbage. [00:56:00] So, what we did is we set fire to them, and so they could do it, towering 10 feet of fire. That was the first offensive we had. The second offensive was the church. We started doing breakfast program based on what the Panthers had done. We decided to build a breakfast program. It was enormously successful. We were having a problem delivering food, just didn’t have enough, and when we went to the bodegueros, they would give us a hard time. Sometimes they would give it to us out of, you know, ay bendito stuff. I get a call from a guy, one of the street guys I knew, said, “Felipe, somebody wants to talk to you down the block.” Now, the only guy down the block was the mafia 31 �guy. So, I went down there into his warehouse, and he says, “I like what you guys are doing.” He was half Puerto Rican, half Italian. He said, “I like what you guys are doing. You’re not messing with any of our businesses.” Because I asked him, “Why am I here? Did we do anything? Is there [00:57:00] something we need to resolve?” He said, “Nah, take it easy. Sit down.” And he kept on looking on me. He said, “You need anything?” Now, when the boys ask you, “Do you need anything,” you know there’s going to be a quid pro quo, so I said no. He said, “You sure?” And something in me said, “Tell him.” I said, “We’re having a hard problem getting food.” He said, “Like what?” I said, “Orange juice, milk, bread, eggs, bacon.” Shook his, just going like that with his head. He said, “How much do you need?” I said, “A lot. We serve a lot of kids.” He said, “Tomorrow, you’ll have no problem. Go to any store in East Harlem, no problem.” The same bodegueros who gave us hard times and sometimes would curse us, had the stuff ready for us when we got there, which just shows you the power of power, the nature of power. He had put the word out, “Give these kids anything they want.” Our breakfast program was tremendously successful. Then we went on to a garbage offensive, I’m sorry, to a hospital offensive, and we took over Lincoln Hospital [00:58:00] because so many people were dying. We had found out that a Puerto Rican woman had died from a simple scraping, and we decided to take that hospital over. We took over a TV truck. But going back to the breakfast program, we couldn’t find a place to cook the food. And we went to this one guy, the First Spanish Methodist Church on 111th and Lexington. I remember I used to go to preschool there. And the Cuban minister told us that we were 32 �Castro-ites and that we were not to be even tolerated, threw us out. So, for six weeks, we went there, and on the seventh week, I couldn’t take it anymore. I stood up to talk on testimonial Sunday. I ran to the front of the church. The cops told me, “If you don’t --” He had cops in the church, the minister, made sure that he had cops there. We were shocked because this was supposed to be a sanctuary. We didn’t want to hurt them. Well, he told me, “Well, Mr. Luciano, it’s either here or outside.” I said, “Well, then we’ll do it right here,” and that’s when they began to beat the hell out of me. It’s the second-worst beating I’ve gotten in my life. I almost fainted. [00:59:00] There was a little voice that said, “Go to sleep.” By the way, when the voice tells you, “Go to sleep,” don’t go to sleep. I caught one in the face. I caught another one with my elbow, but I was overwhelmed, and they broke my arm in two places, and they gave me about eight stitches, seven, eight stitches in the head. I was a little in shock because the other Lords were in the back, and they were looking from the pews. I was hoping that I’d get some help. I began to realize the limits of revolutionary fervor. I was a true believer, coming out of a Pentecostal background. Thirteen of us were arrested. That gave us a reputation worldwide. It went around the world. Jane Fonda came to our church. We opened up the church. Oh, what happened is they bust us; they tell us we can’t go back to the church, so the next week after they arrest us and beat us up, we took the church over, and we opened it up for breakfast. JJ: That’s when people got arrested or -- 33 �FL: No. The people got arrested the first time. [01:00:00] After we took over the church, we kept it open for a month or two, and they arrested all of us. JJ: That’s what, about 100 people who were arrested? FL: Yeah, in the second, after we had finished the breakfast program. There was some voices of dissension. We were having some problems. A, we had guys that were -- I believed that certain people should never be allowed to join the party, particularly those who talked a lot but weren’t ready to throw down. One guy came into our office and said, “I could make bombs outta bulbs,” and said just too much. And I told him, “Either you’re an agent or a fool.” His name was Julio Roldan. He got busted on one of the last garbage offensives and couldn’t handle it. [01:01:00] Incarceration is a very strange thing. I’m not putting this on him. I’m just saying that some people can handle this; some people can’t. He hung himself. The Lords lied. I was already out of power. The reason I was out of power, I was demoted, is because I had made love to -- Yoruba and I went to a woman’s house. They were informants. We didn’t know it at the time. And I went to their house, and they started talking to me. Yoruba went into the room with one. I went in, stayed in the living room with another, and she gave me some pot. The pot immediately got me sick and woozy. I did not feel well. I almost felt suicidal. I told her, “The window is too open. Can you close it?” She opened it up even more. I didn’t know it, but I was being drugged by PCP, and I found that a lot of revolutionaries had been drugged like that. And it must’ve been a massive dose because I had only taken two puffs. [01:02:00] Something in me said this woman is an agent, and it’s too late for me. I couldn’t move. And 34 �I said, “You got me up here. You better bring me down.” Somehow, I stayed up 12 hours, and I threw up. Now, after I threw up, for some reason, I wanted to get back at -- I wanted to conquer, and so I made love to her, or whatever you call it. I don’t think it was love. Yoruba walks in, sees me. Pablo sees me. I knew that there was some sort of jealousy maybe, envy, with most of the guys. I saw this in the Central Committee. I was a two-fisted bro, which is what we needed at that time. There were people in the party who told me that the guys who were Central Committee members at the time, while they liked me, they weren’t exactly in love with me. But the liked the fact that I could lead people and that I had a very good touch with folks in the street. [01:03:00] So, Yoruba comes in and sees me on this woman, and he’s in shock, and he goes right back into his room. I get up. It’s all over. As we were going back home, we were supposed to report every 24 hours, and we hadn’t. And as we’re coming out, I said, “Pablo, don’t tell. Don’t go to the party office and say anything. I will tell.” I was married to Iris Morales. I was married to one of our party members. And Yoruba goes right back to the office and tells everybody. So, from a street point of view, he was wrong. From a revolutionary point of view, he may have been right, but I thought we had a relationship. And he should’ve said, “Let Felipe explain it to you. Let the chairman explain what happened. I’m not going to say anything ‘til he comes.” Didn’t happen that way. Well, I was accused of male chauvinism. The party got into my business, the relationship that I had with Iris. JJ: (inaudible) male chauvinism because you were married? 35 �FL: Because I was married, and I went [01:04:00] with this white girl. This is no justification, and there’s no reason to bring this up, but I’ma bring it up. Everybody was doing everybody in the party, even dope fiends. The majority of the defense department were all drug addicts, and they were [screwing with?]. In those days, AIDS was not thought of, so people had boyfriends who were drug addicts. Denise had one. Myrna had one. We had a lot of -- it was okay. It was the way. You know, drug addicts were part of our family. Anyway, I was accused of male chauvinism and unclear politics, and I was demoted. The demotion was so severe to me. I put my lifeblood into this organization. And to make a long story short, Julio Roldan is -- so, I’m demoted, and I feel just such enmity, such venom, vitriol from the people that I helped organize. So, in the interim, the party had decided to [01:05:00] take over the People’s Church again with guns because Julio Roldan had killed himself, and they lied and said that Julio Roldan was killed by police. It was a lie. Yoruba knows it was a lie, will admit to it to this day. And they used that as an organizing tactic. I would’ve never agreed with that. You never lie to the people. They take over the People’s Church with guns, some of the guns that I had bought, and they take over the People’s Church, and people rally to their cry. It was romantic. It was the worst move they could’ve made. When I walked into the People’s Church with the guns, I noticed that kids, that the members, high-ranking members were not supposed to be (inaudible). I said, “Well, who’s here? Who’s gonna fight it out?” There was nobody of any importance. I said, “This is ridiculous.” I got very pissed off at the way it was handled. I thought there was no planning in it. [01:06:00] It may have been 36 �romantic. And I saw a kid, about 12, with a break-over shotgun, a break-gun shotgun, just taking 30-caliber bullets, and it was sliding. He said, “I wonder why this is happening.” I said, “My God.” I remember asking David, “David, how are you gonna escape? Do you have access? Do you have access?” And he goes, “You have an escape plan. Before you think of any battle, you think of strategy, tactics, and possible escape routes.” He said, “We’re gonna drill through the wall into the subway.” I knew he had already developed what we call siege mentality, where you think the impossible is possible. But what really got me mad is nobody in the Central Committee was going to be in there when the cops came, when the shooting was going to start. So, I had called a meeting, Pi and I. I said, “I can’t believe how cowardly you guys are, how ill-planned this is, illconceived. I’ve seen things I would never have believed that you would plan it this way. Are you trying to compensate for me not being here [01:07:00] anymore? Are you trying to tell people you’re tough guys? There’s a way to do this, and this is not the way.” And I took my beret and threw it into the middle of the room. Nobody moved. Pi and I were pretty good with our hands. But they could’ve moved. They didn’t. And I left. Immediately after, about three months after, I hear that Pablo’s going out with -- and I knew this was COINTELPRO. COINTELPRO was working overtime. Yoruba’s now going out with Iris, and in those days, I was a Puerto Rican macho, and I was going to kill him. Thank God I didn’t. I loved his mother; I loved his father, and I love him. I love Iris. I love all of the Young Lords, and while we may have had our differences, I think we were divinely ordained to do what we had to do. So, just to show you how still into the 37 �streets I was, I had a knife. I was ready to stab Yoruba because he was going with Iris. Oh, my God. [01:08:00] Thank God. Here’s the end of my story. As I’m ready to stab him, I was looking for the right spot in his neck to stick the knife into the jugular, and the former defense department that I knew were waiting on a line, three of them, to put me into a car to drive me to safe houses that Mickey Meléndez was supposed to have set up. As I’m ready to stab him, I just happened to look in the sky. Went like that just to get him off focus so that I can - when you go like this and the other person goes like that, and you go bing, and I saw the New York Post, and I swear to you, I said, “YLP destroyed by love triangle,” and I said, “Oh, my God. This is the government.” Even if it were true, first of all, no man has a right to tell a woman who to make love to. If you’re separated from her, that’s it, and no is no. And I remember Iris saying, “You think you’re so tough.” [01:09:00] I remember her, hearing her voice. “He’s softer than you,” or, “He’s not as hard as you.” The voice was slowly -- I said, “You deserve each other,” and I left them both, and I walked away. I am very happy I didn’t kill that boy. He’s a great reporter for CBS. He’s a great writer. It would’ve destroyed his mother and his father, whom I loved dearly. His kids wouldn’t have had a father. Iris has turned out to be a great lawyer. She now runs MNN, the public TV. And everyone turned out fairly well, with the exception of the defense department, all the drug addicts, Bobby Lemus. These are the guys that I feel them; I live with them, Robles, Bobby Lemus, Georgie Littleman, my brother Lucky, GI, Frenchie, [01:10:00] Huracan. These were all of the people who didn’t make it. That is, after the Lords, the subsequent illnesses that develop out of 38 �heroin addiction killed them all. But they’re the ones that I owe a great deal of gratitude for, and they’re the ones I love. And to this day, my mission, as I’m in seminary school right now -- I’m in the last year of my master’s program in Union Theological Seminary -- my mission is to those, the marginalized, the criminal, so-called, the oppressed. I’m not interested in the do-gooders, the nice kids, the predisposed. I want hardcore, men and women who just, it’s like this, who do or die. Those are the ones I love, and those are the ones I’m committed to. JJ: Any final thoughts, or that was it? [01:11:00] FL: My final thoughts are I wish that the Young Lords would get over the past. We continue to hurl accusations at each other that have kept our community from moving forward and us from moving forward. We need to heal old wounds. We need to say, “I’m sorry,” because after my demotion, the Lords ended up in a feeding frenzy. They beat each other up over who spoke Spanish and who didn’t. Many of the Black members left because they felt unwelcome. We went through a cultural nationalism phase. We went to Puerto Rico, which was illconceived, bad. And we began to eat each other up. Remember that when you cut off leadership, I’m not saying it’s just for me, but when you cut the head off and don’t try to nurture leadership, while I may not have been the best, I knew I was good at what I did. They also cut themselves off from community, which was my forte. It’s not that I’m better. Everybody has a gift. [01:12:00] Yoruba’s gift is public relations. Yoruba could get press when anybody could. Juan was a great strategist. David was a fantastic community person. [Jíbaro?] up to the bone and gave us that Puerto Rican edge. And Fi was a great gang person, and of 39 �course I was an orator, so we had a wonderful conglomeration of great people. Eventually, we also had to remember that we didn’t have women, so Iris came in, and Denise came in, and Gloria came in. And of course, they started blaming a woman named Gloria for having engendered all of the problems in the Lords, which are not true. They allowed it to happen. And we ended up killing, hurting each other. COINTELPRO was behind every one of those moves, every one of those moves that helped to destroy the party. My last thoughts are that we’re now in our 60s. If we could just tell each other how much we love each other, Fi, David, Iris, Richie Pérez is now dead, but if we could just get [01:13:00] by this and say, “Look, I forgive you,” as I do, Pablo, as I do, Iris, as I do, Pi, as I do, Huey, as I do all of them. If we could just say, let us now begin to work on a new version and leave a legacy of love, militancy, intelligence, scholarship, and revolutionary activity for our children so that our kids could get to know each other, so that our communities could heal, we need to do that. And so, if I could say anything to whoever’s watching this, and to the Lords who may be watching this, is that let’s get past the past. We are new creatures. Let’s forgive each other. Let’s walk hand-in-hand into that new future. JJ: Thank you very much. END OF VIDEO FILE 40 � https://digitalcollections.library.gvsu.edu/files/original/1a1ebf1a457114216024c6b0eeb2757a.mp4 b036a1f968ea849b57c6a00533bca272 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Young Lords in Lincoln Park Collection Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Personal narratives Social justice Community activists--Illinois--Chicago Description An account of the resource Collection of oral history interviews and digitized materials documenting the history of the Young Lords Organization in Lincoln Park, Chicago. Interviews were conducted by Young Lords' founder, José “Cha-Cha” Jiménez, and documents were digitized from Mr. Jiménez' archives. The Young Lords in Lincoln Park collection grows out of the ongoing struggle for fair housing, self-determination, and human rights that was launched by Mr. José “Cha-Cha” Jiménez, founder of the Young Lords Movement. This project is dedicated to documenting the history of the displacement of Puerto Ricans, Mejicanos, other Latinos, and the poor from Lincoln Park, as well as the history of the Young Lords nationwide. Creator An entity primarily responsible for making the resource Jiménez, José, 1948- Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park collection (RHC-65)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-04-25 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Language A language of the resource eng spa Type The nature or genre of the resource Moving Image Text Identifier An unambiguous reference to the resource within a given context RHC-65 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2012-2017 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Título Spanish language Title entry Felipe Luciano vídeo entrevista y biografía Descripción Spanish language Description entry La historia oral de Felipe Luciano, entrevistado por Jose 'Cha-Cha' Jimenez el 3/15/2013 acerca de los Young Lords en Lincoln Park. Sujetos Spanish language Subject terms Young Lords (Organización) Puertorriqueños--Estados Unidos Derechos civiles--Estados Unidos--Historia Lincoln Park (Chicago, Ill.) Mexicano-Americanos--Relatos personales Justicia social Activistas comunitarios--Illinois--Chicago Mexico-Americanos--Illinois--Chicago--Condiciones sociales Relaciones raciales Conflicto social Identitad cultural Partido Pantera Negra. Illinois Capí­tulo Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/491">Young Lords in Lincoln Park (RHC-65)</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-65_Luciano_Felipe Title A name given to the resource Felipe Luciano video interview and transcript Creator An entity primarily responsible for making the resource Luciano, Felipe Description An account of the resource Oral history of Felipe Luciano, interviewed by Jose 'Cha-Cha' Jimenez, on 3/15/2013 about the Young Lords in Lincoln Park. Contributor An entity responsible for making contributions to the resource Jimenez, Jose, 1948- Subject The topic of the resource Young Lords (Organization) Puerto Ricans--United States Civil Rights--United States--History Lincoln Park (Chicago, Ill.) Mexican Americans--Personal narratives Social justice Community activists--Illinois--Chicago Mexican Americans--Illinois--Chicago--Social conditions Race relations Social conflict Cultural identity Black Panther Party. Illinois Chapter Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Format The file format, physical medium, or dimensions of the resource video/mp4 application/pdf Date A point or period of time associated with an event in the lifecycle of the resource 2013-03-15 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/d3ee747bf986bc5374c759ec604175a7.jpg 0e8ce59db39933aa2c6e467b5c287709 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_M131-0005a Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1972-06/1972-08 Title A name given to the resource Fellows Room, University of Oxford Description An account of the resource Black and white photograph of the Fellows Room, a formal dining room for senior academic and administrative members of a College known as University Fellows, at the University of Oxford in Oxford, England. Scanned from the negative. Subject The topic of the resource Dining rooms--England--Oxford Fellowships--England--Oxford University of Oxford Oxford (England) Black-and-white photography Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1970s Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/c2a26965f412b647a7beeb5afc3b4040.mp4 47a274a10ea6ae90b9010539d37d574d https://digitalcollections.library.gvsu.edu/files/original/b17d5266e9efba484d9dc703b8b96afc.pdf e266b9d6642fb1149b8fe478339263e5 PDF Text Text Grand Valley State University Veterans’ History Project Walter Felver World War II-Post War 38 minutes 45 seconds (00:00:10) Early Life -Born in Littleton, Colorado on September 4, 1927 -Moved to Phillipsburg, New Jersey when he was five years old and grew up there -Father worked for Ingersoll Rand -During the Great Depression he only worked four times a month -Refused to accept welfare though -He had three brothers and one sister -He was next to youngest -When they were old enough they all got jobs to help the family out -He worked for a newsstand and also sold ice cream to bus passengers -Sometimes would just ride a bus to Philadelphia and back (00:03:03) World War II -Heard about Pearl Harbor when he was in a movie theatre -Manager stopped the movie and announced that Pearl Harbor had been bombed -Didn’t notice too many changes at first other than his father having more work -The rationing of meat and gasoline was put into effect shortly after the war began -Had an old car and had to keep top half of the headlights painted -This was to comply with the blackouts at night -Two of his brothers went into the service during the war -His oldest brother went in first, and then the second oldest brother went in -Second brother was killed in action on August 16, 1944 at Caen, France -Oldest brother made a thirty year career out of the Army (00:06:58) Getting Drafted -Graduated from high school in June 1945 -After high school he continued to work for that same newsstand -He registered for the draft and knew that eventually he would have to serve -Received his draft notice in August 1945 -Reported for duty on January 6, 1946 and went to Fort Hancock, New Jersey -Initially was sent to the Port Authority in New York City to board a ferry -Took the ferry up the Hudson River to Fort Hancock -Remembers seeing an aircraft carrier in the Hudson River -It was very cold at Fort Hancock -Stayed there until basic training was set to begin (00:10:33) Basic Training and Tank Training -Placed on a train and rode from Fort Hancock to Fort Knox, Kentucky for basic training -Remembers seeing his house from a distance as they passed through New Jersey -Only time that he ever got homesick -Train ride took about a day and a half -Upon arrival at Fort Knox he was assigned to a barracks and medically examined �-He was assigned to armor, specifically tanks -They would go out on the range and practice shooting the M1 rifle and .30 cal. machine gun -Learned how to drive a tank, command its crew, and load and fire the main gun -Went on marches and received something similar to infantry training -Physically demanding -Part of the infantry training involved crawling under barbed wire and being shot over -There was a high emphasis on discipline and following orders as well as following protocol -Had a little difficulty transitioning into being a soldier -Eventually wound up enjoying it -The drill sergeants training them had been in World War Two -Go to punishment for insolent soldiers was extra kitchen patrol duty or sentry duty -Trained in the M4 Sherman tank which was equipped with a 75mm main gun -Was not difficult to drive -Driving it was done using two levers and two brake pedals for each track -Trained at Fort Knox for two months (00:16:50) Assignment to Fort Lewis -After training was complete he was allowed a thirty day leave home -Sent to Fort Lewis, Washington -Had to find transportation to get there on his own -Took about four days to travel from New Jersey to Washington -He was assigned to the 717th Tank Battalion in the 2nd Infantry Division -Prepared to go overseas if necessary -There were three alerts for them to go to Korea -They were supposed to go to Fort Ord, California if they were being deployed -He had a couple duties at Fort Lewis: -Venereal Diseases Noncommissioned Officer (VD NCO) -In charge of handing out and tracking small arms that were being used on base -Everything from a .45 pistol to a .30 caliber machine gun -At Fort Lewis they were using the M26 Pershing tank -Armed with a .30 caliber and .50 caliber machine gun, and 90mm main gun -He carried a .45 pistol and a .30 caliber carbine -He was assigned to a tank crew -There were thirty tanks in the 717th Tank Battalion -He was part of A Company -One of his duties was to assign small arms to different people for different tasks -Then make sure that the weapons were returned and secured afterwards -As VD NCO he had to make sure that men had protection when they left the fort -Also show movies and give talks about what you should do and shouldn’t do -He made the rank of Technician Fourth Grade (similar in pay to sergeant) -Majority of the men that he served with were also T4’s -Fort Lewis was fairly close to Olympia, Tacoma, and Seattle -20 miles, 35 miles, and 50 miles respectively -There was a bus that would take you to Olympia -A lot of times you had to get your own transportation -You could get a three day pass to Portland, Oregon if you wanted one �(00:24:24) Men He Served With -Most of the men were new to the Army like he was -Some of the men at Fort Lewis had fought in World War Two -A close friend of his at Fort Lewis had been on the Bataan Death March -The veterans would talk relatively openly about their experiences in the war -There were men from all over the country (00:25:42) Daily Routine -Get up in the morning and get breakfast -Go out for the assignment of the day -Going on maneuvers or going on a hike (00:26:13) Maneuvers in San Diego -For some larger maneuvers they would go down to San Diego, California -For the trip down they had to waterproof the vehicles with cosmoline -They would sail out of Puget Sound and then go down the West Coast -Once in the San Diego area they would drop anchor about three miles off the shore -They would go to shore and back in a LCM (landing craft mechanical) -Remembers going back to the ship in a storm on one maneuver -Thought the LCM would sink and he would drown -The storm was so bad even sailors were getting seasick -And to get onto the ship he had to climb up a rope ladder in rough seas -Navy, Air Force, and Marines were involved in these maneuvers as well -Remembers the Army-Navy Game was being play at this time -They actually stormed a beach in San Diego as part of the maneuvers -Remembers the water still being so warm in November -Went through the city of San Diego on half-tracks and people waved to them -Felt like they were coming back victorious from a war -It was enjoyable to go into the city -They stayed overnight in a barracks -The next day they boarded the USS Skagit and sailed back up to Seattle (00:32:38) Downtime -They would visit the nearby cities for their sources of entertainment -Never did anything that got him into trouble or that he felt he shouldn’t have done -There was a nice dance hall in Portland, Oregon -Could go to movies -Some men would get into trouble when they left base -Either by going to the bars or having relationships with local women -He managed to avoid that (00:34:20) End of Service -He spent a year and a half at Fort Lewis -He knew that he was going to be discharged in September 1947 -One of his final duties was to be an armed escort to transport a prisoner to the mental hospital -Had to sit in the back of the truck with a loaded rifle, across from the prisoner -Transportation happened without incident -Relieved to get back to Fort Lewis and turn in his rifle �(00:36:04) Weather at Fort Lewis -Remembers that it rained almost constantly in the area that Fort Lewis was in -As a result he would have to take his uniform to Tacoma every week to get pressed (00:36:34) Life after the Army -Went home and one of the first things he did was see his girlfriend -He got a job at the Easton Daily Express, a newspaper in eastern Pennsylvania -Worked as a compositor (setting the type or text for printing) -Worked there for forty four years -Eventually moved to Michigan with his wife to be closer to his two children -Son had gotten a job in Lansing, Michigan to be a TV weatherman -Daughter’s husband’s job transferred him to Michigan � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FelverW1761V Title A name given to the resource Felver, Walter (Interview outline and video), 2014 Description An account of the resource Walter Felver was born in Littleton, Colorado on September 4, 1927, but his family moved to Phillipsburg, New Jersey when he was five years old. He grew up during the Second World War and lost a brother to that conflict. After graduating from high school in June 1945 he signed up for the draft and in August he received his draft notice. He reported for duty on January 6, 1946, and after a short stay at Fort Hancock, New Jersey he was sent by train to Fort Knox, Kentucky for basic training and armored (tank) training. When his two months of training were complete he was sent to Fort Lewis, Washington where he stayed for a year and a half, going on maneuvers, keeping a record of where the small arms were and who had them, and acting as the Venereal Diseases Noncommissioned Officer. He was discharged in September 1947. Creator An entity primarily responsible for making the resource Felver, Walter Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Veterans Video recordings World War, 1939-1945--Personal narratives, American Other veterans & civilians--Personal narratives, American United States. Army Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Type The nature or genre of the resource Moving Image Text Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource eng Date A point or period of time associated with an event in the lifecycle of the resource 2014-10-31 Relation A related resource Veterans History Project (U.S.) Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/f9d30bcc10eb7eab96a0fe7d1d634059.jpg e030f7b016f29936211e09baab3f5965 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert H. Merrill photographs Creator An entity primarily responsible for making the resource Merrill, Robert H., 1881-1955 Date A point or period of time associated with an event in the lifecycle of the resource 1909/1950 Source A related resource from which the described resource is derived Robert H. Merrill papers (RHC-222) Rights Information about rights held in and over the resource In Copyright Identifier An unambiguous reference to the resource within a given context RHC-222 Description An account of the resource Photographs, negatives, and lantern slides digitized from the papers of engineer and archaeologist Robert H. Merrill. A Grand Rapids native, Merrill held an accomplished career as a civil engineer. He founded the company Spooner & Merrill, which held offices in Grand Rapids and Chicago. From 1919-1921, Merrill lived in China, working as Assistant Principal Engineer on a reconstruction of the Grand Canal - the oldest and longest canal system in the world. Merrill became fascinated by archaeology, and among other projects, he traveled to the Uxmal Pyramids in Yucatan, Mexico, with a research expedition from Tulane University. Merrill's photo collection includes images of his travels and projects, friends and family. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Merrill_LS00208 Date A point or period of time associated with an event in the lifecycle of the resource circa 1930 Title A name given to the resource Female bison Altamira Description An account of the resource Black and white lantern slide of a Paleolithic drawing of a female bison from Altamira. Subject The topic of the resource Lantern slides Drawings Cave paintings Archaeology Source A related resource from which the described resource is derived Robert H. Merrill papers (RHC-222) Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Creator An entity primarily responsible for making the resource Merrill, Robert H., 1881-1955 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/aa648a010f9c067627210f3e9ab939a8.jpg 083b7e7eeef8c5e137935fcaaa6f4d53 https://digitalcollections.library.gvsu.edu/files/original/6b8b5022542a5b99bb64c316abba8da2.jpg f7f70c958854c8231dc6ad8698153df5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female figure in patriotic dress Description An account of the resource Design shows female in patriotic dress. Design in red and blue on white envelope. Envelope is addressed to Miss Carrie Tillotson, stamped and cancelled. S.C. Rickards & Co., Stationers, 102 Nassau St., N.Y. Identifier An unambiguous reference to the resource within a given context RHC-49_PE154 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/e2ada6c8e1802e8807d7feec0f1d7a05.jpg 7b159ff7d3a228a5fc36f9742bd02ae8 https://digitalcollections.library.gvsu.edu/files/original/2cceec231ddb4df089b6c8db50c9f7ce.jpg 1c4db48f3769e3addb764d06f01dd4bc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female figure in patriotic dress attending wounded soldier Description An account of the resource Design shows female in patriotic dress attending wounded soldier on battlefield. Design in red and blue on white envelope. Envelope is addressed to Oscar Tillotson, stamped and cancelled. J. G. Wells, 165 William St. N.Y. Identifier An unambiguous reference to the resource within a given context RHC-49_PE158 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/f80cda9c122c7618f65d245e5904b073.jpg f67ff6518e07ff277be931e9ae947a15 https://digitalcollections.library.gvsu.edu/files/original/5e795cf01b96ef576202c732e2bf5440.jpg a20377320ca321ee10ae2ff9d36fc159 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female figure with eagle and shield Description An account of the resource Handpainted design of female figure with eagle and shield. Embossed floral design on verso. Identifier An unambiguous reference to the resource within a given context RHC-49_PE056 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/4c62f3a3874e2e75f9dfdfc72935070e.jpg 4825ffe4d8a9428790785dc8f358a877 https://digitalcollections.library.gvsu.edu/files/original/79351b04ef0742241f2231b541bc0130.jpg 82389d85656f9b9b8532f0b2235cef6d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female figure with shield Description An account of the resource Design shows female with shield and "Union." Design in red and blue on white envelope. Envelope is addressed to Oscar Tillotson, stamped and cancelled. Identifier An unambiguous reference to the resource within a given context RHC-49_PE150 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/525855099b2ee35a15c996d32b8fc08b.jpg 9ce7564194fc01d71328c829801e0433 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 1970s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_001078 Title A name given to the resource Female student Description An account of the resource Female student. Subject The topic of the resource Grand Valley State University Michigan Allendale (Mich.) Universities and colleges Students Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives black and white photo https://digitalcollections.library.gvsu.edu/files/original/b3210d195f216a275311d3cdb4a89567.jpg 0b8e6712216c50983f2132565931aef7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 1970s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_000234 Title A name given to the resource Female student in Commons stairwell Creator An entity primarily responsible for making the resource Hedrich-Blessing (Firm) Description An account of the resource Female student in Commons stairwell. Subject The topic of the resource Grand Valley State University Michigan Allendale (Mich.) Universities and colleges Students Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives black and white photo https://digitalcollections.library.gvsu.edu/files/original/81434199b5e0fe9ac07f8e3609b1ba95.jpg ed3f69cef617cb8628b61e5fd0372ec7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 1990s Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Date A point or period of time associated with an event in the lifecycle of the resource circa 1990s Title A name given to the resource Female student wearing Grand Valley Laker clothing Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_001661 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Description An account of the resource Female student wearing Grand Valley Laker clothing and face paint while waiving a pom pon to show her Laker pride. Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Subject The topic of the resource Grand Valley State University Michigan Allendale (Mich.) Universities and colleges Students Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In copyright - Non-commercial use permitted.</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives black and white photo https://digitalcollections.library.gvsu.edu/files/original/9c6d033893b94b0fabcc2ce883309aaa.jpg 9b88ede8b5c5ea782480a2370b61158a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 1970s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_001077 Title A name given to the resource Female students Description An account of the resource Female students on campus. Subject The topic of the resource Grand Valley State University Grand Valley State College Michigan Allendale (Mich.) Universities and colleges Students Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives black and white photo https://digitalcollections.library.gvsu.edu/files/original/ca39982d5eb41c8d4b4efcd616d9ba3f.jpg 1c166647abce63830651bec149b6256a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection 1960s Source <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">University photographs, GV012-01</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_001084 Title A name given to the resource Female students on a bench Description An account of the resource Female students on a bench. From the left: Kathryn Monaghan, unidentified, Cathleen Lupton. Subject The topic of the resource Grand Valley State University Michigan Allendale (Mich.) Universities and colleges Students Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives black and white photo https://digitalcollections.library.gvsu.edu/files/original/4bdd8b55b84ae68b28664e70160ff5b1.jpg dd1a863ab09f48ac1ee6a5d5b93a8eed https://digitalcollections.library.gvsu.edu/files/original/85f6527b1cf1a391fc43ee558ed78c0e.jpg da003df89e04ca1c210333ca6c6e939d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female with eagle and flag Description An account of the resource Design of female with eagle and flag in full color on white envelope. Identifier An unambiguous reference to the resource within a given context RHC-49_PE061 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/169fd3c323c6428d2a5de1417ebafa3f.jpg 5d99d9aa0e4d43aba456b0b821ac4747 https://digitalcollections.library.gvsu.edu/files/original/86ae32677d7ec97438cf2c48be7e74e2.jpg daf8de568ccdac32bf85dcf39d9446af Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female with flag Description An account of the resource Design of female with flag in full color on white envelope. Identifier An unambiguous reference to the resource within a given context RHC-49_PE058 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/ef58b1ce8ec5aa7e32cbd5acfe7806fa.jpg 4791cbbbc1861c21b90811e1263ecb31 https://digitalcollections.library.gvsu.edu/files/original/469f0e9dfded1e18c2fbfb91fe47ed0e.jpg f9212f426b110612bfa793821679c9e1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female with flag and American Indian Description An account of the resource Design of female with flag and American Indian in full color on white envelope. Identifier An unambiguous reference to the resource within a given context RHC-49_PE062 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/44a80c68bdcbb34388f670e44ae93db3.jpg 8c7426bdf0e17cd718b2f6edf3a2db37 https://digitalcollections.library.gvsu.edu/files/original/958639b8ea9b26ca6b7e5345ae6dc0fc.jpg f5526e79dda253d646aa73ebc2bb34b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female with scales of justice Description An account of the resource Design of female with scales of justice and sword in full color on white envelope. Identifier An unambiguous reference to the resource within a given context RHC-49_PE059 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/8ec35dad4ccbe45f8198942d9a7b5c2d.jpg 0eb6e4fd0ad8c51316f97fdfbfcacbdd https://digitalcollections.library.gvsu.edu/files/original/396cf4fc5a16916ccc56d640f2632048.jpg a9fb49e2aa2d7cc200de2739f629e4e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female with scales of justice Description An account of the resource Design of female with scales of justice and sword in full color on white envelope. Identifier An unambiguous reference to the resource within a given context RHC-49_PE060 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/23025b20e99af654210eb9d4bd35c4db.jpg d203f875657b3b7910fdfbdd2e3f44da https://digitalcollections.library.gvsu.edu/files/original/9f772e92379661c652f7cead903aa576.jpg 46062e14a2c6b713db950463c32f0228 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Civil War and Slavery Collection Subject The topic of the resource United States--History--Civil War, 1861-1865 Slavery--United States African Americans United States--Politics and government--19th century Description An account of the resource A selection of correspondence, diaries, official documents, photographs related to the American Civil War and to the institution of slavery, collected by Harvey E. Lemmen. The collection includes a selection of documents from ten states related to the ownership of slaves and abolition, correspondence and documents of soldiers who fought in the war and from family members and officials, diaries and letters of individuals, and a collection of mailing envelopes decorated with patriotic imagery. Creator An entity primarily responsible for making the resource Lemmen, Harvey E. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/472">Civil War and Slavery Collection (RHC-45)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/470">John Bennitt Diaries and Correspondence (RHC-43)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/471">Nathan Sargent Papers (RHC-44)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/478">Theodore Peticolas Diary (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War Patriotic Envelopes Collection (RHC-51)<br /></a><a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/479">Whitely Read Diary (RHC-52)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1804-1897 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg; application/pdf Language A language of the resource eng Type The nature or genre of the resource Image; Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1804-1897 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female with shield Description An account of the resource Design of female with shield in full color on white envelope. Identifier An unambiguous reference to the resource within a given context RHC-49_PE057 Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Subject The topic of the resource United States--History--Civil War, 1861-1865 Postal service--United States--History Covers (Philatety)--United States--History Patriotic envelopes Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/476">Civil War patriotic envelopes, (RHC-49)</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/193eb277664a8f7cd0edfbe549153b81.pdf d38c2b23f3477478f31a668e2109ea33 PDF Text Text March 1Clh Women's Center Tea Party 4:00pm Pere Marquette Room Kirkhof Center Outstanding Women's Awards Ceremony 12:00 pm Grand River Room Kirkhof Center Susan Gubar, ·A Feminism of One's own· 1:00pm 215/216 K1rkhof Center March 17\h Victoria Sanford 7:00pm Cook DeWitt Auditorium March 2Clh Women's Retreat with Tess Marshall, "Flying By the Seat of My Soul" 10:00 am - 2:00 pm 204 Kirkhof Center March2ah Women Pioneers Panel (faculty members from History) 12:00 pm 104 Kirkhof Center Advocacy Training with Jean Doss (lobbyist) 7:00 pm - 8:30pm 215/216 Kirkhof Center ' I '.Jf/ ' ' t-' Feminism and the New Masculin Putting Down the Gun and Wakin Up to Who We Really Are co-spcnsors:· Women and Gender Slulfies Office Of the Presider1 Women's Cer1er 4 • _. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Sexuality and Gender Flyers Creator An entity primarily responsible for making the resource The Rainbow Resource Center Women and Gender Studies Department Women's Commission Gayle R. Davis Center for Women and Gender Equity Description An account of the resource Digitized posters, flyers, event notices, and other materials relating to gender expression and sexuality at Grand Valley State University, with materials spanning from 1974 to 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1974/2019 Source A related resource from which the described resource is derived Digitized from collections at the Rainbow Resource Center (formerly the Milton E. Ford LGBT Resource Center), Women and Gender Studies Department, Women's Commission, and Gayle R. Davis Center for Women and Gender Equity. Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Gender identity Gender expression Sexual orientation Women's studies Queer theory Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context DC-09 Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-09_SGF_WGS_2004_InvitedSpeaker_RebeccaWalker_Poster.pdf Creator An entity primarily responsible for making the resource Women & Gender Studies Program Date A point or period of time associated with an event in the lifecycle of the resource 2004-03-18 Title A name given to the resource Feminism and the New Masculinity: Putting Down the Gun and Waking Up to Who We Really Are Description An account of the resource Poster including the date, time and location for the lecture by Rebecca Walker. Signed by the speaker with text that says: "For the Women's Center, with love + gratitude." Contributor An entity responsible for making contributions to the resource Office of the President Women's Center Subject The topic of the resource Women's studies Lectures and lecturing Source A related resource from which the described resource is derived Women, Gender, and Sexuality Studies Department Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/cde90ab50cbfb6d21588f0e0d62a10b7.pdf b7dc75b786622a1e8a0efd67bb201de7 PDF Text Text AUDRE LORDE THIS COURSE EXAMINES THE LIFE AND WORK OF A SIGNIFICANT FEMINIST VISIONARY THINKER WHOSE THEORIES, WORK AND/OR ACTIONS HAVE EFFECTED DEEP CHANGE IN THE WORLD . WINTER 2018 TUESDAY/THURSDAY 10 - 11 15 AM (CRN : 33591) DR. AYANA WEEKLEY � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Sexuality and Gender Flyers Creator An entity primarily responsible for making the resource The Rainbow Resource Center Women and Gender Studies Department Women's Commission Gayle R. Davis Center for Women and Gender Equity Description An account of the resource Digitized posters, flyers, event notices, and other materials relating to gender expression and sexuality at Grand Valley State University, with materials spanning from 1974 to 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1974/2019 Source A related resource from which the described resource is derived Digitized from collections at the Rainbow Resource Center (formerly the Milton E. Ford LGBT Resource Center), Women and Gender Studies Department, Women's Commission, and Gayle R. Davis Center for Women and Gender Equity. Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Gender identity Gender expression Sexual orientation Women's studies Queer theory Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context DC-09 Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-09_SGF_WGS_2018_Winter_WGS402_FeministVisionary_Thinkers-AudreLorde.pdf Creator An entity primarily responsible for making the resource Women, Gender, and Sexuality Studies Department Date A point or period of time associated with an event in the lifecycle of the resource 2018 Title A name given to the resource Feminist Visionary Thinkers: Audre Lorde Description An account of the resource Poster of the WGS 402 class being offered in Winter 2018. A synopsis of the topic, name of the professor teaching and the length of the class is included. Subject The topic of the resource Women's studies African American women Feminists Source A related resource from which the described resource is derived Women, Gender, and Sexuality Studies Department Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/8e70dec868bb052e65cdd90811441b72.pdf 9d5b37604804ddbd06ef926ee9b448e7 PDF Text Text OFFERED WINTER 2015 TUESDAY & THURSDAY 1-2 : 15pm WGS Students con count this course as on elective . LIB students con use this course as a substitute for LIB 400 WGS 380 FEMINIST VISIONARY THINKERS NAWAL EL SAADAWI Study the visionary ideas of femin ist activist, physician, psychiatrist and novelist Nowol El Saadowi alongside Professor Donielle DeMuth . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GVSU Sexuality and Gender Flyers Creator An entity primarily responsible for making the resource The Rainbow Resource Center Women and Gender Studies Department Women's Commission Gayle R. Davis Center for Women and Gender Equity Description An account of the resource Digitized posters, flyers, event notices, and other materials relating to gender expression and sexuality at Grand Valley State University, with materials spanning from 1974 to 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1974/2019 Source A related resource from which the described resource is derived Digitized from collections at the Rainbow Resource Center (formerly the Milton E. Ford LGBT Resource Center), Women and Gender Studies Department, Women's Commission, and Gayle R. Davis Center for Women and Gender Equity. Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Gender identity Gender expression Sexual orientation Women's studies Queer theory Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context DC-09 Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-09_SGF_WGS_2015_Winter_WGS-380-Feminist-Visionary-Thinkers-Nawal-El-Saadawi.pdf Creator An entity primarily responsible for making the resource Women, Gender, and Sexuality Studies Department Date A point or period of time associated with an event in the lifecycle of the resource 2015 Title A name given to the resource Feminist Visionary Thinkers: Nawal El Saadawi Description An account of the resource Poster of the WGS 380 class being offered in Winter 2015. A synopsis of the topic, name of the professor teaching and the length of the class is included. Subject The topic of the resource Women's studies Feminists Egypt Source A related resource from which the described resource is derived Women, Gender, and Sexuality Studies Department Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource eng Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives