28 24 26018 https://digitalcollections.library.gvsu.edu/files/original/3eefb6142111ef5dd1a68f645cb6ca8b.pdf 91ff164be9571e2bee4aebb1221bb5d4 PDF Text Text Young Lords In Lincoln Park Interviewee: America “Mecca” Sorrentini Interviewers: José “Cha-Cha” Jiménez Location: Grand Valley State University Special Collections Date: 5/11/2012 Biography and Description America Sorrentini was born in Puerto Rico. She moved first to Boston and then to Chicago, arriving in the 1970s. Ms. Sorentini’s parents were prominent organizers and activists in the struggle for Puerto Rican self-determination, working primarily in and around Santurce, Puerto Rico. Ms. Sorrentini, or “Mecca” as she is known, began her own community activism in Boston working on a variety of issues including housing. She became active with Movimiento Pro Independencia and FUPI (Federación Universitaria Pro-Independencia), the student university equivalent, in the late 1960s. These groups that was proactive in occupations and strikes especially at the Rio Piedras branch of the University of Puerto Rico. By the time Ms. Sorrentini arrived in Chicago she was already aware of the work of the Young Lords, as word of their actions in Chicago had spread throughout cities along the east coast and into Puerto Rico. In Puerto Rico there were jealousies among some pro-independence groups but in Chicago the movement was young and groups sought unity with each other. José “Cha-Cha” Jiménez met with her and she describes witnessing how the Young Lords developed and grew without minimal funds, were constantly fighting city hall, and how they remained firm in their commitment to Latinos and the poor, as well as to their principles. Ms. Sorrentini organized a Chicago branch of the Puerto Rican Socialist Party. They joined up with Rev. Jorge Morales and Rev. María Lourdes Porrata of the West Town Concerned Citizens Coalition and organized in Wicker Park and in Humboldt Park. One of their �primary locations was San Lucas United Church of Christ that was across the street from Humboldt Park. Ms. Sorrentini always remained in solid contact with the Young Lords. She, and the Chicago Puerto Rican Socialist Party, assisted with the Jiménez aldermanic campaign and later the Harold Washington campaign. When the Young Lords celebrated their official founding date, which is September 23rd the same day as the Grito de Lares or Puerto Rican Independence Day, they selected Ms. Sorrentini to be their keynote speaker. More recently, Ms. Sorrentini has fought with city inspectors who want to tear down the house in Santurce, Puerto Rico where she and her parents grew up. She has converted it into a museum that has continuous exhibitions by artists displaying their works. She lives in Puerto Rico but continues to maintain contact with Chicago. In 2000, she was a featured speaking at the Lincoln Park Camp in Lakeview, Michigan – a meeting organized to support the displaced Puerto Ricans and poor of Lincoln Park, bring attention to the displacement of families from Humboldt Park, and in support of protesters who wanted to evict the U.S. Navy from Vieques. �Transcript AMERICA SORRENTINI: -- Casa Sofia de Puerto Rico. This is in honor of my mother because this is the house she left us. When my father died, she struggled to keep the house. And as part of -JOSE JIMENEZ: What was her name? Was her name Sofia? Was her name -- AS: -- the old tradition, right. Sofia, yes. JJ: Sofia, okay. What was his name? What was his name? AS: Benigno, Benigno Sorrentini. He was the founder of the old Puerto Rico Socialist Party which wanted Puerto Rico to be a socialist state of the United States. JJ: Okay, okay. AS: Of course, he was very romantic. He really thought that could be done. (laughs) But that was the old Socialist Party of Puerto Rico had a pro-statehood platform. So my mother -- JJ: They were pro-statehood, the socialists. AS: Yes, yes. JJ: They wanted to become a state of the United States? AS: Right, right. JJ: But socialist. AS: But socialist, right. JJ: A socialist state of the United -- AS: A socialist state, that’s right. JJ: Oh, okay. All right. 1 �AS: With Santiago Iglesias [00:01:00] Pantín and my father and many other founded the Puerto Rico Socialist Party so -- JJ: And so when was his party? What years? AS: This is in the early 1930s. JJ: Nineteen thirties, okay. AS: Yes, uh-huh. JJ: That’s when they started? They started at that time? AS: That’s right, yes. JJ: And he started then? Before me. AS: Yes, yes. Uh-huh. I can give you a clipping -- JJ: Okay. Okay, good. AS: -- and so on so you clip it for your records -- JJ: We can put it on the interview, on the interview -- AS: -- because I know -- yes. Okay. JJ: -- depending on what you want. AS: Right, so you can clip it. I also have a documentary which -- JJ: (Spanish) [00:01:35]? (laughs) AS: -- this is portrait. I don’t know about that. You’ll have to ask them. JJ: (laughs) For their permission. AS: This is for the University of Arizona. JJ: Oh, the University of -- oh. AS: It is [QUAD Productions?], okay? JJ: Okay. No, but if you put it in, we can put it as part of your (overlapping dialogue; 2 �inaudible) -AS: Oh, okay. Right. Yes. Well, this is Puerto Rico balcón. The balcony is very important. In all traditional households, the balcón [00:02:00] is very important because it’s the part of the house that you interact with the people and you talk to everybody and is the plaza de mercado. How would you call plaza de mercado? JJ: The center, center -- AS: Market center? JJ: -- market center, market center. AS: Okay, the market center for fresh products and so on is right down there. And the Puerto Rican tradition was that you would walk every day to the plaza de mercado to get the -- JJ: The farmers market, the farmers market. AS: -- fresh vegetables at the farmers market. JJ: Farmers market, yeah. AS: It’s more like a farmers market so the balcony is very important. And this side entrance from the old house -- JJ: So every day, every day, people walk to the farmers market? AS: Oh yes. JJ: Okay. AS: Uh-huh, yes. JJ: Fantastic. Get their fresh fruits and vegetables? AS: Fresh fruits and vegetables and all that. JJ: Because this is what we’re -- 3 �AS: Yeah. JJ: -- this is San Juan, Santurce where we’re at. AS: This is called Santurce which is like the new San Juan [00:03:00] area of the old, old San Juan. So the Santurce only was established here by the cimarrónes. The cimarrónes were the Puerto Rican slaves who escape slavery and then they became on their own, the free -- JJ: And they established Santurce? AS: -- free men and women. And they use all this area because this was not -- JJ: Of Santurce. AS: -- was not settled yet. And then later on, it became a settlement. So really, that’s why my mother was called cimarróna. She called herself a cimarróna. That’s why I want to keep this house as part of the symbol of freedom. So that’s why we’re still struggling to keep this house [00:04:00] as a free space center. But the municipality of San Juan has made it impossible. As a matter of fact, this was declared a estorbo público? How you call that? A, it’s -- JJ: A public -- AS: -- nuisance? How you say that in English? There is a special terminology that says when a property has been abandon, you declare it public nuisance? JJ: Nuisance, public nuisance, yeah. AS: Public nuisance. And then you become part of that list. And then the municipality -- so if you cannot show -- JJ: So they declared that house a -- AS: Yes because -- 4 �JJ: -- a public nuisance. AS: -- and if you cannot prove that you have the money to comply with the municipality codes, then they take the house. See, I was in Chicago and I had to fly over here. It’s because they to [00:05:00] remove the house. JJ: So that’s a way of trying to demoralize, demoralize people and they can -- AS: Well, they are -- the thing is that you cannot -- JJ: They’re going to take your house, they’re trying to take your house. AS: Right. If you cannot prove that you have the money to comply with the codes of the municipio de San Juan, then they take the house. JJ: So you’re being harassed by the building inspectors and the city and -- AS: All that stuff. JJ: -- people like that. AS: Yes, and we had to, I had to -- JJ: They don’t call it harassment. AS: -- even I had to -- yes. I had to make compliance -- JJ: Compliance. AS: -- compliance. JJ: Well, they call it compliance, exactly. AS: Right. So I had to make a loan, then I found out that they don’t give loans to people who are over a certain age because you see, I’m 75 years old. So -- JJ: (Spanish) [00:05:50] teenager, (Spanish) [00:05:052] teenager. AS: Oh yeah, right. JJ: (laughs) 5 �AS: But the municipality of San Juan didn’t accept my teenage -- JJ: (inaudible) [00:06:00] (laughter) -- AS: But so I had to come, I had to come and prove to them, I had to try to make a loan. I couldn’t make it and then I’m on the family. We put in all the money in the bank to say that we were able to comply with the codes because part of the code was, for example, to remove the electric meter from there to here and that cost us 20,000 dollars. JJ: So they just -- AS: To move the meter like -- JJ: From that part of the house to the other part of the house. AS: Right, because in the old times -- JJ: But what was the reason? AS: -- people would go, would just go in and read the meter and we have the old meter there. But in order to put it out there on the column outside so they wouldn’t have to come in, it cost us close to 20,000 dollars because we had to do it through the basement underground. It was a big, big thing. Like that, every municipality code -- [00:07:00] as a matter of fact, we have put in now 250,000 dollars. JJ: But it sounds like what, 250,000 dollars? AS: Yes. So anyway, the balcón is very important. JJ: Okay, but let me -- before we -- AS: Yes. JJ: -- get to the balcón, it sounds like you’re feeling that maybe there was a little 6 �harassment going on that -- because of your background. AS: Well, I think -- JJ: I mean, you’re feeling that we can’t prove it but you’ve -- AS: There are many different reasons. One is the age. There is an age discrimination because if you cannot prove you cannot have the money in the bank -- JJ: Yes. AS: -- to comply with the municipality, you have to go to the public hearing in order to show that you can’t comply with the violations they accuse your house [00:08:00] in order for them to justify putting you in that list of estorbo público or the public nuisance. JJ: Okay. Was the house abandoned? Did it look abandoned? AS: No, we just, I just didn’t have anybody living in the house. JJ: Okay, so it was just vacant. AS: Vacant, vacant. JJ: So it wasn’t abandoned, it was vacant. AS: Right. But the people around, they took care of it like in the old times. (laughs) They would look out for it and so on. So we had to -- JJ: So the neighbors, because you’re close to the neighbors. AS: Right. JJ: You’re close to the neighbors. AS: Yeah. Right in front and the other ones. These are people that we’ve known forever. We moved here on 1944, (Spanish) [00:08:43]. 7 �JJ: (Spanish) [00:08:45]. AS: (Spanish) [00:08:46]. And this is, this house has been in the old sociological tradition of extended family in which my brother, his [00:09:00] wife, his kids live here. My sister, her kid, like Jim-- JJ: Yeah, Jim. AS: -- they also lived here. So these extended family and other people, other than my mother (Spanish) [00:09:13]? JJ: (Spanish) [00:09:18]. AS: How do you say that? (Spanish) [00:09:19]. JJ: Stepchildren or --? AS: Not stepchildren. Is that you -- JJ: Okay. Children you raise, yeah. AS: -- you bring them in your family and you raise them. JJ: Yeah, that’s a -- AS: You call them foster? No. JJ: Foster child. AS: But they don’t pay -- you know. JJ: But they’re not foster, they’re -- AS: You don’t -- you volunteer. They are not foster. JJ: Yeah, they’re not volunteer. AS: We call it crianza -- JJ: That’s part of the extended, extended family. AS: -- extended family. 8 �JJ: Extended family. AS: You know, it’s -- we had like -- JJ: That you just kind of you raised. That’s just part of the culture. AS: -- 15 people here. JJ: It’s part of the culture to raise other -- AS: Right, raise other kids. JJ: -- help people raise their children. AS: Yes, so we had the other children that living here, too. JJ: Okay, living in this house, okay. AS: So this house, [00:10:00] the old transportation system were coaches and that’s why you have that big, huge step over there because the coach was high. And then from the coach, you would just step out there. JJ: So the coche was what? Was a car? AS: Coche, the car? It was the car. JJ: Right, the car. Okay. AS: El carro de -- the old car. JJ: But it was the older type of cars that had the -- AS: The older car -- JJ: -- the thing on the side where you step on. AS: -- that were, yeah, by horses. (laughs) JJ: By horses. AS: Coche. (laughs) JJ: Oh, it was a coach run by horse. 9 �AS: Sí, el coche. JJ: The car, oh the motor was a horse. AS: How you call a car -- JJ: The motor was a horse. AS: -- run by horses? A coach? JJ: A coach, yeah. Stage coach. AS: Stage coach. JJ: Not a coach, it was a coach, it was a coach. MALE SPEAKER 2: Horse-drawn carriage. JJ: Horse-drawn carriage. AS: He tells me the wrong word and I use it. JJ: I make a muck, I make a muck. AS: (laughs) Right, right. JJ: But horse-drawn carriage. That’s what it is, a horse-drawn carriage. AS: So then the coach would come out there but in the old tradition, the balcóns are always important because many balcóns would go all around the house. So here, [00:11:00] we have an entrance over there. It’s another entrance over here. This is for this house, some little pictures and so on -- JJ: You want to get some pictures over there? AS: -- of Casa de Puerto Rico -- JJ: (Spanish) [00:11:14]. AS: -- in 1964. Yeah. JJ: (Spanish) [00:11:17]. 10 �AS: Yeah, right. Yeah, okay. This another entrance. JJ: Do you want to take some pictures -- those pictures? Can you get that? M2: Yeah. (b-roll; no dialogue) [00:11:26 - 00:12:16] AS: Okay. And these are, these are my father’s books. M2: Do you want to go ahead and repeat that real quick? JJ: Do you want to repeat that again? AS: What? JJ: What this is called? AS: Recibidor. JJ: Say that again? AS: This is a recibidor, a very important part of the house because this is -- JJ: So people kind of come in the front here then this is -- AS: -- this is the informal greeting of people who visit you. The formal greeting is the salon. JJ: This is where you first make sure they don’t have any guns on them or anything? (laughter) AS: Yeah. M2: Go ahead. Say that again. AS: So this is the recibidor. [00:13:00] This is part of the house, too. All this was in in this house. We just have kept it. And these are my father’s books. My father is a self-taught man. He just finish up the second grade and he kept on studying on his own. These are his law books and then he was elected to the House of 11 �Representatives on two consecutive running for the Socialist Party of Puerto Rico. And we’ve been very proud because he really was a self-taught man and he had a lot of harassment from the, from the bourgeoisie, from the Puerto Rican bourgeoisie. Of course -JJ: Now where did, where did the Puerto Rican bourgeoisie live? AS: Well, they were Republicans. JJ: They were Republicans. (laughter) Okay, so they were always Republican the majority? AS: The Puerto Rican [00:14:00] Republicans and he suffered a lot of harassment and physical and abuse and all that. And they organized armed groups which were called in Puerto Rico Turbas, t-u-r-b-a-s, Turbas, which were like I don’t know how you call it. But these were organized with the machetes and so on to counteract the Puerto Rican efforts to unionize. JJ: To unionize. AS: And the Socialist Party to -- JJ: To unionize in factories or --? AS: -- who work with the, with the, with the American Federation of Labor. JJ: Okay. AS: And so they were, these were the Republicans who counteracted that. JJ: So the turbas were armed with machetes. AS: So the Turbas, yes. They were armed with -- yes, yes. JJ: [00:15:00] So they were killing people, they were killing people at that time. AS: Yes, they were really, they were really aggressive, let’s say. 12 �JJ: They were very aggressive. AS: Uh-huh, putting it mildly. JJ: So they were like the Ku Klux Klan or something like that, like a little, like something. AS: Very much so. JJ: Very much so. AS: So and so on, yes. JJ: And this is what year? Is it ‘30s or --? AS: This was early ‘30s. The Turbas were really organized even before that because the, they also were against a Socialist Party being formed in Puerto Rico. JJ: Okay. AS: So if I’m talking too much -- JJ: No, that’s okay. AS: -- you just ask me questions whatever you want to, okay? JJ: (inaudible) AS: Pues, as part of this house, and this is very important because this, this is, this is handmade and this is the, this is the very proud [00:16:00] statement of Puerto Rican artist craft. Because this is 100 years old and it -- you just, you just refresh it and keep it and it lasts forever. And this is made out of a very, very special (inaudible), a very special formula of sand and oil that comes from the rabbit’s tail which is the strongest oil there is. But it’s a lot of work. But still, it’s a very, it’s a very good example of the ingenuity of in the tropics and being close to the sea, how to be artistic as much as possible within the circumstances. So this is called 13 �argamasa. JJ: [00:17:00] Argamasa. AS: Argamasa. So we spend a lot of time restoring it. So we have a, an artist, a contemporary artist called Celia Sanchez. She’s exhibiting in this part of the house. JJ: So you’re using the house now and then for artists and --? AS: We’re trying to, yes. We’re using the house to facilitate to artists space so that they can exhibit and so on. These are from Augusto Marín and so on. So we have other areas. So basically, this -- (Spanish) [00:17:46] (laughs) -- JJ: (Spanish) [00:17:50]? AS: (Spanish) [00:17:51]. This one, this one. JJ: (Spanish) [00:17:51]? AS: Yeah, these were there -- this was my father’s and [00:18:00] mother’s. If it wasn’t open, you can see a different kind of life, right? Because this is, this was my parents’ bedroom. JJ: Bedroom, this is the bedroom. AS: So that is -- so because they want, they like the entrance to the, to the balcón and then -- JJ: Okay, so they’ve got an entrance to the balcony. AS: Yeah, right. So Cha Cha, I wish you had time (inaudible) -- JJ: (inaudible) AS: (inaudible) JJ: (inaudible) 14 �AS: Yeah. No, but I want you to see, to see the documentary [The Hidden Group?]. We go to (inaudible). JJ: [00:19:00] Oh, yeah. AS: We call it (inaudible) and so on. JJ: (Spanish) [00:19:03 - 00:19:00] -- AS: (Spanish) [00:19:10]? JJ: (Spanish) [00:19:10 - 00:19:16]. AS: Okay, okay. All right. So -- JJ: (inaudible) AS: -- right. (Spanish) [00:19:21]. JJ: (Spanish) [00:19:23]. AS: That’s right. (inaudible) [00:19:32 - 00:19:40]. JJ: (inaudible) AS: Right. M2: No. AS: No. What is your name again? M2: Tim. AS: Tim? M2: Yeah. AS: Wow, that’s easy. M2: That is easy. AS: This is the bathroom. JJ: Why is there’s two of them? 15 �AS: This is the bath. JJ: Why do you got two of them? AS: Oh, this is the bidet. JJ: [00:20:00] What’s that? AS: It’s a bidet. It -- JJ: (Spanish) [00:20:04]. AS: It’s a hygiene for women. JJ: For women. Okay. AS: This water spreads up. JJ: Spreads up, okay. AS: Yeah. JJ: That’s more modern. AS: No, this has been here forever. JJ: Oh, it’s been here forever? AS: Yeah, yeah. This old, old bidet. JJ: So did you get it with the bidet? AS: Bidet, yeah. JJ: Did you get that, Tim? Have you ever seen these before or am I the only one that --? M1: I’ve heard of them, yeah. AS: Yeah, right. JJ: Because they’ve had this for years, I guess, the -- AS: Yeah, it’s probably 100 years old, the bidet. (inaudible) 16 �JJ: (inaudible) AS: It’s other room. JJ: (inaudible) AS: Oh. JJ: A bidet or --? AS: Yes. JJ: Okay. We want to get this. AS: Ah. JJ: (Spanish) [00:20:55]? AS: (Spanish) [00:20:57]. JJ: Let’s get the light -- AS: [00:21:00] Yeah. JJ: Okay, now closer. (inaudible) today. And then this (inaudible) [00:21:16 00:21:27]. (Spanish) [00:21:28 - 00:21:34]. AS: (Spanish) [00:21:35]. JJ: (Spanish) [00:21:36 - 00:21:58]. AS: Sí. JJ: (Spanish) [00:21:58 - 00:22:00]. (laughs) AS: (Spanish) [00:22:02 - 00:22:05]. JJ: Sí. AS: (Spanish) [00:22:08 -- 00:22:13]. JJ: (Spanish) [00:22:08] -- AS: (Spanish) [00:22:14 -- 00:22:25]. 17 �JJ: Sí. AS: (Spanish) [00:22:26 - 00:22:31]. JJ: (Spanish) [00:22:31]. AS: (Spanish) [00:22:32 - 00:22:34]. JJ: Sí. AS: (Spanish) [00:22:35]. JJ: (Spanish) [00:22:37 - 00:22:41]. AS: No. JJ: (Spanish) [00:22:42 -- 00:22:45]. AS: Sí. JJ: Sí. AS: Sí. JJ: (Spanish) [00:22:48 - 00:22:52]. AS: (Spanish) [00:22:53 - 00:22:56]. JJ: There’s more rooms over here and stuff. AS: Yeah. Sorry. (inaudible). This [00:23:00] has been restored, this bathroom. JJ: Did you put on the restore. Is there a new fan in here? AS: Yeah, sí. JJ: A new light? AS: Yeah, there’s a light. JJ: (inaudible) the new part of your house. Is somebody here? AS: (laughs) JJ: (inaudible) (laughs) Crazy. 18 �(break in audio) [00:23:38] JJ: Okay. (break in audio) [00:23:56] JJ: Yeah. AS: This, [00:24:00] can you take -- can you zoom in here? This is -- (break in audio) [00:24:11] AS: -- Professor Juan and Griffith. They made all of the efforts we have, we have made here to restore this house as an example of economic development, how it should not be done. Because economic development here like in many other capitalist countries is development at the expense of displacing the (inaudible) people. So there is a movement here, too, of displacement. So this documentary takes the example [00:25:00] of the struggle we have had on order to even get loans, the little monies, and so on to preserve this house as an example of many other efforts that are being done. And it also takes the example of Puerto Ricans in Chicago; Very small but it does it. So this documentary is an effort of these professors that they were able to put it together for this like onehour documentary. And it was shown at the Interamerican University. We have a copy and since Cha Cha is so important to the Puerto Rican liberation movement, we make it available [00:26:00] as long as we give the recognition to the professors, Dr. Juan and Dr. Griffith. They are professors at the university, the State University of Arizona. They also did that with their very own resources and so on and we admire the work they did. They really did a tremendous effort because it’s not easy to convey and to be able to convey the message of the 19 �Puerto Rican diaspora, the problem of Puerto Ricans here and there. And the uprootedness and so on and it’s not very easy to document that. It’s very easy to talk about it. But in order to document [00:27:00] it visually, it’s, it took a lot of efforts. Because they had to go and film over there and so on so that’s it. (break in audio) [00:27:15] JJ: You just started with your full name, when you were born, where you were born. AS: Right. JJ: Okay. AS: Yes. Well, first of all, Cha Cha, my dearest friend that I admire so much, thank you so much for this interview. My name is America, America Sorrentini, and people call me Meca, M-e-c-a. I was born in a small, little town called Cabo Rojo, a small, little town in the southwest coast of Puerto Rico. And on October 1937 I was born. [00:28:00] Cabo Rojo is a very traditional town of Puerto Rico but still -- JJ: Traditional meaning -- AS: Traditional in the sense that really, Cabo Rojo is called the town of freedom because Ramón Emeterio Betances, the father of the independence movement of Puerto Rico, was born. And in that sense, it’s called -- am I right or something is -- M2: I was actually just hoping I could have you move forward and to your left just slightly. (break in audio) [00;28:47] AS: From Cabo Rojo, my father work, work [00:29:00] all his emotions into the 20 �Socialist Party of Puerto Rico. Like I was telling you when we were seeing the, my mother’s house. We call it my mother’s house, Casa Sofia. JJ: If I can have you -- what about your grandparents, his parents? Were they involved in the socialist movement or --? AS: Well, my grandparents on my father’s side came from Italy from Sorrento and they were bricklayers. As a matter of fact, he built the, he built the farmers market of Cabo Rojo. And then on my -- JJ: What was his name? Do you remember? AS: [Cayetano?]. JJ: Cayetano. AS: Cayetano. My father’s name is Benigno. He died in 1984 and on my mother’s [00:30:00] side, she was mix of Spanish, African, and who knows what else. (laughs) because Puerto Ricans, we are all very, very mixed and so on. So on my mother’s side, she was, she had to work what we called [ajuste?] which is that they would bring in American companies would bring in gloves and she would, she would sew them by hand by a commission and they would pay her by the dozen. And the gloves are, each one of the gloves, they were handmade and so on. JJ: This was in Cabo Rojo. AS: This was in Cabo Rojo on the -- [00:31:00] and then she worked making the handmade artisanal hats, very famous hats from Cabo Rojo. Los sombreros [pra?] they were called. So my father got involved in political movement and he founded the Puerto Rico Socialist -- 21 �JJ: Your grandfather was not involved in that. AS: Was not involved in that, no. JJ: So your bloodline -- AS: Much, much later on, yes. JJ: In Cabo Rojo or somewhere else? AS: In Cabo Rojo, yes. As a matter of fact, he’s a self-taught man like I told you before and he ran for the legislature. He won on two consecutive years and so on but he had a lot of difficulties and was not very well accepted, let’s put it this way. That he had a lot of [00:32:00] violent encounters with the Republican Turbas which were armed Republican brigades I could say. And so when he came to the Puerto Rico legislature here in the metropolitan area -- JJ: Of Santurce. AS: -- of Santurce and San Juan, the capital of Puerto Rico is in old San Juan. So he decided to move the family over here and then we rented and then we came to live here at, here at Casa Sofia in Santurce. We lived, we rented in another place because we bought this house like the old, traditional way which is by handshake. [00:33:00] My father agreed with the owner of this house which was also a self-taught man from the, from Mayagüez which is very, is a town, is a city close to Cabo Rojo. This man had -- the dream of his life was that his daughter would celebrate her 15th birthday in this house and so my father waited -- JJ: Quinceañera (inaudible) -- AS: Quinceañeras which is the equivalent of happy, sweet 16 in the United States. So he waited for those. For two years, he waited in order to move into this 22 �house. I had a lot of difficulty as you can imagine because I came from, I came from a slum in Cabo [00:34:00] Rojo which was called La Pileta. (laughs) And -JJ: What was it like there? AS: La Pileta? JJ: What do you remember there? Because you said it was a slum. AS: Well, I have very fond memories of La Pileta. JJ: What are some, what are some of the memories? (overlapping dialogue; inaudible) -- AS: Well, there was a big, there was a water running through and because (laughs) once then you grow older and so on. But we thought it was really neat and (laughs) wonderful. Other people thought it was not nice at all. JJ: (overlapping dialogue; inaudible)? AS: That you had water running in front of the house because this was open like in the, in the water that running through the town would come through La Pileta. JJ: The sewer system or the river? AS: [00:35:00] Was like a river but it was -- JJ: Okay, like a river. AS: -- it was not protected. JJ: Okay. AS: Yes. So from La Pileta -- JJ: You said you had fond memories. What kind? AS: Fine memories -- JJ: (overlapping dialogue; inaudible) -- 23 �AS: A lot of bondage with the kids and so on and it was very open and you could walk. JJ: You went to school there, you went to school there. AS: No because I was still four or five years old. JJ: Four -- okay. Okay, so now you said -- AS: But I have these very fond memories, very romantic memories of La Pileta because there was always a lot of rhythm and singing and sound, very wonderful sounds of La Pileta. JJ: The people were singing all the time or --? AS: All the time, yes. Uh-huh. JJ: What type of music? AS: Oh, musica romantica, boleros. JJ: [00:36:00] Boleros. AS: Uh-huh, yes. Bomba, plena, because there has always been an argument among the bomba and plena. Which is was it born in Ponce or la plena was born in Mayagüez? The Cabo Rojo and Mayagüez people are very regional and they say no, it was born in Mayagüez. So it was that big -- JJ: Okay, so there was a little -- AS: -- that little -- JJ: -- competition (inaudible) -- AS: -- that little competition, yes. JJ: And that bomba y plena. AS: Where was the bomba and plena born? So obviously, here, in, when I moved 24 �into this neighborhood which is, it was a very, very upscale neighborhood -- so I had a, I had a -JJ: So what, how was the, how was the, how was the -- AS: Yes. JJ: -- because you were more living in a slum in Cabo Rojo and then now, you moved to an upscale neighborhood. [00:37:00] (overlapping dialogue; inaudible) -- AS: Well, I move -- there was an intermediary because I move in Cabo Rojo in another, in another [barriada?], in another barrio which is a little upscale than the La Pileta. JJ: So in Cabo Rojo, (overlapping dialogue; inaudible) a little upscale neighborhood in -- okay. AS: A little in regard to La Pileta. JJ: (inaudible) AS: Don’t get confused. (laughs) JJ: No, I’m not trying to get confused -- AS: It’s a little, a little upscale than La Pileta. JJ: I’m only, I was just, I’m just trying to understand the differences. AS: Yes, right. JJ: (inaudible) AS: Yeah. JJ: I’m not trying to -- AS: Yeah, so there, from there, I had a, I had a pet. I mention this because this 25 �brought me a lot of difficulties into this neighborhood because my pet was a goat. JJ: (laughs) AS: So it was not becoming at all to have a -- JJ: A goat in a city. AS: -- a goat as a pet. [00:38:00] Then we were close to the farmers market and the goat loved the farmers market. I would have to run up to Pepa to bring her in from, in from the market. JJ: Oh, you did bring the goat there. AS: Yeah, I brought her in, yeah. No, my parents let me have a goat. There is no way that as a pet, she can have her pet. And so but later on, the neighbors really understood and they embrace and they all loved the Pepa. JJ: Pepa is the name. AS: Yes. So here we are in Santurce and I say that -- JJ: What year was this? Do you know? What year? AS: This was from 1944 to 1948 was a period of Pepa. JJ: What was that like, ’44 to ’48? Because a lot of people [00:39:00] came to the United States around that time. That was right after the war. AS: Yes. JJ: So what was it like here in Puerto Rico at that time? AS: Here. Well, very, very difficult times economically and that’s why my father introduce a law in which the monies from the salt industry, salinas from Cabo Rojo, so that it sent would be used for educational purposes and so on. Because really, the economic situation was very, very difficult. 26 �JJ: Was it a big area? A big town at that time in Santurce or was it a big section or -? AS: Santurce? Yeah, it was, yeah, it was beginning, it was beginning to the sprawl of the urban development [00:40:00] was the beginning of taking place in this because this street was very traditional. They didn’t have any of these buildings. JJ: It was still country like. AS: It was country like, like this house. They had a lot of big yards and so on. They built this building over here and all these buildings and they were just houses and so on. JJ: Wooden houses or --? AS: Wooden with sink and so on. This was -- JJ: You (inaudible) fast. You got a sink -- AS: Yes. This was one of the most modern houses that were built in the area, uhhuh. As a matter of fact, the number eight that is in front of the house, it was the old Spanish demarcation of the house. [00:41:00] That’s why I still have the eight over there. And the new demarcation is 264. JJ: Okay, and what about the policies? I mean, how was it at that time, I mean, in the late ‘40s and that here considering or in Puerto Rico? AS: Yes. Well, here the Popular Democratic Party was really making a -- organizing and making an appeal to the poor conditions of Puerto Ricans. The Popular Democratic Party adopted the slogan of Pan, Tierra y Libertad. JJ: Mm-hmm. Libertad, what was that? AS: Bread, land, and liberty. 27 �JJ: What was liberty? AS: Well, because the Popular Democratic Party [00:42:00] ran with the, with its founder, Luis Muñoz Marín, promising the liberty for Puerto Rico, you see? The Popular Democratic Party was going to be a transition -- JJ: So when they say liberty -- AS: -- was going to be a party that would bring in the liberty for Puerto Rico independence party. JJ: Independence, so they actually were for independence. AS: They were for independence, yes. JJ: The Popular Democratic Party. AS: Yeah, the Popular Democratic Party. JJ: (overlapping dialogue; inaudible) AS: That’s why Pan, Tierra, and Libertad. So it had a tremendous appeal on the political forces then had the Puerto Rican Independence Party. It was a very -- it was a strong, a strong force. JJ: At that time. AS: [00:43:00] At that time, yes, uh-huh. Which was under the leadership of Concepción de Gracia, Gilberto Concepción de Gracia which founded the Puerto Rican Independence Party that still exist and still is an electoral party. And still is inscribe and so on, (Spanish) [00:43:24]. Mm-hmm. So the -- JJ: So they didn’t depend on -- this is before there -- AS: I think -- JJ: -- was a governor, though. This was before there was a governor. 28 �AS: Before they was a Puerto Rican governor. JJ: And so who were the governors before? I mean -- AS: Piñero. JJ: Piñero. That was like the first -- was he the first elected or first appointed? AS: The first appointed. JJ: Puerto Rican. AS: Yes, Puerto Rican but before we got Piñero. JJ: So before that, who do we have? Who do we have? AS: Oh, we had a lot of other governors appointed by the Congress [00:44:00] and the president of the United States. JJ: But none of them were Puerto Rican. AS: None of them -- they were -- yeah. JJ: In fact, we had some generals. AS: Generals, yes. Since the 1898 and so on, we had General Miles, Tugwell, and so on. But the Popular Democratic Party really had a, had many laws that would appeal and they were really, they were really very avant-garde laws because for example, one of the laws was that there was no child without a father. In other words, that was that men had to recognize their offspring, give them names and so on, because there were a lot of rich people that [00:45:00] would procreate. Would have children, so on, and would not, would not leave their names to the children. So this was (laughs) very -- at that time, it was a very advanced law which would force the father to give the name to the children. JJ: And support -- 29 �AS: And family name, family name. JJ: Oh, family name. AS: Yes. Because they would support them but would not give the-- JJ: Wouldn’t give them their -- AS: -- their family name because the family name was very, very guarded by the fathers. JJ: By the rich, by the rich -- okay. AS: Yeah, yes. So that was one of the law. The other one was the 500 acres law which [00:46:00] is that the law would penalize if you would apply on more than 500 acres. If you would buy more than 500 acres of land and so on in order to protect the agriculture. And to also abolish the tradition in Puerto Rico of having hired help in which they would leave a new land and you have that hired help by paying very meager salaries. Because you would provide, you would provide them housing and so on. So it’s that kind of arrangement of the plantation arrangement [00:47:00] as in dollars, plantain [sic] arrangement. There was a lot of opposition to that, to the law of the quinientos acres, of the 500 acres of land, the ownership of land and so on. JJ: Mm-hmm. So let me understand it. So people were -- there was a law that you could not have more than 500 acres? AS: The Popular Democratic Party ran with that -- JJ: Oh. AS: -- those advanced laws to abolish -- JJ: To abolish that. 30 �AS: -- to abolish that, yes. Then they would also offer the land which was the parcelas to the campesinos, to the, or to the rural dwellers and so on. JJ: Whose land was this? The government has owned it? AS: Well, it was going to be [00:48:00] taken away by the law of the 500 acres. JJ: (phone rings) Okay. Hold on a second. (break in audio) [00:48:03] JJ: So you said I made it out of the 500 acres. AS: Sí. JJ: Okay. AS: (Spanish) [00:48:10]? JJ: (Spanish) [00:48:13]. AS: Uh-huh. JJ: (Spanish) [00:48:15] the (inaudible), the time, the people (inaudible). AS: Sí, mm-hmm. JJ: Okay, (Spanish) [00:48:21 - 00:48:25]? AS: (Spanish) [00:48:26] this was -- we were on that, on the development of the platform of the Popular Democratic Party. Why it really, it really grew and so on. Remember that my father was in the Socialist Party and the Socialist Party wanted, was for statehood, wanted Puerto Rico to be a state of the United States. But we didn’t [00:49:00] -- the concept of a really, of a workers’, of a workers’ state and so on. And my father initiated and with the labor movement and so on, and the federation of labor and so on, had relationships, had relationships with the United States. And the Popular Democratic Party felt that it 31 �had to -- there was no possibilities. That the Constitution of the United States would allow a socialist state. That it was a really uphill battle in order to, in order to make it. To make [00:50:00] it the proposal that the Congress of the United States would embrace. So the Popular Democratic Party called for the, for Puerto Rican election of a Puerto Rican governor with a platform of to end the plantation system, for ownership of you land, for home ownership of the land in which it developed the program of parcelas, which is very well-known in Puerto Rico. Parcelas was a very small plot of land given to the rural communities and so on. It is then franchised the (inaudible). JJ: So you’re related to the peasants, what they call peasants, los jibaros, the campos. AS: Yes, los jibaros, the campos, yes. That [00:51:00] was the strongest base of the Popular Democratic Pary was the rural areas -- JJ: Okay. AS: -- of Puerto Rico, los jibaros. So the recognition of the, of abolition all the (inaudible) benefits of a patriarchal, of a patriarchal heritage and so on in which the father had to recognize other children. So all this, all this -- JJ: So you’re taking the land, you’re taking the land with about 100 acres land law. You would take the land from the rich? AS: No, because there were landowners with huge, huge amounts of land. JJ: So the government didn’t take their land. AS: The [00:52:00] government decided this was not possible in an island was, which was 100 by 35. 32 �JJ: But then there was protests -- AS: For very few, for very few owners to own basically, own the land in Puerto Rico. So -- JJ: And at that time, they were owning a lot of land. It was very, very -- AS: Yes. Very, yes. Uh-huh. JJ: So they didn’t (inaudible) resistance or --? AS: Oh yes, yes. It took the Popular Democratic Party a lot of organizing and to develop, to develop the base. And so much so that really, they knocked out all the other oppositions. The Popular Democratic Party became the predominant force, the electoral politics. JJ: This was in the late ‘40s, it was in the late ‘40s. AS: [00:53:00] Yes, in the late ‘40s. Then in 1952, the Constitution, the Constitution of the Puerto Rican Constitution is developed and so on. JJ: So why do you think that people were -- a lot of -- (Spanish) [00:37:16], from the country, were moving then to Chicago and the Midwest and this was like that in the late ‘40s. Was it after or before? AS: Yes. JJ: So some were being exposed to those areas but they were getting land here. Why wouldn’t they stay? AS: Because they -- these were the laws. They weren’t being implemented because they are not being passed yet. There still was opposition even by mention it. They was not, it was not yet -- had not taken hold because there was [00:54:00] the 500 acres law. But then they would, they would go around the law and then 33 �another relative and so on would buy another 500 acres and so on. So it wasn’t a very straightforward victory because the ruling class of Puerto Rico, there is such a thing which is an infamous because there is really not such a thing. Because not only do we have ruling class, you have to have the political power to make -JJ: To control the (inaudible) -- AS: -- self-determination for your own. But so within that concept of being intermediaries of the capital from the United States and in Puerto Rico. [00:55:00] Still, those forces were against the 500-acre law. So we have the constitution of Puerto Rico which was under law 600 which still was opposed by the independence forces, okay? So you have developing the what we now know and identify as statehood forces, the estado libre asociado de -- JJ: So you’re identifying them as statehood forces? AS: Status quo traditional forces -- JJ: Okay. AS: -- which is the estado libre asociado [00:56:00] of the independent forces. Different concepts but within the independence. JJ: So they were really part of the independence movement but they were -- had a different concept is what you’re saying or --? AS: They were the Popular Democratic Party at the beginning runs for independence. Yeah. But they change, they change and they say -- remember, this is when Pedro Albizu Campos was struggling for the independence of Puerto Rico. And he calls on the, on Puerto Ricans to arm themselves if the [00:57:00] -- your right 34 �to become free is opposed. So this was a very confrontation, a big confrontation. And Muñoz Marín which was the first elected governor of Puerto Rico, he won by at least -- tu sabes. JJ: Landslide, landslide, slam dunk. It was a slam dunk. AS: (Spanish) [00:57:27 - 00:57:32] so because he ran with a platform of everything. Independence, freedom, social justice, you name it. So and he did a lot of work and so on. But somehow, somewhere along [00:58:00] the line, he changes and he says that that’s, that he doesn’t see it’s possible, that independence in Puerto Rico. That we should put that aside and take care of the social justice issues. And this is a very famous phrase that says que, “El estatus politico no es dying issue,” you know? The political status is not an issue in his reasoning. JJ: Oh, okay. And his reasoning? What was his reasoning? AS: That we really have to take care first about our economic development and so on and that the relationship with the United States could develop and then the estado libre asociado which is the political status of Puerto Rico. Which by the name itself is problematic because you cannot be three things at the same [00:59:00] time (laughs) to be a state libre. JJ: And libre. AS: And free and then associated so estado libre asociado is the actual recognized political status of Puerto Rico. But he promised his party, the Popular Democratic Party, he promised that the estado libre asociado would be enhanced. There would be more, that the Congress of the United States would give more powers to Puerto Rico because right now, Puerto Rico is under the Congress of the 35 �United States and it’s a special clause. So that is called [01:00:00] is a territorial clause so that Puerto Rico is not part of the United States. It’s a special clause. You can -JJ: Territory. AS: You can check it in the Congress of the United States, Puerto Rico territorial clause which is that Puerto Rico is a territory of the United States. JJ: That it’s part of (inaudible) -- AS: So that is because at the international, at the United Nations -- JJ: It’s like (inaudible) or something. (laughter) Embassy. AS: No. What happens is that at international law, Puerto Rico instead of saying it’s a colony because at international level, all colonies should have been abolished. So 19- [01:01:00] -- the United States in 1963 decides then that Puerto Rico is a territory so as not to be labeled is a colony. Because if you have a colonial status, you have to submit to the United Nations a yearly improvement of the economic status. JJ: Of the colony. AS: Of the colony. In order to abolish that, the United States said and won that international let’s say struggle until later on, we were able to publish all the independent forces. I forgot to tell you that I support independence for Puerto Rico. I forgot to tell you that; I am so sorry. JJ: Oh, we know. We know it. We know it. AS: You notice it, (laughs) yes. JJ: (laughs) (inaudible) But okay, that’ll be the expression. 36 �AS: So, we -- right. [01:02:00] But I think is the solution for Puerto Rico. JJ: And did you (overlapping dialogue; inaudible) like the decolonization, for example. AS: The decolonization of Puerto Rico. Well -- JJ: I mean, in terms of the United Nations. AS: The United Nations. Well, because I was just telling you the electoral forces you were talking about because there were other non-electoral forces. The Movimiento para Independencia and the Nationalist Party of Puerto Rico who didn’t agree with the electoral process then. JJ: Yeah, what was the Nationalist Party of Puerto Rico doing then in (inaudible)? AS: Yes. JJ: When -- during the election. AS: During this, right. When all this is going on with the Popular Democratic Party, the, [01:03:00] remember Albizu Campos was studying at Harvard University. When he comes from Harvard University -- anyway, Albizu Campos, let me tell you who was the first president of the Irish Student Movement to declare -- JJ: I heard that they (overlapping dialogue; inaudible). AS: -- to vote for the Irish, for the Irish, for the Irish, for one Ireland struggles. JJ: So he was president. He was president of the movement? AS: And the students name an honorary president because he really struggled for the, for the freedom of the Irish and this was at Harvard University. JJ: Albizu Campos was a leader of the Nationalist Party then at the time. AS: He was not the president, no. Because [01:04:00] he finish his study. He was 37 �studying law at Harvard University. So when he comes back to Puerto Rico, the Nationalist Party was participating in the electorate process in Puerto Rico. Yes. (break in audio) [01:04:23] JJ: -- hold onto the Albizu Campos. M2: (inaudible) AS: Albizu Campos, right. Yes. So he becomes aware that although the Nationalist Party was trying to deal with the whole electoral process in Puerto Rico. So when he comes to Puerto Rico, he says that it was [01:05:00] impossible to be able to gain in the public trust under the colonial educational system in which we had to use the textbooks from the United States and everything that would be free democratic elections. Therefore, he calls for abstention. He calls to counteract that there was not possible and a democratic election process in Puerto Rico without supervision of the United Nations and so on so -- JJ: Now, how did, how does it do this? He comes from the United States and university to Puerto Rico and then -- AS: He comes -- JJ: -- does he have a press conference in -- AS: -- and he militates [sic], he militates [01:06:00] in the Nationalist Party of Puerto Rico. JJ: So he’s -- AS: And then he is elected president. JJ: So he militates, he -- all right. He is saying this at the rallies and the (overlapping dialogue; inaudible) -- 38 �AS: And rallies and meetings and so on and he calls -- JJ: And then they’re, are they having public meetings but I mean -- AS: Public meetings, yes. JJ: -- the Nationalist Party, where they’re with him in media all the time or --? AS: Yes and they have the following and so on, a strong following and -- JJ: They have a strong following. (overlapping dialogue; inaudible). So they were on the news all the time. AS: Excuse me? JJ: They were on the news, in the news all the time. AS: Oh, yes. Of course, yes. Uh-huh, right. Because he is -- first, he -- JJ: But he’s been in public places now. AS: First, he wasn’t really very prominent and even when he came to study at the, at Harvard University, I remember that he graduated magna cum laude from Harvard. And he also had several [01:07:00] titles. He not only of law, of international law and so on. But he really studied; He was a brilliant student in chemistry and so on. He was very (inaudible). So he had a lot of respect among many different sectors. Even popularism and people in the Popular Democratic Part were Albizuistas. JJ: Albizuistas? AS: Albizuistas meaning they were for Albizu. JJ: They were for Albizu. AS: That they really supported -- JJ: So there was a (inaudible) -- 39 �AS: Yes, that there was -- JJ: Then the Popular Democratic (overlapping dialogue; inaudible) -- AS: Oh yes, and there were Albizuistas and so on. And Albizuistas would really [01:08:00] -- people even from the Puerto Rican Independence Party would call themselves Albizuistas. Meaning that -- JJ: So you had him in all the parties. He was the well organizer. (overlapping dialogue; inaudible) -- AS: Yes. Well-organize as though he was also in the Nationalist Party. But he had a following also among many other organized sectors and within those organized sectors, there were caucuses and so on. It was really very widespread the sentiment of Albizu and calling yourself Albizuista meant that you really supported and you self-determination for the Puerto Rican people. That’s really the source of it. And he was able to, he was able to come through [01:09:00] with this sentiment and for people to wear buttons and so on with Albizu. So -- JJ: He was very dangerous to their government at that time. (inaudible) United States and (inaudible) independence and -- AS: Well, what happens is that he’s called by all means necessary was misunderstood because he was following the liberation movement of all the world. You see that you had the right, that this was the right, and that you had to defend that right by all means. Well, what happens is that it’s not the same thing to believe that when you are dealing with the United [01:10:00] States because the United States is a very, very powerful country. So you might not think so (laughs) but it’s so powerful that even though you are saying that you believe in 40 �self-determination meaning by all means necessary meaning that it’s a matter of principle, then the United States takes it literally as if you are going to immediately take a gun and start shooting. So what happens is that when Lolita Lebrón goes to the Congress of the United States, since the American people -JJ: (overlapping dialogue; inaudible) -- AS: -- don’t have the information of what’s going on in Puerto Rico, they think this is something where [01:11:00] did it come from? It’s like now even the presidential electoral process going on now in the United States, they don’t mention that the United States has a colony or what is a colony or why are there has, there is a need for a plebiscite because if you are organizing a plebiscite, it’s because it’s a colony. But then they don’t want to accept it’s a colony. Do you see what I mean? But then the American people don’t know nothing about this. So the same thing with law 600 in Puerto Rico. Now, what is law 600? You could say, “Well, Meca, why take time to explain the law 600?” But it’s important because this explains that the United [01:12:00] States wanted to present to the United Nations that it had abolished the colony, that it had been, it had been successful with the economic development model of the estado libre asociado. And that this was so successful that it became a law which is law 600 which is what allows the status of Puerto Rico to be recognized by the United Nations according to the United States. You see what I mean? So -- JJ: Okay. So then now, it’s -- AS: -- what happens is the Nationalist Party figures that we had to -- JJ: So the United Nations is okay with that. It’s okay with it is what you’re saying, the 41 �law 600. AS: [01:13:00] According to the United States. JJ: According to the United States. AS: Right. So then the Nationalist Party feels it was, felt it was really a, had to do something dramatic to bring to the people of the world that this was not so. JJ: So what did they do? What did they do? So (inaudible) -- AS: People inspired by the Albizu like I was telling you that there were many Albizuistas so in the Nationalist Party and other sectors. So Lolita Lebrón, Cancel Miranda, and so on, they went to the Congress of the United States and well, the United States do not accept that delegation because they themselves went [01:14:00] over there to bring about, to bring about the case of Puerto Rico to the world. And they did it with guns and shooting -- JJ: So they went inside the warehouse? Was it the warehouse or the --? AS: They went to the Congress of the United States. JJ: To the Congress and they started shooting. AS: And they started shooting. JJ: Did anyone get injured or --? AS: There was one American -- JJ: Congressmen (overlapping dialogue; inaudible) -- AS: -- Congress people injured and so on. JJ: I understand that Lolita Lebrón was a threat or so? AS: And Lolita Lebrón ruptured herself in the -- first, they bought only one-way ticket because they figure they would die over there. 42 �JJ: So they knew that they would probably die. AS: Die over there. JJ: But they wanted -- it was a dramatic thing that -- AS: It was a dramatic thing to -- JJ: -- against this law 600. AS: -- against this law 600. JJ: Because they wanted to show they wanted independence? AS: That the United States [01:15:00] had not really solved the problem of the political status of Puerto Rico and that still, Puerto Rico was a colony of the United States. And that the Congress was on the jurisdiction of the Congress of the United States because all the federal laws applied to Puerto Rico. In other words, in other words, the coin, the migration, the Federal Communications Commission. Everything, you see. Even the TV in Puerto Rico have to play the American [indonacional Americano?]. JJ: (inaudible) AS: The American hymn and the Puerto Rican hymn and all the Federal Communications Commissions, all the federal laws. We also have to use the [01:16:00] United States marine trade and so on. We cannot do international trade and so on although we are in terms of -- JJ: You can only trade, you can only trade with the United States is what you’re saying. AS: -- we are the seventh-largest market of US-produced goods because that’s what we can, we have to, we buy. So it was a problem because when they do this 43 �shooting, since the American people didn’t have all the information, although there were Americans that were members of the Nationalist Party of Puerto Rico because Ruth Reynolds also was one of the pacifist, an American pacifist who understood the struggle and so on. [01:17:00] And defended the Albizu -JJ: So there were many Americans. AS: Yeah, Albizu Campos. JJ: Right there in the Puerto Rican Nationalist Party. What were you doing there? Where were you at? AS: I hadn’t been born yet. JJ: Oh, you weren’t born yet. AS: Nineteen thirty-seven because I was born in 1977. Yes. JJ: No but when they went to Washington, it was in the ‘50s. AS: Oh, in the ‘50s. JJ: Yeah, so what were you doing then? I mean, how did you feel about it then? How old were you then about? AS: I was like 9 years old, 9 or 10 years, yes. JJ: Okay, so you weren’t thinking (inaudible). AS: Yeah. Well, all I know is that we had to, we -- our father told us we have to hide. JJ: Your father said you have to hide? AS: Yeah, because he understood repression, first of all. (laughs) He knew what repression was and so on. JJ: And there was a conflict so he understood it. [01:18:00] So you talked to him about repression. 44 �AS: Oh yes. He talked about repression and -- JJ: What did he say? What did he say? AS: -- then he said, now, we are again going to have the Turbas like I told you before so this was going on, the Turbas. And he said that we have to protect ourselves and so on. Because you didn’t know how this was going to play in Puerto Rico and so on and our friends that were arrested and so on in Puerto Rico and -- JJ: They were your fathers’ friends? AS: My fathers’ friends die everywhere. You think -- you could not -- JJ: So they were arresting people all throughout (overlapping dialogue; inaudible) -- AS: Yes. Also out. Also out. You didn’t -- JJ: Were there a lot of them? AS: You didn’t know who would, they would get arrested because the Nationalist Party, for example, if you be wearing black and white [01:19:00] which was the color of the Nationalist Party, you could get harassed and so on by the police and given tickets and all that kind of stuff. A lot of big, huge harassment and so forth. JJ: So did that cause you to move? Or you stayed here, you stayed in this house right here? AS: No, it didn’t cause us to move. JJ: Okay, but okay. They weren’t impacting (inaudible) your father’s side? AS: That’s right. Yes. (laughs) JJ: (overlapping dialogue; inaudible). Okay, so we’re looking in the ‘50s. You’re like nine years old and you’re living in Santurce? AS: In the ‘50s, I was already now like 13. 45 �JJ: Thirteen. AS: Thirteen. Thirteen, 14. JJ: Okay, you were in school and that? AS: So uh-huh. JJ: Is your consciousness being [01:20:00] raised? Now you began to think more like your father or --? AS: Dramatically. Yes, yes. JJ: (overlapping dialogue) [01:20:04] so you were close to your father or --? AS: Yes, thinking that I was agreeing more with my siblings because they understood that statehood and socialist was not possible. And this was -- JJ: That’s right. AS: -- including the American within the United States Constitution, this was not going to be an easy struggle to accept. To accept a state that would be Spanishspeaking and then socialist. JJ: And for the workers. AS: This was really uphill and that this was not possible. JJ: So your sib- AS: And [01:21:00] my siblings were -- JJ: -- were older than you? Were older? AS: -- were older, much older. And they were for the, they decided for independence and this was and then when the most -- JJ: How many siblings did you have? We won’t even go into that. AS: The older ones were two. Two older siblings I had to make the decision of -- 46 �JJ: Boys? Girls? Hombre. AS: Uh-huh. Male and female, hombre y mujer, yeah. JJ: Male and female. Okay. And they were already with your father, or against your father, changing (inaudible) -- AS: They were for independence. They figured that that would be the best for Puerto Rico were to become independent. JJ: Were they members? Were they members of the -- AS: Of the Puerto Rican Independence Party, yes. JJ: Oh, so you were (overlapping dialogue; inaudible). AS: Yes, uh-huh. Right. But when Muñoz Marín who was embracing independence and calls for this [01:22:00] social justice platform and independence, then they went with the Popular Democratic Party. And then I was forming my own opinion and so on and I was leaning toward the movimiento para independencia forces, the 1959 with Juan Mari Brás -- JJ: (overlapping dialogue; inaudible) Juan Mari Brás. AS: Yes, developed. JJ: And were you at school at that time? Is that why you were doing -- were they in school? What was their base? AS: All over Puerto Rico. Yes, yes, uh-huh. JJ: So they were all over Puerto Rico. Okay, okay. AS: Although he initiated in Mayagüez. JJ: In Mayagüez. AS: Mayagüez. 47 �JJ: Oh, that’s where (overlapping dialogue; inaudible)? AS: Uh-huh, with Eugenio María de Hostos and so on. Yes, in Mayagüez. JJ: Eugenio María de Hostos. AS: de Hostos, de Hostos. JJ: Oh, they all went at the same time? AS: Hostos, it’s a patriotic [01:23:00] feel or in Puerto Rico but -- JJ: But he was alive at that time, he was alive at that time. AS: No, he was not alive. JJ: Oh no, but he -- he inspired. AS: But he was an inspire -- they were inspired by him, by yeah. JJ: (Spanish) [01:23:14]. AS: Yeah, Betances, Hostos. JJ: Okay. AS: Yeah. And so the movimiento para -- JJ: So what did you, what did you find out about it? I mean, you know. AS: Through everywhere you would come in because they, because they -- JJ: So were okay with the movement. AS: -- they were, that they figure that what Puerto Rico needed was a movement instead of a party. That was the (Spanish) [01:23:47 - 01:23:51]. JJ: Why was that? Because were kind of -- the Young Lords went over the same side of the movimiento [01:24:00] para independencia pero -- AS: Yes. JJ: So why did, was did they look at it as more of a movement instead of a party at 48 �that time? AS: Yes, because the repressive forces, the contention of the MPI, of the movimiento para independencia, was that you would gain strength by not being disciplined to one specific party platform. And so the Nationalist Party of Puerto Rico was, had a very specific platform and also was anti-electorate who called for the abstention of the elector, elections. The movimiento para independencia said that it would embrace all forms of struggle, [01:25:00] even elections. And I’m struggle too. So the fact that it had in its platform all forms of struggle as legitimate for Puerto Ri-, for the liberation movement. That gave them a lot of broadness and it captivated a lot of young forces. The FUPI, the Federacion Universitaria para Independencia, the FUPI, it also embraced the movimiento para independencia. So -- JJ: It became a pretty broad base. AS: Very, very, very. JJ: Very all over the island, you said. AS: Yes, 1959. JJ: In the news all the time, in the media all the time. AS: In the media, uh-huh, in 1959 [01:26:00] and so on. Then it also organized in the United States. Then -- JJ: That’s right (overlapping dialogue; inaudible) -- AS: -- the 1970s, right, yes. JJ: The stadium in New York and -- AS: Yes. But remember that since I was, I -- in 1964, I leave Puerto Rico and I got to 49 �different countries in the Caribbean. So in 1966, I moved to Worcester, Massachusetts, and there I (audio cuts out)) and I embrace, and I embrace the organizing model of your people. (laughs) JJ: (inaudible) AS: Yeah. JJ: But so now, you joined the movimiento para independencia when? When did you join? AS: Well, [01:27:00] movimiento para independencia was 1960s. JJ: Wait is that -- did you join there? AS: It was at the -- because I was at the University of Puerto Rico which was the FUPI. JJ: Right, so you were a member of FUPI first. AS: I was involved with the FUPI. JJ: Okay. And so this automatically (overlapping dialogue; inaudible) into them. AS: No, not automatically. Not automatically because after the FUPI, I graduate in 1950-, I graduate in 1959. JJ: No, but I mean you joined FUPI automatically when you got in there so because I mean of your father’s background. AS: Not because of my father’s background because this was very controversial, my father’s background was very controversial. Wherever I was, I had to explain it over and over and over again. How would he think that United State, what was he thinking? (laughs) JJ: Yeah, exactly. [01:28:00] The people you hung around with, you had to explain 50 �about your father. AS: Yes, uh-huh. JJ: How can you (overlapping dialogue; inaudible)? AS: But even though it was in the books and all, they say, “What was he thinking? How could he believe -- JJ: Absolutely. AS: -- that the United States would allow this?” JJ: I understand, yeah. AS: You know, what was in the -- what was -- were -- they pick that inspiration of the federal, of the federate labor movement inspired them to think that the United States would embrace Puerto Rico as a state, as a socialist state. So this was a big, huge controversy because there are very -- JJ: So he was one of those -- AS: -- prominent figures like Santiago Iglesias, Santiago Iglesias Pantín and so on. Other people [01:29:00] who really thought that the, that the, that the movement, that the labor movement from the United States was moving toward embracing more of a social democrat and from a social democrat to a socialist state that they thought it was, it was feasible. JJ: (overlapping dialogue; inaudible) -- AS: But I had to, I had to really -- JJ: Explain it. AS: -- really explain it and so on. But it was, it was positive because this was, we were young, we were young idealist who wanted to embrace also the American, 51 �the American youth movement of equality [01:30:00] in the United States. JJ: For civil rights. AS: And we were for the civil rights. JJ: The civil rights movement at the time. AS: All of these positive -- JJ: This is the civil rights era, this is the civil rights era. AS: Yeah, you see, all these positive things going on in the United States, we did embrace it and we thought it was very heroic of the American people although -- JJ: So against the war. This was about the time against the war in Vietnam and that sort of -- AS: Yes. So it was like two different, like conflicting messages of a movement and of the American people making very vanguard statements and abolishing really backward like slavery and all aspects, negative aspects [01:31:00] of slavery and discrimination and rectifying historical blunders. We thought this was very, very positive and we wanted to embrace and be part of that movement in the United States. JJ: So the university was at, was the civil rights era, the Vietnam war, protesting. AS: Yes. JJ: So the university was having protests almost every day or --? Would you say that or I mean, were there a lot --? AS: Protests? This was open confrontation. This was shooting. JJ: There were shooting. AS: Oh my God, these were -- yes. This was because the National Guard of Puerto 52 �Rico which is called National Guard of Puerto Rico but it follows [01:32:00] all the structures of the -JJ: United States. AS: -- United States military. They had recruiting and huge recruiting offices right inside the university of Puerto Rico. Remember, this was, how you say, forced? Forced recruitment. JJ: Right it was the beginning -- AS: It was the time when there was -- JJ: It was -- yeah, mandatory military. Mandatory military service. AS: (Spanish) [01:32:30]. JJ: Yeah. AS: So we were against that. So there were real big, huge confrontations and really open shootings and so on -- JJ: At the university. AS: -- at the university and students -- [01:33:00] yes. JJ: Anybody got killed because of this? AS: Yes, yes. Students got killed and so on. So that on the early 1960s, I was going to Santo Domingo and to Venezuela. I was doing some research about -- JJ: For the university? Or for -- AS: We were attached to a diplomatic core to the United Nations in which they were studying the fertility of the nun and we were doing this research on a project in the Dominican Republic [01:34:00] and in Venezuela in Guyana for the Agriculture Department of the United Nations. So this was very interesting in 53 �order to, for those countries to develop their own agriculture. Because you have to prove that your land is very fertile and so on and that it should be protected. So since my husband was an expert on soils so we went to those countries for that. JJ: And your husband’s name at that time was what? AS: James Blaut. JJ: James Blaut. AS: James Blaut. He did research. And then in, then in, later on, we went to Venezuela because we [01:35:00] were involved with the project because he was, he develop, with some grants, develop a project in which we would counteract the Piaget [-lo?] of development, of child development. Because Piaget says that there are developmental stages of children and that children cannot be introduced to aerial photography until they are seven and eight years old and so on. We got involved and very excited with that kind of research of perception that children at that very age can read maps and when they are three years old and so on. Since I was trained as a psychologist, I did the research and so on to provide that the children can read maps at a very early age. [01:36:00] So that took me to 19- -- we were at the College of the Virgin Islands [sic] in 1964, 1960-, until 1966. Then I got to Worcester, Massachusetts. JJ: Did you go through work or right, straight to the Worcester? AS: Worcester. JJ: Worcester? AS: Worcester from the Virgin Islands. 54 �JJ: And so that was a university, too, there or you went to the --? AS: From the -- excuse me? JJ: From the Virgin Islands you go to (overlapping dialogue; inaudible) -- AS: From the Virgin Islands to Clark University -- JJ: Clark University? AS: -- because they ask my husband, yeah. Then I, we decided to go to Worcester. JJ: Okay. And he was -- was he teach, was he teaching there or --? AS: He was a director of the research at the -- he was a professor. He was a director of Caribbean research, yes. We have some encounters there with Rockefeller. And [01:37:00] whenever you have encounters with Rockefeller, you basically lose. (laughs) JJ: Okay, so which Rockefeller is it? AS: Nelson. JJ: Nelson Rockefeller. Okay, the direct confrontation. AS: Yes because he had a concept of conservation different than ours. He owns a lot of land in the Virgin Islands and his concept of conservation, we didn’t agree with it. JJ: What was his? What was yours? AS: His concept of conservation is you acquire the title of the property and then you do the conservation. And we thought that it’s, it doesn’t work with us. The land has to be owned by the people, it has to be public owned and the -- JJ: Public domain, public land. AS: Yeah. Then [01:38:00] that -- 55 �JJ: I see, so he wants to make money (inaudible). AS: That public, the fact that you own the land, you should conserve it. It’s your land, it’s your resources. But it’s a different concept of private ownership. It’s a very difficult although he had some wonderful, beautiful ideas for the conservation, for all the, for everything. But these are gigantic people have a lot of money and resources. It was -- JJ: So anyway, you said that when you were faced with Rockefeller, you’d lose. AS: Well, because you have to publish reports and then they force, they want your reports to be private. My husband would not allow that. JJ: To gain way. AS: Because if you are an academic and you [01:39:00] do some research, let’s say you do this and then you go to the university and they say that belongs to us, that’s it. If you agree with it, you give it to them. But if you have the concept that -- JJ: Right. (overlapping dialogue; inaudible) -- AS: -- no, no, no, this is my copyright, this is mine. And the people gave me this information because they trusted me. It is the same thing. So then the report, you make it public -- JJ: Right, it should be public. AS: -- because you owe it to the public that gave you the information. It’s a different concept. They figure that since they believe that the whole thing is private but then you are like a slave to them -- JJ: So we’re going to make sure that Grand Valley is not a Rockefeller. (laughs) 56 �Grand Valley State University, [01:40:00] technical university. (laughter) AS: It’s true, it becomes, it’s everywhere. JJ: We got to make sure, we got to make sure -- AS: Some places, the more sophisticated than others and so on. JJ: That’s a good point. AS: So when I signed this, I signed it to Cha Cha because I’m giving this, all this effort and information because Cha Cha has sacrificed himself and has given everything to the people so I am giving it back. The little I have contributed, I’m giving it back to you. So -- JJ: That’s right, I got to make sure I keep it with the people. AS: (laughs) JJ: I appreciate it. AS: Right? It’s very humble but it’s all we can do. JJ: No, I appreciate that it’s your neck, it’s your neck. It’s your right. AS: Yes, right, so -- JJ: I appreciate that. Making it clear. AS: (laughs) Just in case, right. So when you [01:41:00] have difficulties with them, we ended up, we said, “Well, this is as far as -- we are taking the report. We are publishing.” JJ: And I appreciate it because this is my first research project so I got to learn how it goes. (inaudible) AS: Yes. Well, that’s how it really works and it really -- we had problems in the Dominican Republic because they, the same thing. They wanted the reports to 57 �be private and we said no way, no way. Because you are using us to get information from the people to trust us and the confidentiality and they are trusting you something that you don’t know what is the use of that. Then later on, we found out that we were doing this and that [01:42:00] the Heinz company that produces, that they were producing the tomatoes, ketchup -JJ: (overlapping dialogue; inaudible) -- AS: -- it’s wonderful. These are wonderful people, okay, but they have their own agenda. Therefore, you have to from the beginning, you have to be honest about it and straightforward. It’s public domain. It belongs to the people. Therefore, you are an academician, you are this and you are that but hey. I’m the property of the intellectual production of the people. JJ: Okay. Now, you said you went, you were looking into the Young Lords. AS: Right, Worcester. JJ: What got you into the Young Lords? I mean, how did you start? AS: Yes. Well, I [01:43:00] started organizing in Worcester. The Puerto Rican community was very close to the Clark University and Clark University like most urban American universities, they outgrow their main buildings and they outgrow and they keep on growing and then they displace the neighborhood around them. Usually, it’s poor people. And in this case, were Puerto Ricans they were displacing at Clark University. I organized the Puerto Rican community. It didn’t go well with Clark University (laughs) but I started organizing the Puerto Rican community. JJ: Was it a housing question at that time? Well, [01:44:00] it was displacement at 58 �that time. AS: Well, the university wanted to acquire some buildings and so on and -- JJ: And the community was fighting it? AS: -- and then the community was struggling to say not fighting it but struggling with the university to with a new concept of interaction because we feel that if you’re going to be talking about sociology, you don’t have to displace the people that you are teaching your students to study. I mean, this is ridiculous. We think. We think that if they, if Puerto Ricans were living among them, then the students can learn why are Puerto Ricans coming here? I mean this is migration, this is international law, this is all kinds and this is something that the students should be interested. Why are there Puerto Ricans still coming here and they get from the bus [01:45:00] and they can’t vote? The university should teach them and say something is going on because these are people who speak a different language and all that and they come in right away from the airport and they can’t vote. Hey, something going on, right? So I organized the Puerto Rican community and over there, I found some very wonderful organizers, women organizers. JJ: Who were some of the women organizers? AS: Lydia, Lydia Reyes. She and her husband, Edwin Reyes, Edwin Reyes. Edwin Reyes was, he still is, he is still organizing. He is the brother of Edwin Reyes and Edwin Reyes, there is a documentary [01:46:00] about him, a tremendous poet and organizer. He organized the people of Loíza. He was very, very well-known organizing effort in Loíza because the government went with tractors and really 59 �wiped out the whole community and their houses and everything because these were the, these were the -- oh, it was a, it was a village they built on the wrong how do you call that? JJ: You mean a company village? AS: Like a little (Spanish) [01:46:50] they organized. JJ: A (Spanish) [01:46:51]. (overlapping dialogue; inaudible) AS: They rescued the land and everything. JJ: Oh, yeah. [01:47:00] AS: Rescatadores they call it. JJ: Is that kind of set in -- AS: Settlers? You say? Settlers? JJ: Settlers, yeah. Homestead or something. Homestead. AS: Settlers? Yes. JJ: They settled that area. They took it from the people. AS: These were settlers of land that hadn’t been used for 50 or 60 years and there was a little community who settled there. JJ: They reclaimed the land, basically. AS: Yes. JJ: Okay. (inaudible) AS: They bulldozed, they bulldozed that area and so on so and Reyes was very famous of that area, yeah. JJ: (overlapping dialogue; inaudible) AS: So Edwin Reyes -- 60 �JJ: Squatters, they were squatters. AS: Oh. JJ: They were squatters in the land and then they came and bulldozed it and took them out. AS: We call it rescatadores. JJ: Rescatadores. AS: Which is better. (laughs) JJ: Rescatadores is better? It’s got a little ring to it. AS: Yeah, rescatadores, uh-huh. And so -- JJ: So Edwin Reyes was part of it and he -- AS: Yes. JJ: -- and he comes from -- AS: -- from [01:48:00] Worcester. Yes. And the children of Lydia were, eran Lords. JJ: Oh, they were? AS: Lords, eran Lords, Young Lords. JJ: Young Lords. So then (overlapping dialogue; inaudible) -- AS: They were, uh-huh, Young Lords. And -- JJ: And we got in and then we were connected or husband and wife? AS: Yes. They were husband and wife. JJ: Okay, so this was the Young Lords. AS: Then we were, we were then organizing and they were, when they came in, they really look like you, Cha Cha. JJ: Yeah. 61 �AS: These kids. (laughs) JJ: Like me? Yeah, no, (inaudible. AS: Yeah, and everything. JJ: (laughs) AS: They said, “Well,” in a meeting, they said -- JJ: (Spanish) [01:48:42] -- AS: They said, they said, “Well,” in the meeting, they said -- JJ: (Spanish) [01:48:42] -- AS: They said, in the first meeting we were having, I am there. I am really from the old school. [break in audio] And then when they see me and they see me, [01:49:00] “Is this your organizer?” (laughter) They see me with blue eyes and blond and all that and then they come here. But they were really, they were really about to take the whole world. And then I come over there and then they say, “Is that it? Is that it? Is she the one we’re going to talk to?” Yeah. (Spanish) [01:49:32]. Yeah. It’s, “Well --” “Well, I recommend the first thing we’re going to do is that we’re going to take over the building where your husband work. You want to do it?” “Let’s do it.” And he says, “Not so bad at all,” (laughs) and he said, “But we’re going to do it the way I say.” (laughs) So we started there the story, [01:50:00] the Young Lords. JJ: Did you take over the building? Did you take over -- AS: Oh, we took it over. Yes. JJ: This was a school building. AS: A school building. 62 �JJ: Oh, so you took over a school building? Okay. AS: Yeah. But -- JJ: You were taking the spirit of the Young Lords. AS: Oh, yes. JJ: (laughs) AS: We said, “Hey.” JJ: They were from Worcester, Worcester, Massachusetts. AS: Worcester, Massachusetts. You won’t believe the influence you had, you see? Because when one is in the struggle, one doesn’t, one cannot figure out one, how far -- JJ: But we were getting, we were getting influenced by the movimiento para independencia. AS: Para independencia, right. JJ: So we were getting influenced by each other. AS: By each other, right. JJ: So it was good. AS: But the tactics were very good because here in Puerto Rico, there are certain big no-nos that you don’t do. But Young Lords had no no-nos. (laughter) You see what I mean? They said no, no, no, no. And I said, “Well,” and I said, “Well, [01:51:00] we go halfway, okay?” Said, “We go halfway.” First, we’re going to do it this way. I love my husband. And nothing can happen to him. Do you understand? We understand each other. But he can take care of himself. He is 6’-something. I said, “No, no, no. I don’t want anything to happen to him, but I 63 �don’t want anything to happen to anybody here. That’s impossible.” He said, “No. We won’t go any farther unless we (inaudible).” And they say, “Whatever, we are -- nothing happens to anybody.” I’ll tell you what, and then they would come out. We have these, we have this structure and so on. And that’s how I learn -JJ: And that’s the spirit of the Young Lords. We’ve always done that. AS: That’s right. JJ: We never jumped on people. AS: That’s right. But you see, I will challenge them in public because if I don’t do that, then the other people won’t come with me. Then they would listen [01:52:00] to them, to the -- JJ: So you were doing an insider job. AS: Yes. JJ: (laughs) AS: Because this was very young kids, very young. But they had been trampled, they knew what discrimination was, they have been spitted up. They really knew what repression was about, you see? They really knew how the American system worked and they had the skills and hey had the know-how and they had the special, the special flavor for the other youngsters. For the other Puerto Rican youngsters that were coming. They were like the rich because I was very formal. (inaudible) Cha Cha, [01:53:00] you see? (laughs) And my husband was professor over there. I would come and tell him. I said, “Hey, we have to -- we’ll go up to here.” But I’m going to do that make them believe. You do the rest. 64 �Okay. But who knows? You never see my embrace, all of us. And then they would tell me, “You poor thing. You don’t know. I’ll teach you.” That these people do not really believe that all people are really equal. I would say, “These people are principled. These people in academia are principled. I’m going to prove it to you.” They would tell me, “I will prove it to you that they are not.” JJ: At the university? AS: This [01:54:00] struggle, this struggle, and it took over the building. It was like they said because we knew better, right? But it was like they said. But we still gave the universities a space to correct themselves, to rectify. Correct, I don’t know. That’s not the right word. To rectify. Because they said they didn’t discriminated against Black or Latinos but then they didn’t want to make any allowances in order to bring in and to open the enrollment. We call, it says, “Well, we have to have open enrollment. No way.” So each issue, they proved they were right. So and the [01:55:00] people, hey, the people said they know what they’re talking about. The university, they took over the building and the people were still inside and we would take food. Inside and all that and we put in the demands that they had to take more Latinos and Blacks and so on and we were against the Vietnam War and the right we had to protest. Everything. But what happens? They called the police, the whole thing, the whole bit. What happened? Even though my husband was the one that had published the most, an academically outstanding scholar and all that, they finish his contract. He had no tender. Then we would discuss this in the community and then the people, [01:56:00] the Young Lords would say, “(Spanish) [01:56:02 - 01:56:06].” 65 �(laughter) Say yeah, he’s going to be kicked out. Did we say so? Did we say that the university was so arrogant that they won’t allow for, they won’t allow for the enrollment to change it? They would have a, they didn’t change the admissions? It had to be straightforward by test? They didn’t even accept that test were biased against gender and poor. They didn’t accept that. They didn’t accept none [01:57:00] of those things. So this was, this was a real schooling about what really academia is about. And that this was a very wonderful experience for all of us. Still, we opened the university among the artists and so on. The university open and embrace the community but this were sectors within the university. The administration and all that -JJ: Remained the same. AS: -- bureaucracy, they remained the same. JJ: They did open some sectors, right? AS: We did open. The theater open to the and we made the, we organized the presentations and everything and the student really loved it and so on. So in Worcester, then we came to, we came to [01:58:00] the University of Illinois because my husband really think like Ivy school universities. Although he taught in Yale and he did like it. He did like the Ivy school -- JJ: The Ivy League, right. AS: -- the Ivy League schooling. JJ: Right. AS: So -- JJ: And you went to the University of Illinois. 66 �AS: We went to the University -- uh-huh, state university. JJ: Circle campus. AS: Circle campus. JJ: But you didn’t, you weren’t aware that that university had a, the Italian community and the Mexican community. AS: We were. JJ: You were aware? AS: We were aware, yes. JJ: Oh, okay. All right. AS: Yes, we were aware and we immediately started organizing the minute we went over there. JJ: So you hit the floor running -- AS: Yeah. (laughter) JJ: -- like they say about it. AS: Yes. JJ: So you were aware. That’s pretty great. (inaudible) AS: Uh-huh, right. JJ: A lot of people there, we were trying to make people aware of that -- AS: Yes. JJ: -- [01:59:00] and so that they learn, recognize. AS: Yes. JJ: But so he was teaching there? And what, he was teaching research studies or -? 67 �AS: He was geography and anthropology. JJ: Geography and -- AS: He had a PhD in geography and anthropology from Louisianna State University. JJ: But then you started working in the community, too, there, right? AS: Right, yes. JJ: As a Puerto Rican Socialist Party or no? AS: Well, we -- I found, yeah, I was one of the founding members -- JJ: In Chicago. AS: -- in Chicago. JJ: Connected to Puerto Rico? AS: Yes. Uh-huh, yes. JJ: Okay. Were you a member in Puerto Rico? Well, that’s -- AS: No because I was in Worcester. I was organizing in Worcester. JJ: But you decided to do the Socialist Party but this time, it wasn’t like your father’s or --? AS: Puerto Rican Socialist Party is -- JJ: Is different? AS: -- pro-independence. JJ: Is pro-independence. AS: Independence, yes. JJ: But was it similar to your father’s or no? AS: In terms of social justice, yes. JJ: Okay, but it wasn’t the same party, it wasn’t the same -- 68 �AS: No, no, not at all. JJ: So it was another party. AS: Yes. Uh-huh. JJ: Because I remember you had -- AS: The Puerto Rican Socialist Party [02:00:00] is a, the movimiento para independencia -- JJ: Oh, turn -- AS: -- decides, decides that it should become a -- JJ: A smaller bank area. AS: -- a Marxist/Leninist party. JJ: Right, at that time. At that time. AS: Then in 1970s, in 1971, it’s the Puerto Rican Socialist Party adopts -- JJ: So okay, so it wasn’t the movimiento para independencia first and then -- AS: Yes. JJ: -- in 1971. AS: Yes. Then the movimiento para independencia keeps on organizing. In 1959 in Puerto Rico. Then in the ‘70s, they start a -- they got influenced by the internationalist movement and then -- JJ: They become more Marxist/Leninist? AS: -- then yes. JJ: [02:01:00] Publicly, publicly. AS: Yes. That was -- JJ: Everyone was kind of reading those things at the same time. 69 �AS: Yes. (laughs) JJ: But publicly, they didn’t (overlapping dialogue; inaudible) -- AS: But publicly then they, yes, it becomes with the whole structure of the Marxist/Leninist party. And then -- JJ: But not, not, all of a sudden, but it was a little different because it was -- AS: Independent, we had independent -- JJ: The Young Lords came, the Young Lords looked at Mao Zedong or -- AS: Yes. JJ: -- and you were a little bit more what? AS: An independent. We had an independent -- JJ: An independent -- AS: -- international line. JJ: Independence (overlapping dialogue; inaudible) -- AS: Independent and not (inaudible), not Maoist and so on. JJ: I don’t remember the independent. Okay, so it was more, more -- AS: Yes, because the Cold Wars that in a colonial -- JJ: And actually, we became (overlapping dialogue; inaudible) -- AS: -- that in a colonial -- JJ: But we didn’t go that deep into it. AS: Yeah. JJ: Except our leaders. Some leaders that belonged to it. AS: Yeah, uh-huh. Yeah, no, the movimiento para independencia studied, [02:02:00] studied the -- 70 �JJ: We were more, we were more -- AS: -- movement and so on and MPI really visited the China and Vietnam and many other places as someone who was -- JJ: So they were more abroad than -- AS: It was studied and so on and that. Then on the ‘70s, and then it’s founded that -- JJ: Because everybody kind of divided in different ways and it was better to. Because MPI was better at (inaudible). Because it was abroad. It didn’t go everywhere. AS: Everywhere, yes. JJ: Whereas (inaudible) every time. AS: Because in Puerto Rico, it was decided it was the best because it was also an anti-colonial movement. Because we had to gain the independence of Puerto Rico. JJ: Well, that’s what we have now, it’s anti-colonial. AS: Yes. JJ: It’s anti-colonial (inaudible). AS: Yes, uh-huh and we are -- JJ: Not that I’m a (inaudible), I’m not (overlapping dialogue; inaudible). AS: Yeah. JJ: (laughs) AS: Yeah, [02:03:00] we got involved with the American Left because the American Left had, was influenced highly by a traditional Marxist/Leninist party and -- JJ: It was from the ‘30s kind of. It was like a fight against the ‘30s, wasn’t it, in some 71 �way. AS: Well, because they followed the line that liberation movement was anti-worker and that it was more important the workers’ movement versus the liberation movement. We thought that it was wrong first to put it that way that there was no such thing as one thing or the other because we did research and we did publish why [02:04:00] you would be in the best interest of workers, of Puerto Rican workers, to gain the political status first. JJ: Because what I remember is there was a lot of flags and stuff I remember. Red flags. Was it red flags or --? AS: Yeah. JJ: But they had a lot of rallies in Chicago at that time and that’s when we started working together. (overlapping dialogue; inaudible) to be closer to that because we just felt that anybody that was for independence was (inaudible) so we wanted to work with them there. AS: Well, what happened is because I came from the Young Lords -- JJ: (overlapping dialogue; inaudible) -- AS: -- in Worcester how -- JJ: -- (overlapping dialogue; inaudible) -- AS: -- it helped us a lot to understand what we were going through. JJ: Chicago was a new area for the Puerto Ricans. AS: Right. JJ: It was a new -- we weren’t -- we weren’t active as a people. That was the first -[02:05:00] we were in a gang before. You know what I mean? So we were just 72 �becoming activists and so the movement was small. We made less compared to the West Coast and East Coast. It grew, it grew -AS: But it’s important, it’s important because what you did in Chicago, you really had tremendous repercussions in Chicago. What happens is that the anti-liberation forces in the United States was always bringing in the wrong information because you don’t control the news communication system. So although there were many, there [02:06:00] were a lot of Americans who would support the anticolonial movement of Puerto Rico as a matter of principle, the news media was never able to project that. But the fact that you put in the, in your demands independence for Puerto Rico and you tie it in with the social justice for Puerto Ricans in the United States and the liberation of the Puerto Rican political prisoners, believe me, this was very, very important. It was so important that the Congress of the United States, Congress of the United States allotted 37 different lines in the budget to counteract it. [02:07:00] Imagine if it was important. JJ: Thirty-seven different lines. I didn’t look into that. That’s pretty good. AS: Yes, it’s pretty good, you see what I mean? JJ: (laughs) AS: Why is that? Why is that? Because this is very powerful. For Puerto Ricans in the United States to adopt the fact that part of their civil rights struggle is the liberation of their homeland, this is powerful and the United States government knows that. (laughs) So at any cost, they had to eliminate -- JJ: I don’t know if I should be content or worried (laughs) that they had 37 pieces of 73 �their budget. I don’t know if I should be happy or worried by that -AS: You should be happy and worried. JJ: (laughs) At the same time. [02:08:00] (laughter) AS: Happy and worried. But not worried but concerned, the fact that it’s -- you have to figure out that something is going on where there is so much struggle going on in Puerto Rico and nothing is mentioned. As a matter of fact -- JJ: I think it was because we were hanging out with Meca and we were -- AS: (laughter) Obama, as a matter of fact, even Obama, he let in all those people come over here. And the electoral process in the United States doesn’t get mentioned at all basically, you know? So it’s amazing. So this powerful formula when you people call for that, there were a lot of forces trying to interfere so [02:09:00] that you and our forces would not get together at all cost, Cha Cha, at all cost. They placed agents in, at the PSP headquarters, they placed agents, you name it. I mean, this was amazing. They killed one of our comrades, Cintrón, Cintrón Ortiz. Not only knew how but he -- JJ: What year was this? AS: -- was a professor at the University of Illinois, Rafael Cintrón Ortiz. What did the political forces and the police say when he was killed? They said, “Oh, this is a faction between the PSP. One that support struggles and the other one that doesn’t support struggles within the PSP.” Imagine how. [02:10:00] The American students don’t have an idea, Cha Cha. They don’t have idea that this things are going on. They just go to school and they go along with the books they assign to them and reading. But they don’t have, they don’t have access 74 �and these are public documents. You can read them. They can access it. They can go to the internet and access all these intelligence community politics. You’ll see those intelligence, the intelligence police other things. You read and they tell you this day is a Puerto Rican commemoration day. Everybody on the lookout, “Hey, you’re a student. You’re brilliant. You know what that means, right?” [02:11:00] (laughs) If you give to all the police departments a memo and they say Puerto Rican [break in audio] pro-independence holidays, “Hey, what’s that? Is that love? What’s that?” That has a meaning, you see what I mean? So Rafael Cintrón Ortiz was a very unitary figure and was giving on a volunteer basis and through the university and independent courses about the Puerto Rican family and importance of the Puerto Rican family to be able to decide the political status of Puerto Rico. He was finishing writing the thesis for New York University. I mean, and he was found [02:12:00] bound with an electric cable on his apartment. The director of the Latin American Studies program, when he didn’t show up, he went over there and found him with another colleague of his, found him dead there. The police, what was the police, Chicago police, saying? You perhaps are not aware of the Chicago police. Are you aware of how the Chicago police works? I’m going to tell you. JJ: A little bit, a little understanding. (laughs) AS: A little bit? I’ll tell you. We, Cha Cha, had to, we had to hide ourselves. We have to what it’s called sumergirse, how would you say that? We had to submerge? JJ: You went underground. 75 �AS: I mean, we had to because this was a guy who had been killed and then the police was saying -- JJ: You went underground in Chicago. You were not with the group. AS: Everywhere we went. JJ: I mean [02:13:00] you went underground. AS: We, yes. JJ: (overlapping dialogue; inaudible) -- AS: We have to sumergirno, we had to submerge, yes. JJ: The Young Lords went underground, too. AS: Yes, because it was impossible. We didn’t know what was going on and with this, with this announcement, radio announcements, of a sector of the PSP being for arms struggle and this was -- JJ: That they were treating you, asking people. AS: It was an inside, it was an inside job. The one was killing the other, you know? JJ: Yeah, right. Yeah, they were asking people with (overlapping dialogue; inaudible), yeah. AS: So this was -- JJ: So they were creating divisions (overlapping dialogue; inaudible) also like -- AS: Sure, claro. JJ: -- (overlapping dialogue; inaudible) between the Chicago Young Lords and the New York Young Lords. AS: Right, and they were successful. JJ: And the Panthers, the (overlapping dialogue; inaudible) -- 76 �AS: And the Panthers. JJ: -- Panthers and the New York Panthers. AS: Same tactic. JJ: Same tactic. AS: Same tactic. JJ: SDS was divided -- AS: Divided. JJ: The Yippies were divided. The Yippies were divided. AS: Divided, right. JJ: So they’d infiltrate [02:14:00] the housing. That was their tool. AS: Yeah. What happened then to us here? The same thing so -- JJ: So it wasn’t their intent to -- AS: Yes, right. Now, of course, one can always keep on organizing. What we did is we said, “Hey, we are going to,” when we found out what was happening, then we came and gave our statements and so on. But what happens is that the parents, Puerto Rican parents are very traditional. If something happens to you, they go to your mother. Your poor mother, what is she going to say? The mother of Rafael Cintrón Ortiz, they went to her and the poor, then they told her that he was homosexual. That then, that’s what happened. Then they changed. JJ: And (inaudible), and [02:15:00] that was a part of the discreditation campaign anyway. And that they were trying -- and that homosexuality is a -- it sounds like they’re being more concerned that they’re straight but they’re trying to find out ways to discredit and then gay was used. 77 �AS: Right. First it was like announced like a struggle between -- JJ: Two forces. AS: -- two forces between the PSP. But then -- JJ: But now they’re homosexual and maybe he’s into drugs or something else. AS: Then is that the, he was hanging around with the wrong crowd and this were a passion, a passion crime. Then the poor, the -- she accepted that she wasn’t going to do anything. She wasn’t going to do research. You know, let’s say that you haven’t done your papers and say, let’s say you haven’t written anything in your papers, all right? Well, then if your legal wife is the [02:16:00] one that decides for you. That’s why you should write down what, if anything happens to you, what you should do. You should give it to somebody that you trust and you should leave it in writing what to do. What happened with her? Since he didn’t write that down, he didn’t write anything down. So when the mother comes, she decided. She decided not to have any investigation because she was suffering so much and she accepted the version of the police. JJ: Right. We’re having the same, we had the same problem with Reverend I think it was Johnson, when he was murdered. The family, they respected the family. They didn’t want to do anything about it. They just wanted to forget about it and that was it. AS: That was it. JJ: Here, he was stabbed 17 times and his wife 9 times. He’s the [02:17:00] reverend of the United Methodist Church and so it’s a similar situation. AS: Similar, yes. 78 �JJ: Because other people were not political and don’t understand the repression, that’s what happened. AS: Do you have your written statement? JJ: (laughs) AS: Huh? JJ: (inaudible) I’m going to have to write it down. AS: Write it down because one has to write it down. I always say because -- JJ: We’ll we’re writing it down now. AS: -- with this experience, with this experience, believe me. Then later on, the police, they apprehended two kids: one adult and then a youngster. The adult, they said he was crazy and the youngster was a youngster. He could not testify. That’s how they dealt with a crime. You know Chicago police, right? That’s how they dealt with a crime. So it’s the repression [02:18:00] is there. JJ: So they still haven’t found out what happened to him. AS: No. Nothing but then -- JJ: They said they would throw sentences -- AS: -- with the adult, with the adult, he was crazy. JJ: They were saying he was crazy. AS: And the youngster were, he couldn’t testify. He was young and so -- JJ: What other forms of repression were they using at that time with movimiento para independencia of Puerto Rico? You said that they infiltrated, they infiltrated the -- AS: All kinds. Shootings through the Claridad, they went to Claridad, they bomb the newspaper Claridad and they went, the director Figeroa, Domingo Figeroa, who 79 �was there, he even had to defend himself and he was shooting at them and they put bombs under his car. I mean, all kinds of repression. They killed [02:19:00] other the leadership in the labor movement that were the, for independence. They bombed the, a little school, Montessori school we had for kids. I mean, they really went all out on a very, on a repression at all levels. They visited the work, workplace of militants of the movimiento para independencia y, and PSP and -JJ: Puerto Rican Socialist Party. AS: Sí, Puerto Rican Socialist Party and so on. We then embrace, the Puerto Rican Socialist Party [02:20:00] embraces the electoral and participates in the electoral process. We registered the top leadership that Juan Mari Brás will run as governor and so on. We did that in order to open up another, another space. It was really very confrontational and so but we were able to move to register the party and all that. It was a very, it was a very good experience and so on. But like the organizations, we had a lot of Cubans anti-revolutionary forces. Cuba said their name because the Department of [02:21:00] State that moves in Puerto Rico. The United States Department of State decides who gets visas, who comes in Puerto Rico. (laughs) JJ: They’re using immigration now as a tool. AS: So they have always used it. Then they, and then there were all of a sudden, in Puerto Rico were thousands and thousands and thousands of anti-revolutionary forces. At the same time that we were the organizing the MRCCS party and this was, it was a big confrontation. They had the, the Cuban forces had here very 80 �well organized, very well organized people. [02:22:00] With right wing to the -- I mean, they were the Alpha here, the Omega. I mean, they were here planting bombs and everything so it was a big, huge, big, big, big confrontation so -JJ: Bombs against the independence movement? AS: Well, they said there were, they were against communist takeover of Puerto Rico you could say. JJ: Even though they were Cuban and this was a Puerto Rican movement. AS: Yes, uh-huh. That they have come a long way here to embrace the American system and they weren’t going [02:23:00] to allow this to be independent. (laughs) So it’s, so they had to struggle a lot to come to a place where they would have United States citizenship. JJ: It’s interesting. The government is using displacement and they’re using manipulation and they’re using a lot of these things to destroy aggressive movement. Is that what they’re saying? Or -- AS: What happens is -- JJ: -- I don’t want to put words in your mouth. (laughs) AS: Yes. Uh-huh. No, you have a way of phrasing things very simple, straightforward and I go around, right. (laughter) Well, these are well-organized, right-wing Cuban forces who anyway really came here because they wanted the American dream and they wanted [02:24:00] the American citizenship. This is a country that has US citizenship and speaks Spanish. It allows them a privilege status which is the status Cubans have which is political. So the fact that they have this status of a people, a people looking for political freedom, they have a 81 �special status. That special status allows them to get welfare and work at the same time. That political status allows them to get scholarships and work at the same time. That political status brings a lot of benefits. That’s why they still want it. [02:25:00] They don’t want the economic status like other immigrants have; They want the -- then they are escaping a dictatorial regime that their life is at stake. Therefore, they’re given that privilege of political status but that privilege means a lot of money because if you are getting welfare, let’s say, for six years, a decent time. You’re taking (inaudible) aid and all those benefits at the same time, you can also work making a lot, making incomes and monies. It’s really very beneficial for that community so that’s why there are other communities fighting for that status, too. They [02:26:00] haven’t got it but they are still struggling to be. The American student is really up in the air. They don’t understand what’s going on. They think they are being very nice. Do you see what I mean? They feel that wow, we have all these Cubans still in here, we have all these Latinos except they don’t differentiate. (laughs) Do you see what I mean? They say, “Oh, wow, we have these Latinos who are living in all these scholarships. Wow.” They figure they are doing the right thing. But they don’t on the other hand what it is that they are doing. JJ: I just want to finish it up more or less but I want to make sure that we get this because you did some work with the Young Lords in Chicago [02:27:00] and you also, I didn’t go into Lincoln Park camp. But you also, before that, that did you go to some of the demonstrations? And also if you can talk a little bit about Westtown Concerned Citizens, the work that you told me earlier. Then which of it 82 �is ours? AS: Well, in Chicago, Chicago is a very, very, very exciting city in the United States and it’s really has brought about changes all over the world starting from the Haymarket. So that we admire Chicago long before we (laughs) went over there and we really celebrate the heroic stand of the eight hours. I don’t know why isn’t [02:28:00] studied more in Chicago because this was truly heroic stand and that the workers all over the world commemorate May 1st, Dia de Trabajador, and the United States have a way of putting things. I don’t understand it. El Dia de Trabajador, Workers’ Day, and then they come in and put Labor Day. JJ: Labor Day is the workers’ day, yeah. It changes. It changes. AS: It changes from workers’ day to Labor Day. (Spanish) [02:28:34], I said oh my God, this is amazing but they managed to do it. So when we went there, we organized the community. The first thing I did was to counteract the census [02:29:00] terminology. The United States Census classified Puerto Ricans as stock and when I saw that -- JJ: Stock? AS: Stock. In other words, when you would choose the denominations and then for Puerto Ricans, they had Puerto Rican stock and you could -- JJ: Oh, we’re stock? AS: Stock. JJ: Okay. AS: You can check this through the US Census and different forms they have and so on. So this was the first thing that stuck (laughter) when I went over there. 83 �Because we always studied the census because it gives you an idea, right? Of the census, what the population is and so on. So I got the form and immediately that I got this form, I said, “What? Jesus.” I thought Worcester [02:30:00] was backwards (laughs) but Chicago, that was -JJ: It was very bad. (inaudible) (laughs) -- AS: That was something else. So we developed there with other Puerto Ricans a first census, a first census. Yeah, I got involved with that and so on. From there, when we, we decided that we had to develop our own grassroots, communitybased grassroots organization of empowerment and we created the Westtown Concerned Citizens Coalition. Other organizations reach out which is for housing and so on. I founded many other organizations like the freedom [02:31:00] of the Nicaraguan people and El Salvador and solidarity with other Latin Americans. JJ: So you were part of that development or --? AS: Yes, uh-huh. We organize with the Chicanos, the Casa, la El Mandal General de Trabajadores with the undocumented workers. With Casa, with Julio Sano and so on. JJ: Julio Sano. AS: Yes, yes. So it was very, it was, it was very, very good organizing but we were not able to bring in the Young Lords as an organization. We didn’t understand what was happening. We were never able to understand it. There was (inaudible) and there was the uptown people’s clinic and law center and [02:32:00] obviously (inaudible) and so on. So we made the decision, perhaps it was the wrong decision, that we would, we only had resources for Westtown. 84 �We said, “Well, maybe we can just be effective here in Westtown and we should not organize.” All the other ones, we would give solidarity and so on. But it was so overwhelming in Chicago. It was so, and it was so difficult to organize in Chicago because it’s so segregated, Chicago. It was amazing. We had to fight the federal laws of housing. We were [02:33:00] involved in laws right and left, Cha Cha. This is something that community organizing, well, I think it’s a tactic also of sectors, of the right wing because they always [break in audio] us. Then they want to impose their federal guidelines so this was the problem for Puerto Ricans. Because they wanted to, they wanted to impose the laws that say, that might work for team. See? Then they want to approach those laws to us and they said, “You have to have Blacks.” Then there is me with blue eyes and then you know, next to me is [Landor?] who is more Black than Obama and he’s a Puerto Rican. Then [02:34:00] so these federal guidelines were very difficult for implementation. But it took a lot of energy for us to counteract and with the public housing. We charged them and they would discriminate and they would not take Puerto Ricans into public housing. It was a real big, huge mess to drain us out of a lot of energy. But we did march in your marches and in the whole thing, I was taking the park. We really said, “Well, we’re going to do something here. I want to do something.” But what happens is that we had a base that was a little bit more bourgeoisie would you say, [02:35:00] Cha Cha? JJ: A little more bourgeoisie? AS: Yeah. JJ: You got a page? 85 �AS: A base, our base. JJ: Our base was a little -- AS: We adopted some tactic (Spanish) [02:35:11] how we said. JJ: You’re saying Westtown Coalition or is it another coalition? AS: Westtown Coalition. JJ: Okay. AS: It said. JJ: It was a different, it was a different role. You did play a different role than me. AS: See, the -- yeah. This is good. So that space, they have it, they want it, let’s leave it out there. We’re going to do something else. JJ: No, that -- AS: That’s from me and we would complement each other. And that’s, we talked about it and we said what is the way we are going to do it? Do you see the building? I want to take it over. We are going to go with the proposal already how to rehab the building. You see, right? JJ: [02:36:00] Oh, I see what you’re saying. AS: You see? Then there was this building, it has like 40 units right there on Potomac and we took over this. We got architects, engineers, the whole bit, and thing and we got the people to do the planning. Then we said, then we went too far, he said. “This building we’re taking over. Will you give it to us or this going to be bloody?” “It’s going to be bloody.” He said, “Well, wow, give me a second.” I will use the word, Cha Cha, like you won’t believe it. I said, “Well, I just talked to Cha Cha,” and I hadn’t talked to you in years. (laughter) 86 �JJ: Threatening, threatening. AS: Just [02:37:00] talked to the Cha Cha people because I’m careful about that. I talked to the Cha Cha people and they said that the best way to really have this building is for us to own it. For us to own it, you cannot own it so that’s it. Then we will get the thing running and he took the building so that was -- JJ: That was [Antwon’s?], that was [Antwon’s?]. AS: It was -- no, it was this a question of force, of force. JJ: Okay. So it was a united front. AS: Of course. This environment, said hey -- JJ: It’s a united front. AS: So we agree in the same thing, we offer the same. They have to go in this extreme because in this neighborhood, the right is at this level. We’re going to try this. We cannot. [02:38:00] If we can get the building by just doing this minimum, that’s what we’ll do. But if we have to go to the extreme, we will do it, too. But if not, we’ll go up to this level. JJ: (inaudible) AS: And that’s it. JJ: (inaudible) if that was wrong, you know, got some skills from (inaudible). AS: Yeah, sure. JJ: So that was good, it was (inaudible) -- AS: Sure. Mm-hmm. That’s how we were able to get the Harold Washington and base and all that. JJ: Right, you’re a Harold Washington campaign, you’re, you guys wanted an office, 87 �the members had another office and we would main Puerto Rican culture and were organizing for Harold Washington at that time. Then we did the rally in Humboldt Park at that time. There were a bunch of others. We were right here in our focus together. AS: Yes, we do it. Right. JJ: In fact, our (inaudible), they would give out at Humboldt Park at breaking the chains which was probably PSP and the Young Lords together. So it was part of it -- AS: They change -- JJ: -- was Young Lords and part of it was PSP. [02:39:00] AS: PSP, that’s right. JJ: So that was great. We gave 45, 30,000 buttons. AS: It was -- JJ: There was 100,000 people. AS: Yes. It was very, very good. Very. JJ: Then we opened a lot of doors because of the fall. AS: That’s right. Yes, uh-huh. JJ: We (inaudible) Rudy Lozano was killed two days later. AS: Right. JJ: I won’t forget that. He was murdered two days later. AS: Cha Cha, it was, it was so powerful. JJ: (overlapping dialogue) two days later -- AS: Unity is very powerful. You can see how this, how these things are so powerful 88 �that when one is involved in it, one doesn’t notice it but it is powerful. This gave the base for the Obama because these are the same forces that were -JJ: They elected Obama later. AS: -- that was elected Obama later. JJ: They just (inaudible). Any final thoughts? [02:40:00] Any final thoughts? AS: I hope that the independentistas and the Puerto Rican Liberation Movement is able to embrace Puerto Ricans in the United States as one movement and that the American people would really join in solidarity and consider the independence of Puerto Rico is also a responsibility they have. Because when they invaded Puerto Rico in 1898, they came here with guns. They didn’t come. They didn’t come here with ballots. They came here [02:41:00] with guns. That has consequences. You have to correct your mistakes. I think this is an opportunity for the American people to embrace the Puerto Rican liberation forces in a movement that will benefit both the Puerto Ricans but also the American people because the American people are subsidizing their -- I’m trying to say this in the nicest way possible. The fraud, the corruption of Puerto Rican governments, [02:42:00] they are subsidizing with the taxes all those, all those frauds that are occurring in Puerto Rico because they are embracing the forces of the negative forces that want to continue dependency instead of an independent Puerto Rico. So I hope we are joined together in this beautiful movement of people to people for freedom. Thank you. JJ: Thank you. AS: Thank you, Cha Cha. 89 �JJ: No, no, thank you. AS: Muchas gracias. JJ: (Spanish) [02:42:45 - 02:42:49] -- (b-roll; no dialogue) [02:42:49 - 02:44:56] END OF VIDEO FILE 90 � https://digitalcollections.library.gvsu.edu/files/original/66065eb46de59a730b2c0d3fbeb611d5.mp4 95fff37b9575a9056f642f47c724314a Dublin Core The Dublin Core 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 America Sorrentini 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 Puerto Rico--Autonomía y movimientos independentistas Chicago (Ill.)--Política y gobierno--1951- Puerto Rico--Política y gobierno Puertorriqueños--Vida social y costumbres 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_Sorrentini_America Title A name given to the resource America “Mecca” Sorrentini interview and transcript Creator An entity primarily responsible for making the resource Sorrentini, America Description An account of the resource America Sorrentini was born in Puerto Rico. She moved first to Boston and then to Chicago, arriving in the 1970s. Ms. Sorentini's parents were prominent organizers and activists in the struggle for Puerto Rican self-determination, working primarily in and around Santurce, Puerto Rico. Ms. Sorrentini, or “Mecca” as she is known, began her own community activism in Boston working on a variety of issues including housing. By the time Ms. Sorrentini arrived in Chicago she was already aware of the work of the Young Lords and remained in solid contact with the Young Lords. She, and the Chicago Puerto Rican Socialist Party, assisted with the Jiménez aldermanic campaign and later the Harold Washington campaign. When the Young Lords celebrated their official founding date, which is September 23rd the same day as the Grito de Lares or Puerto Rican Independence Day, they selected Ms. Sorrentini to be their keynote speaker. 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.) Puerto Ricans--Personal narratives Social justice Community activists--Illinois--Chicago Puerto Rico--Autonomy and independence movements Chicago (Ill.)--Politics and government--1951- Puerto Rico--Politics and government Puerto Ricans--Social life and customs 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 2012-05-11 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/53bd393b47a286c34583a07e106c8d20.jpg d7c15e4299d82dcead8735cf288397ed Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_003 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this image six actors stand or sit in a circle holding hands with arms raised. Above them a woman sits on a wall in the spotlight and leans forward. All are dressed in midcentury fashion. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/b97c155444df87a37ae6ad2066a91a2e.jpg 7833bd909d08ce4e7dd77de643dd7c40 Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_007 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this image a man and woman pose together. Their costumes and makeup are black and white, mimicking the style of early black and white films. . The woman turns toward the camera with a knowing look, her hands holding the man's head. The man is wearing a straw fedora and exaggerated makeup and looks into the distance, gesturing with a gloved hand. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/967ddf6c7e73377c2db35ebb2f8fad17.jpg c92b8eb67bf8ef2e11a5a5e5e819f4db Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_010 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this image seven actors gather around a woman who is laying out on wooden benches. Most of the actors lean over her. A suited man holds his palms up in a reverential pose. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/1dd93f95f205066040ea6ecd80ecb8d9.jpg ed06c53ee153c605861102a31699d06c Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_011 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this image a group of seven actors stand together and, smiling, raise their fists. In front of them a masked man with his back to the camera stands atop a platform and points out at the crowd, as if giving a rousing speech. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/2ca805b3a27ec829f8f49aeccbb390ad.jpg de2c1f6b638680bbdfe648e45d8597d6 Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_232 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this image are eight actors on a stage. The set is dressed like a simple room, with a door and window. Two women stand on the top of a stair case, while the rest of the cast stand below in various poses. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/083ae42a013a7725c56fb056754c2f85.jpg a4da6fcfb2294561a318ae5ff1906926 Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_233 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this image eight actors stand facing one another in pairs. Each person is standing on top of a painted wooden crate. They are arranged so that there is a long empty gap between them. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/af248fbb16bf8fdce8ad8069077e47ad.jpg 4722a6fa321a01821fbedcd40a9215ff Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_552 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this close up image a man in an opera mask and a dark suit wipes his forehead with a white handkerchief. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/98570247426651e9d594cc3c4825f7cd.jpg 642bb3c7ea8bdfb315de16e7f7d85ada Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_Evangelist6 Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this close up image, a man looks into the camera and points to the right. His costume and makeup are black and white, designed to mimic the style of early black and white films. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/88cd63bc22f6e6ee08b9c72c7a999a27.jpg 19ab8ca9cd25726d69ed1ef99b8feb09 Dublin Core The Dublin Core 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 Theatre Photos Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Description An account of the resource Photographs of Grand Valley theater productions from the 1980s to the 2010s. Photos include shots of performances, backstage, casts and crewmembers. Included in the collection are Shakespeare Festival productions and small acts such as Bard to Go and the Greenshow. Rights Information about rights held in and over the resource Copyright Grand Valley State University Identifier An unambiguous reference to the resource within a given context GV058-01 Date A point or period of time associated with an event in the lifecycle of the resource 1982-2017 Source A related resource from which the described resource is derived Theatre Department photographs (GV058-01) Subject The topic of the resource Theater Performances Plays Musicals College Students Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives. Allendale, MI 49401 Format The file format, physical medium, or dimensions of the resource image/jpg Type The nature or genre of the resource Image 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 GV058-01_1990-America-Hurrah_Wonderboy-Greg-Swaord Creator An entity primarily responsible for making the resource Grand Valley State University. Theatre Department Date A point or period of time associated with an event in the lifecycle of the resource 1990 Title A name given to the resource America Hurrah (theater production), 1990 Description An account of the resource Color photograph of Grand Valley's 1990 production of "America Hurrah." In this close up image a man in early 20th century fashion looks into the camera and opens his cardigan dramatically to reveal a "W" sewn onto his shirt. His clothes and makeup are completely black and white, mimicking the style of early black and white films. Subject The topic of the resource Theater College students Plays Performances Acting Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/754">Theatre Department photographs (GV058-01)</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 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 1990s https://digitalcollections.library.gvsu.edu/files/original/d67d07d8e4d995a33f7d3b774857275f.jpg 7b940d192ad911a2e4c1cdc37f571a2d https://digitalcollections.library.gvsu.edu/files/original/cda6be6db7699af1f2c4b5ebacd29e4a.jpg 51ffadd7b23ad2ee24fa0fc1f81ad7f8 Dublin Core The Dublin Core 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 American flag, 1877-1890 Description An account of the resource Design of American flag, after admission of Colorado to the Union, in use between 1877 and 1890. Design has 38 stars and 13 stripes in red and blue on white envelope. Identifier An unambiguous reference to the resource within a given context RHC-49_PE071 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/e6ef4039581959eaa46e752b656ea913.jpg 69a57c99031f3ee700e928aa334ff07e Dublin Core The Dublin Core 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 Fore-Edge Paintings Subject The topic of the resource Fore-edge painting Painting Description An account of the resource A fore-edge painting is a miniature watercolor executed on the fanned edge or edges of a book; when the book is closed the art disappears, now hidden by the edge gilding. This genre of painting dates from the 1500s, flourished in the 1800s, and is still practiced today. Anonymous and undated paintings include landscapes, scenes and characters from literature, and portraits of authors. Source A related resource from which the described resource is derived Seidman Rare Book Collection 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 2017-07-17 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 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 GV-02 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 GV-02_FE_007 Title A name given to the resource American Indian on Horseback Description An account of the resource Vertical painting on the fore-edge of "The poetical works of Henry Wadsworth Longfellow" of an American Indian with a lance on horseback. Subject The topic of the resource American Indians Fore-edge painting Painting 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> Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1878 Source A related resource from which the described resource is derived Seidman Rare Books. ND2370.L66 P64 1878 Type The nature or genre of the resource Image 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/252e5f66e316b0db10b55a82a131531c.jpg 21cc51b195f6882b20b3787710c89183 Dublin Core The Dublin Core 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 Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection 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 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <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 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 DC-01 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. Source Seidman Rare Books. PS88.M5 1897 Dublin Core The Dublin 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-01_Bindings0318 Title A name given to the resource American Lands and Letters Description An account of the resource Binding of American Lands and Letters, by Donald G. Mitchell, published by Charles Scribner's Sons, 1897. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings 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 Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1897 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/332a66a351f0e42008e7580da3f23594.jpg 8c917f1cc6a9075a790ce42ab8e5f60b Dublin Core The Dublin Core 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_NE_55_1923_003 Date A point or period of time associated with an event in the lifecycle of the resource 1923-04 Title A name given to the resource American Society of Civil Engineers attendees Description An account of the resource Black and white photograph of ten people, eight women and two men, in front of an open arched door. Taken my Merrill while attending the American Society of Civil Engineers conference in New Orleans, Louisiana. Subject The topic of the resource Engineering New Orleans (La.) American Society of Civil Engineers 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/721af9c3c269b78200401c1c8c15b10f.jpg bc0f873e68c9e633b98eebf9c46921c9 Dublin Core The Dublin Core 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_NE_55_1923_007 Date A point or period of time associated with an event in the lifecycle of the resource 1923-04 Title A name given to the resource American Society of Civil Engineers convention Description An account of the resource Black and white photograph of a group of people talking in a courtyard in front of a building. Chairs are scattered around the courtyard. Taken my Merrill while attending the American Society of Civil Engineers conference in New Orleans, Louisiana. Subject The topic of the resource Engineering New Orleans (La.) American Society of Civil Engineers 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/a8f2f9f89a6c53ca87f8d81011891a44.jpg 87defccbf3f5bdc2321bae9515ec9be6 Dublin Core The Dublin Core 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_NE_55_1923_008 Date A point or period of time associated with an event in the lifecycle of the resource 1923-04 Title A name given to the resource American Society of Civil Engineers convention Description An account of the resource Black and white photograph of a group of people walking along a park path lined with metal benches. Taken my Merrill while attending the American Society of Civil Engineers conference in New Orleans, Louisiana. Subject The topic of the resource Engineering New Orleans (La.) American Society of Civil Engineers 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/82dfbd937b83357fcec978389776ecee.jpg 5814bfeff45e39022886c34ecbd13ce6 Dublin Core The Dublin Core 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_NE_55_1923_009 Date A point or period of time associated with an event in the lifecycle of the resource 1923-04 Title A name given to the resource American Society of Civil Engineers convention group Description An account of the resource Black and white photograph of a group of people organizing for a group photo in front of a large building. Taken my Merrill while attending the American Society of Civil Engineers conference in New Orleans, Louisiana. Subject The topic of the resource Engineering New Orleans (La.) American Society of Civil Engineers 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/ace4e7a71c10a1ac08427bee68ee4242.jpg 81ad340fae17d86386fd49f0ada93f23 Dublin Core The Dublin Core 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_001450 Title A name given to the resource American students in Krakow, Poland Description An account of the resource In August 1975, Grand Valley, in collaboration with the Grand Rapids Polish Heritage Society and the Grand Rapids School System, sponsored a study tour to the Jagiellonian University in Krakow, Poland. Subject The topic of the resource Grand Valley State University Grand Valley State College Michigan Allendale (Mich.) Universities and colleges Students International students Poland 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 Date A point or period of time associated with an event in the lifecycle of the resource 1975-08 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives color photo https://digitalcollections.library.gvsu.edu/files/original/6af9276fe07f17762ed17ed3e411f394.jpg cd3558b45735a2575edffa0b58d30ef7 Dublin Core The Dublin Core 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_001453 Title A name given to the resource American visitors in Poland Description An account of the resource In August 1975, Grand Valley, in collaboration with the Grand Rapids Polish Heritage Society and the Grand Rapids School System, sponsored a study tour to the Jagiellonian University in Krakow, Poland. Subject The topic of the resource Grand Valley State University Grand Valley State College Michigan Allendale (Mich.) Universities and colleges Students International students Poland 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 Date A point or period of time associated with an event in the lifecycle of the resource 1975-08 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives color photo https://digitalcollections.library.gvsu.edu/files/original/6c92f68e249c145d3581f8781af91f36.mp4 8bfc632d8431e53b05f9626eb863641c Dublin Core The Dublin Core 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 Flying Tigers Interviews and Films Subject The topic of the resource Oral history United States--History, Military China--History, Military Veterans China. Kong jun. American Volunteer Group World War, 1939-1945--Personal narratives, Chinese World War, 1939-1945--Personal narratives, American Description An account of the resource Collection contains original 1940s films and interviews conducted in the 1990s, documenting the history of the American Volunteer Group (AVG) "Flying Tigers." The Flying Tigers were organized by the United States to aid China during the Second Sino-Japanese War. Original filmstrips were recorded by AVG crewmen Joe Gasdick and Chuck Misenheimer, as well as Chinese Air Force Interpreter P.Y. Shu, who was assigned to assist Col. Claire Chennault as he trained Chinese pilots and established the AVG. Interviews with members of the American Volunteer Group (AVG) “Flying Tigers” were conducted by Frank Boring for the documentary film Fei Hu: The Story of the Flying Tigers, which he co-produced with Frank Christopher under the production company Fei Hu Films. The AVG Flying Tigers were a group of American aviators, mechanics, medical and administrative military personnel, led by Col. Claire Chennault to assist the Chinese Air Force in their defense against Japanese air strikes from 1941-1942. The AVG Flying Tigers also flew in defense of the Burma Road, a major Chinese military supply route. The group disbanded and returned to regular U.S. military service after the Japanese attack on Pearl Harbor. Creator An entity primarily responsible for making the resource Boring, Frank Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films Research and Production Files (RHC-88)</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 1938/1991 Contributor An entity responsible for making contributions to the resource Fei Hu Films Christopher, Frank Gasdick, Joseph Misenheimer, Charles V. P.Y. Shu 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 English; Chinese Type The nature or genre of the resource video; text Identifier An unambiguous reference to the resource within a given context RHC-88 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1938-1945 World War II Relation A related resource Veterans History Project (U.S.) Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin 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 Gasdick-1 Creator An entity primarily responsible for making the resource Gasdick, Joseph Date A point or period of time associated with an event in the lifecycle of the resource 1941 Title A name given to the resource American Volunteer Group, circa 1941 Description An account of the resource Color film taken by American Volunteer Group (AVG) Crew Chief Joe Gasdick (no sound). The footage, dated circa 1941, documents the training and flight activities of the American Volunteer Group (AVG) "Flying Tigers," servicemen organized by the U.S. Government to aid in the defense of China during the Second Sino-Japanese war. Time-stamped scene list: 00:00 Chinese agricultural fields. 00:30 AVG army trucks parked along road. Chinese people passing in carts. 01:00 Chines garden or field. 01:40 Chinese plane under a net on Kunming airfield. 01:48 Chinese army fortresses. 02:24 Two Chinese guards sleeping on the ground. 02:30 Chinese soldiers training and smiling at camera. Army pillbox. 03:19 Landing bomber planes on Kunming airfield. 03:55 P-40 #97 taxiing on airfield. 04:09 AVG pilot and ground crew talking on P-40 #97. 04:44 P-40s lined up on Kunming airfield. A ground crew working on P-40. P-40, hanger and bomber planes on Kunming airfield. Three men in front of bomber plane. Chinese soldiers at pillbox. US bomber airplane. 05:58 Bomber airplane landing on Kunming. 07:20 Bomb holes in a road. Street in a Chinese town. Subject The topic of the resource China. Kong jun. American Volunteer Group World War, 1939-1945 Air pilots P-40 (Fighter plane) Kunming Shi (China). Liang shi ju Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/540">Fei Hu Films research and production files (RHC-88)</a> Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp4 Language A language of the resource eng chi Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant World War II 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/9791825c9f4d33c809d504735184521a.mp4 4f33d3a87181a932d68234f4a43553de https://digitalcollections.library.gvsu.edu/files/original/6312dfd72f5f38d472a64189b9922835.pdf e85d2fdc3d683db146c22b8ce957b222 PDF Text Text Grand Valley State University Veterans History Project Name of Interviewee: Mitch Amlotte Name of War: Vietnam Length of Interview: (00:39:18) (00:21) Alpena Michigan  Born July 13 1950  Hillman is his hometown. His grandfather settled the town  He played in the woods as a kid. He remembers as a kid, stripping a girl naked and painting her red with barn paint  (2:22) His first day at school his teacher was a large lady and she spent most of the day pulling his ears. It was a one room school that use to be a garage. There was about 18-19 kindergarteners in the building.  Mitch says he was the class clown. He was in trouble a lot. He used to sneak critters into school. One time he fell backwards and hit his head on a chair and got stitches.  He went to a new school built for K-12th grade.  He walked to school  (5:30) Remembers having a crush on his teacher  Figures he didn’t ask for studies so he didn’t care for them  He was the first person in his family to graduate from high school  (7:30) Mitch started playing percussion in sixth grade thru high school  Was involved in sports during school. Baseball, Basketball, and football  Went to U of M for games and played there  His father worked for Besser’s in a factory and mother was a homemaker and eventually went to work in a factory when Mitch was in fifth grade  He has two older brother, younger brother and a sister  (10:13) Mitch had no plans after school so since other guys were getting drafted he figured he would too so he volunteered for the Army  Visited a recruiter with his cousin on the buddy plan. Wanted to join the military police and was told they qualified. Signed up for 4 year hitches (11:17) Fort Wayne Michigan to Fort Knox Kentucky  Basic training  When it came time to get their AIT orders he went to Fort Polk, Louisiana, which was the gateway to Vietnam. A military personnel seen he was guaranteed MP upon entry into the military so instead of sending him to Fort Polk, they sent him to Fort Benjamin Harrison Indiana to postal school. Graduated and was sent to Germany �    During training he was hit with a Pugal stick and blew his eardrum out. Pugal sticks look like big Q-tips used to practice for bayonet training Went to Louisville on a weekend pass and slept in a hotel for two days and two nights. It was his first contact with black people and he was scared and tired. (14:50) Said he could never live in a big city. He said his company was not happy that he was back and looked at him as a coward. He said he had no problems going but send him to MP school first and then send him to Vietnam (16:40) Germany-Rheine-Main Airbase  He flew over there. It was his first time on an airplane. He was brave at one point and looked out over Ireland and said it was beautiful. Flew over to Rhein-Main Airbase  Two guys met him there in the middle of the night and took him to Heidelberg to the 4th Base Post Office Heidelberg 4th Base Post Office  Was here for a year  He sorted mail and payroll checks for all of the European theatre  On off time he bar hopped  Went to Frankfurt and was offered a chance to go to Rome, Italy. Went to the Catholic Chaplain and got administrative leave and nobody could countermand it except for the Attorney General of the Military. Mitch took 120 days of administrative leave. He would take children of military personnel on field trips.  (20:00) He got to travel quite a bit and two weeks at a time. Went to Czechoslovakia, Scandinavia, France, Italy, Spain, Austria, and Switzerland  Met two girls while in Czechoslovakia who were in an AFC club and wanted to go home and see their parents. The guys took them to the border and hid the car and walked 4 ½ miles to her home town. On the way back they were being tracked and ran 1 mile and outran their pursuers.  Mitch said he didn’t chase women too much. He likes history so he spent time at Museums and seeing castles while he was overseas.  He went to Neuschwanstein Castle. Walt Disney designed his castle after this. He went to Hindenburg Castle  (22:45) Went to France trying to do a family tree. Found names but never met any of the people  Mitch said civilians were very standoffish. The men he found hated them and he lost rank a few times for getting into physical fights with them. He ended up in German jails for fighting  Mitch said Commanding Officers just wanted to know if he won or not. Took a stripe �  away and told him he would get it back shortly that it was just a formality. (24:40) Mitch spent a little over 2 years in Germany His enlistment was cut from 4 years to 3 years since they didn’t get to go into MP’s (25:00)Came Home  Mitch thought about re-enlisting in the military but Dad talked him out of it seeing that his next tour of duty would be Vietnam  His father promised to get him a job at the factory he worked at and since it was the best paying job in the town he thought that was a good idea  His dad never got him the job  Mitch went on a drunk binge for a few months  His dad died at 93 and his mom at 76. They died one year apart from each other.  (28:00) He married an old friend. Went from job to job. He had two kids and Divorced in 1988  Married a new girl. Had custody of his kids at this time. Married for 12 years this time.  January last year he talked to a friend and was asked how he was handling the news of getting divorced. He had no idea he was getting divorce. Both his kids were grown at this time.  He found out he was suffering from severe depression dating back to his first marriage  He packed up and headed to Philadelphia where his daughter lived. She eventually kicked her husband out and separated so in May he headed back up to Michigan to live with his sister  (33:09) Moved to Farwell to live with sister  Mitch had nowhere to go when he sister told him his time was up and nobody else would let him live with them.  August he moved to the Veterans Home in Grand Rapids. He does not like being there and feels they don’t treat him well but with his medical problems he can’t get a job  He says that the military made a man out of him but it was thrown away when he got out and couldn’t get a job. He states in the interview that his second biggest regret was not staying in the military.  He is being treated for depression and says he rarely sees his family � Dublin Core The Dublin Core 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/. Title A name given to the resource Amlotte, Mitch (Interview outline and video), 2007 Creator An entity primarily responsible for making the resource Amlotte, Mitch Description An account of the resource Mitch Amlotte volunteered for the Army in 1968 to escape a bad home life. He was sent to postal school and then to Germany. He volunteered to travel with the children of military men on field trips and spent much of his time seeing different countries. He was released from the military after 3 years would have re-enlisted except that he did not want to go to Vietnam. He encountered an assortment of personal and medical problems after his discharge, which he discusses at some length. Contributor An entity responsible for making contributions to the resource Collins Sr., Charles E. (Interviewer) Collins, Carol (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American United States. Army 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 2007-05-22 Identifier An unambiguous reference to the resource within a given context AmlotteM 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/03b12e2615b3e4b5739fefed99d82472.jpg 9c5737e0ecff7dbae5e4c1251a9bc699 Dublin Core The Dublin Core 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 Naval Recognition Training Slides Subject The topic of the resource Slides Military education Airplanes, Military--Recognition Warships--Recognition World War, 1939-1945 Description An account of the resource Slides developed during World War II as a training tool, for top-side battle-station personnel on board ship and for all aircraft personnel, by the US Navy. In 1942 a Recognition School was established by the Navy at Ohio State University where the method of identification was developed. In 1943 the school was taken over by the US Navy. The importance of training in visual recognition of ships and aircraft became even more evident during World War II. Mistakes resulting in costly errors and loss of life led to an increased emphasis on recognition as a vital skill. Creator An entity primarily responsible for making the resource United States. Navy Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides (RHC-50)</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 2017-04-04 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 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 RHC-50 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1943-1953 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. Source <a href="http://gvsu.lyrasistechnology.org/repositories/2/resources/477">Naval recognition slides, RHC-50</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-50_X760 Title A name given to the resource Ammunition ship Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource US AE (ammunition ship), April 1, 1953. Subject The topic of the resource United States. Navy World War, 1939-1945 Military education Warships--Recognition Slides 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 Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Naval recognition slides (RHC-50) Date A point or period of time associated with an event in the lifecycle of the resource 1953-04-01 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/bf4eca95a1af7a67f37129acd85aee8b.jpg df2eb9c75590a15e6e92f526aeaa362d Dublin Core The Dublin Core 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 Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection 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 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <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 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 DC-01 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. Source Regional Historical Collection. QL791 .P57 1925 Dublin Core The Dublin 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-01_Bindings0178 Title A name given to the resource Among the Farm-Yard People Creator An entity primarily responsible for making the resource Gordon, F.C. Description An account of the resource Binding of Among the Farm-Yard People, by Clara D. Pierson, published by E.P. Dutton & Co., 1925. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings 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 Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1925 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/b79ebc92ac0822c11fbaa72276d186b5.jpg b9890d754b53c709e216ceea74ea49a1 Dublin Core The Dublin Core 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 Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection 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 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <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 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 DC-01 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. Source Regional Historical Collection. QL791 .P612 1901 Dublin Core The Dublin 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-01_Bindings0209 Title A name given to the resource Among the Meadow People Creator An entity primarily responsible for making the resource Gordon, Frederick Charles (Designer) Description An account of the resource Binding of Among the Meadow People, by Clara Dillingham Pierson, published by E.P. Dutton & Co., 1901. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings 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 Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1901 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives