515 24 26018 https://digitalcollections.library.gvsu.edu/files/original/a2712b0782800eeae5fc49c92e6b506f.jpg ac7cb25417ccfd278c8c41f47bdfb284 Dublin Core The Dublin Core 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_2006F-Loves-Labors-Lost_001 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 2006 Title A name given to the resource Love's Labors Lost (theater production), 2006 Description An account of the resource Color photograph of Grand Valley's 2006 production of "Love's Labors Lost." This promotional image is of the full cast posing onstage together. It reads "Love's Labors Lost Grand Valley State University" and has a watermark for Gayla Fox Photo. 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 2006s https://digitalcollections.library.gvsu.edu/files/original/9a68e2ad3edd2af0f5a2248583aad92c.jpg 9930efed40598c92343a0782b4884998 Dublin Core The Dublin Core 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_2006F-Loves-Labors-Lost_075 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 2006 Title A name given to the resource Love's Labors Lost (theater production), 2006 Description An account of the resource Color photograph of Grand Valley's 2006 production of "Love's Labors Lost." In this image two actors dressed as Spaniards sing together while standing in front of a marble park bench. One wears a large false mustache. 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 2006s https://digitalcollections.library.gvsu.edu/files/original/1ceba4f61593f303fcb604ad03c10441.jpg 8b51a3c21aa7d76da4b6735dd892a894 Dublin Core The Dublin Core 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_2006F-Loves-Labors-Lost_101 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 2006 Title A name given to the resource Love's Labors Lost (theater production), 2006 Description An account of the resource Color photograph of Grand Valley's 2006 production of "Love's Labors Lost." In this image a woman strings an arrow on a bow. Two men watch her, one standing at her side, and the other sitting a little behind wearing a plush deer's head as a hat. Behind them is a staircase leading up to the front porch of a large house. All wear early 20th century inspired costumes. 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 2006s https://digitalcollections.library.gvsu.edu/files/original/2277360e8983df0370667d231b50ccba.jpg 8c96b1d71705221e5f57592190853e1c Dublin Core The Dublin Core 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_2006F-Loves-Labors-Lost_124 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 2006 Title A name given to the resource Love's Labors Lost (theater production), 2006 Description An account of the resource Color photograph of Grand Valley's 2006 production of "Love's Labors Lost." In this image two women speak with one another. Beside them a man bites his hat. In the background is a staircase leading up to the front porch of a large house. All wear early 20th century inspired costumes. 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 2006s https://digitalcollections.library.gvsu.edu/files/original/d8fa2a54577735511358d88b76ad5077.jpg 374ef00e06afc4b4164419cc4af24666 Dublin Core The Dublin Core 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_2006F-Loves-Labors-Lost_213 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 2006 Title A name given to the resource Love's Labors Lost (theater production), 2006 Description An account of the resource Color photograph of Grand Valley's 2006 production of "Love's Labors Lost." In this image four actors dressed as Russian men with long beards and turbans dance in a line together. In the background four women in flashy gowns and opera masks stand in the doorway of a large house. Below to the left a single man in a trench coat stands by. The set is dressed like an outdoor park, with green lawn, walking path, and marble park benches, in front of a large house. 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 2006s https://digitalcollections.library.gvsu.edu/files/original/bda353f518822ba73a21e42bde46b086.jpg a7c7f5a11002104bb357b15eb9fe650a Dublin Core The Dublin Core 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_2006F-Loves-Labors-Lost_240 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 2006 Title A name given to the resource Love's Labors Lost (theater production), 2006 Description An account of the resource Color photograph of Grand Valley's 2006 production of "Love's Labors Lost." In this image four women in party dresses sit laughing together on the edge of the stage. 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 2006s https://digitalcollections.library.gvsu.edu/files/original/96f3f52359ec86b8bb6624abd04ed6a7.jpg b31c448c2e51f04b4c7ae07b23f11e8d Dublin Core The Dublin Core 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_2006F-Loves-Labors-Lost_277 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 2006 Title A name given to the resource Love's Labors Lost (theater production), 2006 Description An account of the resource Color photograph of Grand Valley's 2006 production of "Love's Labors Lost." In this image a man wearing a comical costume of a roman soldier roughly put together with neckties, playing cards, and a cooking pot, holds out his sword in a challenge to a leopard skin clad man in front of him. In the background a few ladies and gentlemen look on in amazement. The set is dressed like an outdoor park, with green lawn, walking path, and marble park benches, in front of a large house. 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 2006s https://digitalcollections.library.gvsu.edu/files/original/b386e2e6127c403860f00cfedb00a8eb.pdf df37d20d770d582693bf4cc49b76a8bb PDF Text Text Love’s Vulnerability From the sermon series: Now – But Then Luke 2:12; I John 4:16; I Corinthians 13:4-8 Richard A. Rhem Christ Community Church Spring Lake, Michigan Christmas Eve, December 24, 1995 Transcription of the spoken sermon Now - But Then, a phrase that comes from Paul's hymn of love in I Corinthians, the 13th chapter, where he contrasts the present and the future, the reality in which we live and the hope that we dream for another kind of world and experience. The Church of England makes this statement, entitling it "Christian Believing." I shared it with you last Sunday morning; I think it's worth repeating. The Christian life is an adventure, a voyage of discovery, a journey sustained by faith and hope towards a final and complete communion with love at the heart of all things. We have considered together the faith, the trust with which we live, and the hope that we have that the darkness will be dispersed by the light, and we come this evening, finally, to that supreme gift of which the Apostle writes - the gift of love. Faith, hope and love abide, but love is the greatest, says the Apostle Paul. And John would agree, for John says that God is love. And this evening for just a few moments, think with me about love - love's vulnerability. We say that love came down at Christmas, and this is such a beautiful time of the year and it's very easy to get blurry-eyed, to get lumps in the throat, tears in the eyes. The mystery of it, the wonder of it, just the beauty of it - all of that is really a marvelous gift to be taken in fully and to be celebrated and appreciated. But, it's also possible, as we talk about the love that came down at Christmas, to get a bit sentimental and to forget the real context out of which the Christmas story arises. Christmas in conjunction with a consideration of love caused me to think about love's vulnerability, because the love that came down at Christmas was the love that became vulnerable in a world that finally crucified it. The love that came down at Christmas is a love that entered into the very real world. The Christmas Gospel, the Christmas story is really quite a social criticism. We can forget about that in all of the sentimentality of the season, but Jesus came a child born into a very harsh world. And those to whom he came praised God because they saw his gift as a reversal of the reality they were living. The songs in the beginning of Luke's Gospel are really revolutionary ballads. They celebrate the © Grand Valley State University   �Love’s Vulnerability Richard A. Rhem Page 2   lifting up of the lowly and the putting down of the arrogant and the powerful. They are the songs of the voiceless and the powerless, ones who believed that God is visiting their lives and that their reality will be changed through this divine visitation. The love of which they speak is the love that took concrete form in the flesh of a child, but the flesh of a child that entered into a social, economic and political context that was criticized by the very appearance of that child in its midst. Love's vulnerability. As I think about that, I think about the concreteness of love. Love - everybody talks about love, everybody sings about love. Love is used in such diverse manner to cover so many different things, and for the most part it's really very superficial. It's very easy to say love. "I love you," "I love that." But, the love that came down at Christmas was God's concrete identification with a human reality that was harsh and brutal, and that visitation came with the intention of creating another kind of reality. Paul talks about Now - But Then, and I want to suggest to you tonight that the movement from Now, in the darkness, to the Then of the dream is possible only through the vulnerability of love. The love that came down at Christmas, in its manifestation, was vulnerable, for the heart of God was revealed in a child. Not in the intimidating presence of some great king, not with a blinding flash of glory. The love that came down at Christmas was a vulnerable love in its manifestation. Who would have guessed that love would be found enfleshed in a child? Quite God-like. Quite uncharacteristic of our own revelation of ourselves. But, love's vulnerability is seen not only in its manifestation, but also in its identification. For love came down at Christmas to a manger, to the peasants, to be adored by poor shepherds. The love that came down at Christmas, the love that revealed the heart of God was the love that identified with the weak and the powerless and the voiceless. I don't expect you to remember the first Sunday in Advent, but when I got into this theme I suggested to you as we gathered around the Lord's Table, that it is only through life broken and poured out that we can possibly move from the Now to the Then. It seems like the human story is only moved, nudged along at all through some demonstration of love that involves the self-giving of the lover. And in the identification of that love, of Christmas, with the poor and the weak and the voiceless and the powerless, there was a sharp criticism of the way our world is structured and the way our lives are structured. As I suggested to you on the first Sunday of Advent, when I get thinking about these things too deeply, I ask the question, "Is it possible for affluent, powerful, mostly white people like us to be Christian?" Have we not spiritualized it? Have we not made it a beautiful tale of God's love? Have we not made it a salvation story? Have we not made it something that pertains to that vertical relationship between the individual and God and forgotten that in that manifestation of love in the child there was the identification with the poorest of humankind, with the © Grand Valley State University �Love’s Vulnerability Richard A. Rhem Page 3   promise that their destiny would be altered and that another reality was dawning in the world? Love's vulnerability. I looked the word up. I use it all the time; I think I know what it means, but sometimes it's good to go to the dictionary and just say what does it say about this word, vulnerable? I found that, in the big, fat dictionary that I use, it says that vulnerability is exposing oneself to the possibility of woundedness, exposing oneself to the possibility of injury. That's a good definition. That's a definition of the love that came down at Christmas. Was not the heart of God revealed in the child in a way vulnerable, exposed to injury, exposed, indeed, to crucifixion? Is not the fact that the love, which came down at Christmas, was finally nailed to a cross a sign that that love contradicts the world, contradicts our society, contradicts our manner of life, contradicts the living out of the Gospel by the Christian church? Love's vulnerability. What is the love that became vulnerable at Christmas? Well, John says God is love. Not simply God loves, but God is love, which means that out of the fountainhead of God, love permeates the whole of creation, so that all that there is of love is that which flows from the heart of things. At the heart of things, there is love. And out of that heart of reality flows love into creation. And John says, further, that God is known in the concrete love of the other. The one who abides in love, abides in God. Paul makes that very concrete. Sometimes in the history of the Church, in the tradition of the Church, the Ten Commandments are read in every service. But, I must say I am never so stricken as when I read Paul's description: Love is patient, love is kind, love is not envious or boastful or arrogant, does not insist on its own way, is not irritable or resentful. It does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, it believes all things, it hopes all things, it endures all things. Love never ends. At the heart of things is love, and that love flows into the whole created order. And that love seeks to flow through us and to find concrete shape and manifestation through us, who are the extension of the Incarnation. And the only way to live out the Christmas Gospel is to live in the vulnerability of love. And I don't do it very well. Love is patient and I'm impatient. Love is kind, and I'm not always. Love is not envious and I am. Love is not boastful or arrogant or rude and sometimes I plead guilty. Not irritable or resentful? Not true of me. Doesn't rejoice in wrongdoing? Sometimes I do, when it's your wrongdoing. Rejoices in the truth? Generally. Bears all things? Hopes all things? Endures all things? Dear God! To live love is to live vulnerably. Why, it's to be a veritable fool! Love's vulnerability. As I think about it, it seems to me that love in its shape is other-centered rather than being self-centered. Love, in its vulnerability, acts concretely with compassion. Love in its vulnerability believes in the ultimate triumph of love. Love in its vulnerability cares infinitely, never giving up. And © Grand Valley State University �Love’s Vulnerability Richard A. Rhem Page 4   love in its vulnerability identifies with the most vulnerable of its brothers and sisters. Someone has said that a society can be judged by how it relates to its most vulnerable members. There's a battle raging in this nation right now and the poor and the voiceless and the powerless are in the game as there's a struggle, and I don't have the political solution, but this I will tell you - in this nation that is rich and is powerful, God holds us accountable for the way we treat the weakest and the most vulnerable, and if we do not do that with compassion, if our hearts do not cry out for justice, if there is not within us a consuming care that won't quit, then all of this beauty and this wonder is just a game. Now there is so much darkness, but we dream of the possibility of Then, something other. Some years ago there was a film that moved me greatly. It was called "Places of the Heart." Perhaps you saw it A rural Texas farmer is murdered His widow is left with a crop to harvest. A Black man comes through town looking for work. She hires him. She boards a blind man. Between them, they struggle and they harvest the crop and they save the farm, only to see the Ku Klux Klan move in and drive the Black man away with their burning cross in the yard And one's heart sinks and one has to say, 'That's always the way it is!" But, the film then moves off into an ethereal future and there's a church service in that little rural community. And there's the man who was murdered and the man who murdered him. There's the bully of the Ku Klux Klan and the Black man and the widow and the blind man. And they pass the bread and the cup down the row with the words, "The peace of Christ be with you." And at first I wondered if the filmmaker was mocking the communion of the church as though one thing goes on out there and then we come here as though it isn't true, but I think, rather, he was saying, since the passage that was read in the service was I Corinthians 13, Now - But Then. Then, finally. Love's vulnerability will triumph over all of our selfishness and our self-centeredness and our failure to care. Christmas, if it would effect the miracle in our lives, must change us, calling us to love's vulnerability. I have an idea. I think I may even act on it. I want to print and mail to you in some fashion I Corinthians 13 and suggest that the whole Christ Community put it up on the cupboard or the refrigerator or the mirror and read it every day of 1996 until we are so permeated by love's vulnerability that we, like the eternal God, find ourselves naturally manifesting love and identifying with the loveless until Now becomes Then. © Grand Valley State University � https://digitalcollections.library.gvsu.edu/files/original/aa381e73299d7925c8e1007c5c36b1db.mp3 77aec517750d1b4f4518b4c5aea83809 Dublin Core The Dublin Core 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 Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> 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 Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-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 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Christmas Eve Series Now _ But Then Scripture Text Luke 2:12, I John 4:16, I Corinthians 13:4-8 Location The location of the interview Christ Community Church, Spring Lake, MI Dublin Core The Dublin 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 KII-01_RA-0-19951224 Date A point or period of time associated with an event in the lifecycle of the resource 1995-12-24 Title A name given to the resource Love's Vulnerability Creator An entity primarily responsible for making the resource Richard A. Rhem Publisher An entity responsible for making the resource available Grand Valley State University 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 Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Text Sound Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on December 24, 1995 entitled "Love's Vulnerability", as part of the series "Now - But Then", on the occasion of Christmas Eve, at Christ Community Church, Spring Lake, MI. Scripture references: Luke 2:12, I John 4:16, I Corinthians 13:4-8. Advent Compassion Justice Love at the core of reality https://digitalcollections.library.gvsu.edu/files/original/b9cfe902148b6edc8ee43de8ff0c0e05.jpg e8ded01a8483c9a6bb78fab8c3e054d8 Dublin Core The Dublin Core 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_1931-2_003 Date A point or period of time associated with an event in the lifecycle of the resource 1931-05-25 Title A name given to the resource Lovell's Lake farm house on delta ridge looking SE Description An account of the resource Black and white photograph of Lovell's Lake with Lovell's Lake farm house visible in the background on delta ridge. Subject The topic of the resource Texas Lovell's Lake (Tex.) 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/322bcfc4a5305da1f6865373e410f187.jpg bceacdd16add81335789408ae141b5d7 Dublin Core The Dublin Core 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_1931-2_001 Date A point or period of time associated with an event in the lifecycle of the resource 1931-05-25 Title A name given to the resource Lovell's Lake, Texas looking east from road corner Description An account of the resource Black and white photograph of Lovell's Lake, Texas, looking east from the road corner along the lake. Subject The topic of the resource Texas Lovell's Lake (Tex.) 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/4b0022f1e587b1ecff2a2d42de6f4bb0.jpg 9211b0ebfd6058b9fb2af5bc7f865738 Dublin Core The Dublin Core 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_1931-2_002 Date A point or period of time associated with an event in the lifecycle of the resource 1931-05-25 Title A name given to the resource Lovell's Lake, Texas looking west from road corner Description An account of the resource Black and white photograph of Lovell's Lake, Texas, looking west from the road corner. A wire fence enclosing an area of field is visible with the lake in the background. Subject The topic of the resource Texas Lovell's Lake (Tex.) 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/cc683672d489b1d8a22bf5f74bd796e4.mp3 1ede0a2155f35506c45ab5e2ebce0b3f https://digitalcollections.library.gvsu.edu/files/original/b19cdda82c25c9e6be51e28fbffbea31.pdf 4d5272f8180d4b2f608406923ce18dcb PDF Text Text Loving is Living Without Fear Text: Luke 1:30; Matthew 1:20; Luke 2:10; I John 4:18 Richard A. Rhem Christ Community Church Spring Lake, Michigan January 4, 1987 Transcription of the spoken sermon ... Do not be afraid, Mary for you have found favor with God. Luke 1:30 ... Joseph ... do not be afraid to take Mary home with you as your wife... Matthew 1:20 And the angel said to them [the shepherds), "Be not afraid; for behold I bring you good news of a great joy ..." Luke. 2:10 There is no room for fear in love; perfect love banishes fear. I John 4:18 If we did a little word association game and we were looking for pairs of opposites, and I said "black," you would probably say, "white," and if I said "hot," you would say, "cold," and if I said "war," you'd say, "peace," and if I said "love," you'd say, "hate." And you would be wrong. Love and hate seem like a pair of opposites, but when you really stop to think about it, it's not really love and hate, but love and fear. That's an insight which has been brought to light by a psychiatrist named Gerald Jampolsky. He shared that on the Hour of Power, and it was an insight that Bob Schuller appreciated so much that he got to know Jerry Jampolsky and last year, in March, when we were on Maui at a theological conference with Bob Schuller, Jerry was there. I must say that he lives his creed. He's written a little book, Love Is Letting Go Of Fear. It's a simple book; it's almost a simplistic book. It has cartoon characters and bold-type declarations that one can memorize, but in spite of the fact that it seems like an elementary treatment, he does have hold of something, and there is a profound truth there. He has had, in his own experience, life transformation through the insight. On reflection, I got to thinking, "Well, Jerry, you're not so smart. The Apostle John in the First Century said that a long tine ago!" He said there's no room for fear in love. Perfect love banishes fear. And so, what has been rediscovered in our day is simply an old truth, and, as a matter of fact, it's at the very heart of the Gospel; it is at the very root of what God has done for us at Christmas in the incarnation of the Word, in © Grand Valley State University   �Loving is Living Without Fear Richard A. Rhem Page 2   the revelation of His glory in the face of Jesus Christ. The Christmas message, at its very core, says that loving is living without fear. Love and fear, according to John, are mutually exclusive. Love and fear cannot coexist in the same heart. Well, I suppose our hearts are always living in a balance of love and fear, but to the extent that we are loving, we are not fearing, and to the extent that we are fearing, we are not loving. And the battle is to get hold of the insight of Christmas and begin to love and not fear. Loving is living without fear, and that is a life-transforming truth if we'd ever let it grip our souls. We do have some control over the ingredients of our minds and the stuff of our life. We can make some conscious and deliberate choices, and those conscious and deliberate choices can be made, for a Christian, on the basis of a foundation of truth rooted in the Gospel, rooted in the Christmas Gospel. John says the greatest reality is that God is love. It is repeated over again in that fourth chapter - God is love. God is love. The ultimate reality is love. At the heart and center of things is love. Reality, history, human experience, the transcendent ground of everything is not love, among other things - it is love. That's John's grasp of the truth that he discovered in Jesus Christ. God is love. And so, when he says that there is no room for fear in love, but rather that perfect love casts out fear, he is giving a very practical prescription for living and that prescription can really transform our human experience. At the heart and center of reality there is love, and he says that love came to manifestation. If you want next week's word, Epiphany, the word is in this text. God showed or God manifested His love to us in that He sent His son. Jesus was the gift of God by which he signaled to the world that He is love. The Gospel of Jesus is the good news that the heart of God is the heart of love, and that the great, basic, ultimate, final, supreme reality of everything, of human life and of the world and of the whole of the cosmic scope of things is love. That's the Christmas message. The Christmas message is meant to enable us to live with love and to be done with fear. That is very, very elemental; it speaks to the root of our problem. God displayed love that casts out fear. I was rather surprised as I began to think about the story, this wonderful Christmas story that we've just lived through again. Mary gets a marvelous announcement from Gabriel. I suppose it would strike fear into one's heart. Gabriel's words to Mary were, "Mary, fear not. Fear not. Don't worry about the fact that you're engaged and the marriage hasn't been consummated. Don't worry about what the community will say. Don't worry about the fact that you might lose Joseph and lose everything and have all your dreams shattered." Easy to say, Good Old Gabriel - "Don't be afraid." But that was his word, because that was Mary's problem. It's always our problem. We're always afraid. Who knows what this new year will bring? Sometimes we grow anxious. How will our new business do? How about the new practice we've just started? How about the new relationship we've just established? How about the new child in our home, or © Grand Valley State University �Loving is Living Without Fear Richard A. Rhem Page 3   grandchild? What about all the scary possibilities of this new year, in this world that is going with such a whirl, on its way, always teetering on the brink of disaster? Fear fills the human heart. "Don't be afraid, Mary." And then, there's Joseph. Joseph is a decent sort of person. What will he do? Will he be willing to risk being made the laughingstock of the community? Will he expose Mary to that ridicule? Will he be so put off and offended at Mary? "Yeah, sure, Mary, a dove. I know, a dove." The angel comes and says, "Joseph, don't be afraid. Don't be afraid to take Mary." He would be afraid. Who wouldn't be afraid? And so the Word of God always has to come through His angelic messenger. "Don't be afraid." And then this marvelous event is broadcast to the world, brought personally to shepherds. Good News! And what did the angels have to say? "Don't be afraid. Fear not. Good news of a great joy that shall be to all people. Settle down. Calm yourselves. Don't be afraid." It must be that there is something intrinsic, something at the very core of our being; there is something about being human that makes us react to life with fear. It's very elemental. It's a very primitive response to life. I suppose it's because of our connection with the whole animal kingdom, our connectedness with all of Creation, that survival instinct. Did you ever watch a bird in the grass looking for a worm, cocking its head, listening? I'm never sure if it's listening for a worm rattling down in the clay, or whether it's cocking its head to see if I have a slingshot in my hand. I think it's always worried about a BB gun. Here, there, all over the place. A parable of a human being. Always looking around for the next threat, the next attack. Life is viewed as threatening, and people's relationship is often viewed as an attack, and we live our lives in an adversarial environment with others. Always feeling that we have something to protect, something to hold onto, something to possess, something to guard. Fear is a very primitive human response. So, all of our lives we go about being afraid and interpreting the behavior of others as an attack. And it happens all over the place. Did you ever go in for a nice meal in a restaurant and the waitress begins by spilling your ice water over the table, pours hot coffee down your back, and snarls, "What do you want?" And you've just come in, expecting a pleasant evening with a waiter to be at your service, and he turns out to be grouchy, and so you say to the people with you, "Well, I'll fix him. We'll give him a little tip." (Don't leave out the tip completely, because then the waiter will interpret that as though you forgot to leave a tip.) Leave a quarter when it should have been a tendollar bill. That will get the message across. Then he'll know that I am saying to him that I am displeased with the service. And, of course, that will make his day, won't it? And maybe the man's wife was just laid off with the prospect of unemployment for months. Maybe his son was just taken to the Emergency Room, having been struck down with an automobile. Maybe he is about to go in for emergency surgery with a bleeding ulcer that's about to burst in the next two © Grand Valley State University �Loving is Living Without Fear Richard A. Rhem Page 4   or three hours, and maybe you were able to add to all the anxiety that will bring it to a head. We do it to each other all the time. Never stop to ask, "Why? Wow, that person must be struggling with something." Rather, we say, "Who do you think you are? And I'll fix you. I'll get my own back." And so, we get this adversarial kind of relationship going, static sparks between us, and we go around through life like a bull in a china shop, we go around causing sparks to fly all over, and sparks fly all over the landscape. What does it do to us? It leaves us more deeply entrenched than ever before in that which has shackled us and gripped our spirit. The pall of darkness is heavier; the loneliness, the isolation is more extreme. And the reaction of fear and anger is all the more intense. We do that to each other, and it's one thing when we do that to each other, but we do it also as peoples and as clans and as ethnic groups and as races and as nations, so that the whole world, the whole human story is a violent story of action and reaction, charge and counter charge. Attack and fearful response, and attack again. There must be something deep down in us that causes us to respond with fear – basic insecurity that makes us go through life always interpreting everything as an attack to which we, out of fear, respond in anger. Attack and anger and attack and anger and the static grows and the sparks grow and the conflagration explodes on the earth. Now, God wants to get through to us. Why don't you do what would be so obvious to do, God, for rebellious subjects like we are? Why don't you come in and clobber us? Why don't you come in with a 2 by 4 to get our attention, beat us over the head? Why don't you come in as the King of Kings and the Lord of Lords, with angel hosts and flashing lights and great power? Why don't you climb on a bulldozer and move through history? Get our attention! Show us who we are! Put us in our place! Well, that's what He decided to do. But He figured, if He did it that way, He'd make us more of what we were already. Oh, He could get our attention. He could make us cower in the corner. He could probably even get our grudging conformity to His will, but it would be full of hostility. It would be full of anger. And it would be the kind of relationship that is characterized by coercion and manipulation. Well, He had a problem, didn't He? So, He decided to come in the vulnerability of a child. Because what He really wanted was not our subservience. What He really wanted was not our obedience, not our cowering, groveling before the presence of His glory. What He wanted us to do was look Him in the face so that He could say to us, "All I am is love, and I love you." So that we might be able to look Him in the face and say, "I love You, too." And how do you get that kind of thing going? You only get that kind of thing going when you take the risk of vulnerability. So there he lies in a cradle, in a child, in all of the harmless vulnerability of a child there's the Lord of glory, there's the everlasting God, the Prince of Peace. And you can handle Him and you can run roughshod over Him and you can put Him up © Grand Valley State University �Loving is Living Without Fear Richard A. Rhem Page 5   on a cross and do away with Him. But He'll have the last word – it's Love. And every once in a while – out of our intense fear and anger that frequently lashes out from us, at various times or inappropriately – every once in a while, somebody looks up and says, "Why am I fighting and full of anger if God is Love?" Every once in a while, somebody gets disarmed by love. That really is what Christmas is all about. God is love. He didn't write that in the sky. John says, "In this the love of God is manifested in that He sent His son." Then John says, "Beloved, if God so loved us..." Well, obviously, again, in our human understanding of things, we know the concluding clause will be, "We ought to love God," because we expect that love will be responded to with love. If God loves us, we love God. How neat. We can go through life with this nice, personal relationship with God and create Hell the rest of the time. But that's not what John says. "Beloved, if God so loved us, we ought to love one another." Isn't that amazing? The Gospel is radical. The word "radical" comes from the root, "radix," which means "root." God addressed the root of our problem at Christmas. The root of our problem is that we're insecure and we're afraid, and so we live always on the attack, interpreting everything as threat, and we create Hell on earth. The Gospel is the radical solution to the human dilemma. The Gospel is God's move into the vulnerability of a child by which He signals to us, "I am love. Be not afraid." Loving, is living without fear, because there is no room for fear in love; perfect love casts out fear. Every once in a while somebody wakes up to that radical story and says, "Wow," and finds the hostility and the anger melt away and life absolutely transformed. One set free - free from fear, free to love. That is a radical message. That is the Christmas message. That is the truth, and in a moment like this, if one could just be grasped by it, it could change one's life. One could go out for dinner and get illserved and smile at the person and give them a gentle touch, and leave a large tip and turn their life upside down. They'll tell you that this won't work. This won't work in Washington, of course. Nor in Moscow. Or Beijing. It won't work in Geneva. It won't work at City Hall. It won't work at the boardrooms of industry. Well, as a matter of fact, it really won't work anywhere without the possibility of one being taken advantage of, made a fool of, maybe even crucified. So, it probably won't work. But, to be honest, nothing else works; we only compound the problems: fear, threat, anger, attack, leaving all parties more deeply entrenched in fear. Nice going, God. We're going to try it on our own. We've got a couple more techniques up our sleeve. But, to be honest, what we need is a miracle of love. I wonder if it would work. I am, on the first Sunday of 1987, going to make a public pledge to try it, intentionally, in that little circle of my life. I invite you to join me, for loving is living without fear. And I suspect that's really living. © Grand Valley State University �Loving is Living Without Fear Richard A. Rhem Page 6   Let us pray. Father, forgive us for all of the common sense rationalization of our failure to live the Gospel. Release us from our fears. Help us to hear Your word, "Be not afraid." Enable us to respond to Your love by loving. Through Jesus Christ, our Lord. Amen. © Grand Valley State University � Dublin Core The Dublin Core 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 Richard A. Rhem Collection Description An account of the resource Text and sound recordings of the sermons, prayers, services, and articles of Richard Rhem, pastor emeritus of Christ Community Church in Spring Lake, Michigan, where he served for 37 years. Starting in the mid 1980's, Rhem began to question some of the traditional Christian dogma that he had been espousing from the pulpit. That questioning was a first step in a long and interesting spiritual journey, one that he openly shared with his congregation. His journey is important, in part because it is reflective of the questioning, the yearnings, and the gradual revision of beliefs that many persons in this part of the century have experienced and continue to experience. It is important also because of the affirming and inclusive way his questioning was done and his thinking evolved. His sermons and other written and spoken materials together document the steps in his journey as it took a turn in 1985, yet continued to revolve around the framework and liturgies of the Christian calendar. Subject The topic of the resource Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Religion Interfaith worship Sermons Sound Recordings Creator An entity primarily responsible for making the resource Rhem, Richard A. Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/514">Richard A. Rhem papers (KII-01)</a> 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 Kaufman Interfaith Institute Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Language A language of the resource English Type The nature or genre of the resource Sound Text Identifier An unambiguous reference to the resource within a given context KII-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 1981-2014 Format The file format, physical medium, or dimensions of the resource audio/mp3 text/pdf Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Event Christmastide II Scripture Text Luke 1:30, 2:10, Matt. 1:20, I John 4:18 Location The location of the interview Christ Community Church, Spring Lake, MI Dublin Core The Dublin 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 KII-01_RA-0-19870104 Date A point or period of time associated with an event in the lifecycle of the resource 1987-01-04 Title A name given to the resource Loving is Living Without Fear Creator An entity primarily responsible for making the resource Richard A. Rhem 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 Clergy--Michigan Reformed Church in America Christ Community Church (Spring Lake, Mich.) Sermons Relation A related resource Richard A. Rhem - An Archive of Sermons, Prayers, Talks and Stories: http://richardrhem.org/ Language A language of the resource eng Type The nature or genre of the resource Sound Text Format The file format, physical medium, or dimensions of the resource audio/mp3 application/pdf Description An account of the resource A sermon given by Richard A. Rhem (Dick) on January 4, 1987 entitled "Loving is Living Without Fear", on the occasion of Christmastide II, at Christ Community Church, Spring Lake, MI. Scripture references: Luke 1:30, 2:10, Matt. 1:20, I John 4:18. Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives Community of Grace Fear God is Love Incarnation Love at the Core of Reality Transforming Love https://digitalcollections.library.gvsu.edu/files/original/79c9c7e37237def88a26b4dddd194ff1.mp4 8aafa5150e8f9cca9d9560be3429fbc7 https://digitalcollections.library.gvsu.edu/files/original/8f640390f574880e15eacebf7096b9e5.pdf bc87c76a19a01123448af1d4279a5dfb PDF Text Text Grand Valley State University Veterans History Project Interview Name of War: WW2 Interviewee’s Name: David Low Length of Interview: 41:25 Interviewed by: James Smither Transcribed by: Sam Noonan Interviewer: “Now David, begin with some background on yourself, and to begin with where and when were you born?” Well, I was born in Hebron, Illinois, on a farm that my dad worked at at the time - well, actually I was born in the town, but my dad was the hired hand at a farm that - big farming community there, big milk producer at that era. Interviewer: “And what year were you born?” 1927. October 29th, 1927. So that makes me 93 years old right now. Interviewer: “I can safely say that you don’t look it. Alright, so you were on a dairy farm. Now, did your family own the farm?” No, no. My dad was a hired hand on the farm, and he got at that time what they called milk fever. Milk would cause his hands to swell up, [or at least] that’s the story that I got. I’m not sure how true it is, but that’s what I was always led to believe. So he could not work on the farm anymore, and his wife at the time was Irene Lowe, and her father owned a celery farm in Muskegon. And that was just before the depression started, so he decided he would come out and work on the celery farm, because he couldn’t work in the dairy industry anymore. So they moved to Muskegon. I was not very old, I couldn’t have been over 18 months maybe or something. We moved in, and then he worked on the farm for a little while but then the depression hit and then my grandfather, my mother’s dad, couldn’t afford to hire him, but at that time they started to get some oil in Muskegon - drilling oil wells. So my dad got a job, in the oil fields and worked in the oil field at that time. Sometimes he’d work and he didn’t get paid, either. So, it was pretty tough when we were kids. We grew up pretty poor, but we didn't know we were poor and we had a good time. I had a good childhood, I can’t say anything bad about my childhood at all. Interviewer: “How many kids were in the family?” There [were] 4. Interviewer: “And where were you in the order?” �I was [the third child.] I have an older brother who was in the Marine Corps, and then I have a sister that is two years older, then I have my brother who is three years older - then I have a younger sister, eight years younger than I am. And then the oil field kinda played out in Muskegon, and the company that he worked for was Sohio Oil Company, which was, uh, transferring some people from Muskegon over to Burnips. And they were discovering oil over in Burnips so he was transferred over there, and we moved to Burnips for a couple of years and then the oil field played out there and he was told that he could either move to Ohio and follow the oil field or he could lose his job but stay in Michigan. So, he lost his job. He didn’t want to leave the - he didn’t want to leave the state. So then we went from Burnips, he moved to Wayland. That was in 1939. Interviewer: “Okay. Now, in Wayland was he doing farm work or something else?” No, we happened to move in next door to the construction contractor who was building a new school in Wayland - now it’s called Pine Street School. So he got a job in construction on the Pine Street School. Interviewer: “Alright, now then did you go to high school in Wayland?” I went to high school in Wayland, yes. I went, well the first two years - then my dad passed away in 1940, so my mother was left with three, four kids, and no real experience [or help] of any kind in getting a job, so she had to do manual work and the war started about that time. There was an egg plant, what they called an egg plant in Wayland, where they candled eggs and there was a … company and what they did was they candled the eggs, they beat them up, and they took them over to the … factory and they made powdered eggs. So during the war she made powdered eggs for the service, and I worked there at the … factory. I was only 14 years old but I got a special permit from the school to work, and we had prisoners of war come over from Fennville - they had a prisoner of war camp over there, German. And they brought them over, we worked in the plant with the guys. (5:34) Interviewer: “Now, what impression did you have of those prisoners of war?” Very good! They were very nice people, they weren’t any different than you and I, we had a little difficulty with the language problem but we were able to communicate with each other. They would bring a busload, two busloads of prisoners over every day and we would work in the warehouse loading cans and milk cartons and things like that, but they weren’t any different from you and I. Interviewer: “Okay. Did that affect how you thought about the war at all, just to see that the Germans were regular people?” �No, not, - not really. I guess I just didn’t, wasn’t cognizant of the fact that that maybe, should color my judgement but it didn’t. All I knew was that they seemed no different than what we were. Interviewer: “Okay, now to back up just a little bit, do you remember how you heard about Pearl Harbor?” Not - not really. I remember hearing it on the radio, I don’t remember where I was at the time because I was still pretty young yet, but I do remember them on the radio. Interviewer: “Okay, and then you said you had a brother who went into the Marine Corps.” Yes, he went in, I think in ‘43 he went into the Marine Corps. He went in at 17 and my mother had to sign for him. And he was overseas and in all the Pacific battles: Taiwan [Tarawa], Tinian, Saipan. Interviewer: “And was he just an infantryman or did he..?” An infantryman. He carried a bazooka for a while, and he also carried a flamethrower. That’s about the only two things he told me about his experience. One thing he did tell me that’s a little bit gruesome, I don’t know that I should say it or not, but anyways on one of the campaigns that they had he said there were so many dead Japanese that they took a bulldozer, dug a great big long trench, and just took a bulldozer and pushed them into the trench and covered them up. That’s about the only thing he told me about the service that he was in. Interviewer: “But he did come back in one piece?” Yep, he came back in one piece and he was not affected by the war at all. He seemed to adjust back to civilian life very easily. Interviewer: “Okay, now did you finish high school?” Well, that’s another story. I, uh, end of my sophomore year I decided that I was 17 and I was gonna be drafted, if I kept on, I decided that I wanted to join the Marine Corps. So at the end of my sophomore year I talked to my mother into signing [the papers] for me to go into the service. Which I did, and I went and served a little over a year in the service, and when I came back out of the service I had taken a, what is it, GInterviewer: “GED?” GED, and the service … my high school diploma, got that. So I went back the high school and Mr. Stevie, Rudy Stevie, was the principal, er, the superintendent of the school. And I asked if I could get a high school diploma because of what I did in the service and he said, ‘well, I really �can’t give you a high school diploma but I’ll tell you what I will do -’ he said, ‘you missed your junior year, if you maintain a B or better average for your senior year I’ll give you credit for your junior year and you can graduate with your class.’ So I did, and I maintained a - matter of fact I graduated tied tenth in my class with another gal. And so I did get my high school diploma, only having three years of high school. Interviewer: “And you had to do it after the time in service?” After I’d gotten back from the service, yeah. Interviewer: “Was there anybody else in your situation, were there some returning veterans?” Yes, there were four other servicemen that started school with me, but they all dropped out. I’m the only one that completed - so as far as I know, I’m the only veteran that completed high school in Wayland. (10:07) Interviewer: “Okay, at least in that fashion. Now, was there a reason why you wanted the diploma and not just the GED, did it make any difference?” Yes, I felt that later in life that it would be more important to have a sheepskin, as they called it back then. Interviewer: “Okay. So let’s back up a ways: 1945, you’re 17 years old, you say ‘okay I’m just gonna go in the service and do it.’ So you talk your mother into signing the papers to let you go in a year early, and so when did you enlist?” July - I think it was July 12th when I enlisted, I’m not exactly sure I think it was July 12th that I actually was inducted into the service. Interviewer: “Okay, and when you were enlisting were you able to choose which branch of service to go into?” They said we could, but when we got in line and the guy says ‘you’re going to the Navy, you’re going to the Marines, you’re going to the Army’ and they got to me and they said ‘what branch do you want to be in?’ and I said the Marines, and luckily he did put me in the Marines, but you didn’t really have a choice. But he did put me in the Marines. Interviewer: “Well the Marines had taken a lot of losses in the Pacific, and they needed bodies for what was to come.” Yep, that’s exactly what I was. �Interviewer: “So they were happy to take you for that, okay. And so, after you sign up, then what happens?” Well, we stayed in the hotel there in Detroit that night, then we got on a train - I always called it a coop train, and from there we went right on down to Parris Island. I don’t really remember much about the trip, I don’t remember staying overnight anywhere, to me it was an all-day allnight two-days and two-night trip down to Parris Island. Interviewer: “And were you just in regular coaches where you’re sitting on seats?” No, we weren’t just in regular coaches yet. Interviewer: “No sleeper cars, or?” No sleeper cars or anything, we - you slept wherever you could sleep, and I don’t remember now what time of the day or night we got there, I remember unloading and I remember they told us to unload, stand in line, and we had a drill sergeant came out and started talking to us. Here again there’s maybe something I shouldn’t say, but we all stood up - I went in with a fellow by the name of Bob Dove from Ludington, which I had known before I was in the service, and he and I - he was a little guy, not very big. This big, Polish guy - great big guy - walked up and down and all the sudden he called us every name that he could think of, and get us in line, and he walked [up to] Bob Dove, he hit Bob Dove in the stomach and curled him over. I thought ‘oh my gosh, this is not for me.’ But anyway… Interviewer: “Now, was that where you got off the train or was that when you got to Parris Island?” That was at Parris Island, we got off the train. Well, we got off the train [and] I think we were bussed in. Interviewer: “You’d have to take the bus there, -” You gotta take the bus to Parris Island, when we got off the bus at Parris Island where we took our boot. Interviewer: “Yeah, so that ‘welcome to the Marine Corps’ was pretty much the same still in the Vietnam era, where you’d come out and get abused by the drill sergeant, that was the first exposure to life in the Marines.” Then the second exposure was [when] we got to our barracks, and they had a big 2x4 nailed to a post in there, he ripped that 2x4 off and it had a big nail in the end of it, and he walked up and down the barracks and told us who we were and what we were there to do. One of the first things that I remember him saying is ‘whatever you do, you do on the double. I don’t wanna see �anybody walk, when I tell you something you run. You do it on the double, everything is on the double.’ And he would, I don’t know how much detail you want me to go into on this, but they would go into town on the weekend and they would come back pretty well… uh, lubricated. Interviewer: “Right.” And it could be 2:00 in the morning, or anytime they decided to come in, and they would tell us to fall out. Sometimes it was locker boxes, … drawers. So we had to pick up our locker box at the end of our bunk, take it outside, hold it, stand at attention until he decided to let us go back in. Another thing they would do when they [came] back on the weekend [was that] they would have the bucket brigade. We always had a bucket to wash our clothes and stuff in, and we would take the bucket out, stand at attention, put it over our head and holler ‘Attention!’ until he decided that he had enough, and then we’d go back in again. Just all - all discipline. (15:22) Interviewer: “Did you have the impression that all the different groups who were training were getting the same treatment?” Yes, yeah. Everybody got the same… abuse. Interviewer: “Alright. At the time, did you understand why they were doing these things?” No, not - not really, not really. But by time I was finished with boot camp and then back out after the war was over, then I realized what they were doing. Interviewer: “Alright, now what actual training did you get, in terms of military training while you were at Parris Island?” Well, mostly marching with the pack on our back, it was mostly physical training for us. We didn’t get an awful lot, we got some bayonet training and we got some climbing-the-fences and crawling on our bellies through the swamp, and wading in the swamp up to our armpits. Things like that, but it was mostly physical training. Now we were supposed to have six weeks of basic training, we only got four weeks because of the rush – they wanted the invasion of Japan to start, and so we only had four weeks of training. So we didn’t, we didn’t really have much more than just rugged physical training. Interviewer: “Alright. And at that point, while you were still at Parris Island, were they telling you anything about what was going to happen to you – did you know you were heading for the invasion of Japan?” No, we didn’t know anything until the day before we were to board a ship. They told us that we were shipping out on a certain date - I don’t remember what exact date that was now. But they �told us we were going to be shipping out, and that we would have a general meeting [the next day,] so then they [told us to] pack our bags, told us what to have in our duffel bag, and that we’d be shipping out the next day. And they had a big room they put us in, and they had all the papers if we wanted to change our beneficiary for life insurance - at that time each of us had a $10,000 life insurance policy and I had my mother as the beneficiary. If anybody wanted to change it – cause they came out and told us that there’d be a lot of us that wouldn’t come back – so if you wanted to change something, [that] was the time to do it. So then the next morning we went back to our barracks, next morning while we got all of our equipment on, went out to the … field to get ready to board the bus to take us to the ship, and they said that our orders had been delayed. They didn’t tell us… that they were just delayed. So we had no idea, we were sequestered so we didn’t have any idea what was going on, so then I think it was three days later they dropped the second bomb. And then they told us that there was something called an atomic bomb, and it was dropped twice on Japan and that Japan had surrendered and that the war was over with and we didn’t have to go anywhere. So I was really happy about that. Cause you know, you stop and think, you know - am I gonna be a hero, or am I gonna be a coward? You really don’t know until you get into it. You do what everybody else [does,] you’re assigned a job and you do the job. You don’t think about anything else. Interviewer: “Okay. Now during those few days, where you were just there waiting and you didn’t know what was going to happen, what was the mood or the attitude of the guys you were with?” You know, I don’t really remember. I – I don’t remember much of anything, we were wondering, you know, ‘what’s going on, what happened?’ but I don’t remember the mood of the group of people that I was with at all, just kinda seems like a blank to me right now. Interviewer: “So you were all focused on what might happen to you and you weren’t really talking to each other or doing other stuff.” Yeah, yeah. Interviewer: “Did they keep you busy during those days?” Can’t re- I, I don’t think so – March! Oh yeah, we went out on the … field and marched. We kept our, we kept our discipline up. Interviewer: “So now you’ve, you’ve had your four weeks of training, you’re supposed to ship out, you don’t ship out, what do they do with you next? You’ve signed up for the Marine Corps, so now what happens?” Yeah, well – they shipped me into, they shipped me to Camp Lejeune. So I went into Camp Lejeune - and I was a projectionist, when I was back in Wayland, there was a theater in Wayland and of course I had to work because my dad had passed away, and I got a job in the theater as an usher, cause I was tall and I could look – look older than what I really was. So the �guy there was named, Neiman Frank was his name. And so he gave me a job - I had to go to the school and get a permit again because I was too young to work, and so then I did pretty good as an usher so he trained me to run the projection machines upstairs in the projection booth. So when I went in the service I had that [experience] as a projectionist so I was put in the special services. And I – they assigned me to bringing in the … shows I guess is what you might call them, but there was… oh, Louis Armstrong and so I met quite a few celebrities on that, it was my job to bring them in, show them where their quarters were, show them where the stage was, and what facilities that we had for them to put their performance on. So that lasted for a little while, and then we had to requalify for the rifle range. So I requalified and I shot expert. And very, very difficult circumstances. We uh, we were there for I think a week shooting. And I didn’t know it at the time, but there was a team being organized to shoot a national competition for the Marine Corps and they were looking for people that could shoot accurately, and I happened to shoot expert – I shot at a thousand yards, hit the bullseye. And so I was assigned to the, to represent the Marines – on the team of the Eastern division of the Marine Corps, and they shipped to me to Quantico, Virginia – Washington D.C., and people from – really good shooters, from all over the United States are all in the service to shoot in this national competition. (22:35) Interviewer: “Now, when you were a kid did you hunt or shoot at all or was this all new to you?” No, no, I hunted. Yeah I was familiar with a shotgun, and rifles and things. Interviewer: “Yeah, a shotgun might not help you.” Just .22s, yeah – well yes, [shotguns do help you learn how to] carry a weapon, and how to position it, and what you should do with it. So [shotguns do] teach you, even though it was no good in the service. Interviewer: “Yeah, well it wasn’t a long range weapon though, I mean in the sense of a rifle – you’re not going to hit something at a thousand yards with a shotgun.” Yeah, no. So we shot with an M1, Browning. [the M1 was called the Garand—the Browning Automatic Rifle was a different weapon] Interviewer: “Okay. And then did you find that you were about as good as the other guys on your team?” Yes. Yeah, mhm, I was surprised. We also had to shoot with a .45. So we had the M1 and the .45. Now, it’s a funny thing cause I don’t remember where we ended up – where my team ended up in the competition, I don’t know whether we were first, second, third, or last, I don’t remember. �Interviewer: “And was the competition held at Quantico or was it-“ Yeah, mhm, Quantico. Every morning we would get up and we’d go shoot, by nine o’clock we had to be on the range ready to, ready for the competition. We’d fire until noon, and then we were turned loose. We could do whatever we wanted to, we had free range of Washington, we could leave the base, we didn’t have to have passes or anything, we could just do whatever we, whatever we wanted to do. Interviewer: “Okay. So did you go into Washington then?” Oh yes. Yes, I spent a lot of time – I had a friend that was – my schoolteacher, her sister lived in Washington, and I stayed at her apartment on the weekends. And she had a pass to the, all the streetcars, cause she worked there for the government. So she would give me her pass and I could go anywhere I wanted to, didn’t cost me any money. Interviewer: “Okay, and were they giving servicemen free admission to various places?” No, no I don’t remember that – most everything was free back then anyway, there wasn’t any charge for anything. But I visited everything that was of any interest in Washington. Interviewer: “About how long did you spend at Quantico?” Probably a couple of weeks, maybe three weeks. Then I went back to Camp Lejeune, and there was a lot of people – Marines or servicemen coming back, and they put me in charge of a barracks – a two story barracks. And all these guys were coming back from overseas, and they had been fighting over there … they had a point system then, and I think that – I think if you had around forty – I don’t remember now exactly – but forty-some points or something, you got released and didn’t come back first, and then they went on down the line [numerically.] And here I am, a seventeen year-old kid, they put me in charge of a barracks – these Marines that have been overseas crawling in the mud and fighting, killing people – and I’m supposed to maintain the barracks, have these guys come out, fall out in the morning, have roll call, and then tell them to police the grounds and to polish the brass and to clean the heads – the head was the toilet. And I thought, ‘this isn’t going to work.’ The first time I tried to get to somebody to do something, they told me where to go. So I decided that, well, it’s gotta be done, so I did it. I picked up all the cigarette butts, I let the guys do whatever they wanted to do, they could… I was not in charge of them at all. So I picked up the cigarette butts, I polished the brass, and I cleaned the heads. These guys had no business picking up cigarette butts. I realized that, I knew that – instinctively, I said ‘this was not going to work.’ So I was there for a little while, and then they put me on guard duty on a little island just off the coast of North Carolina. I was there for a little while and I got an ingrown toenail, so I couldn’t walk the guard duty. So I went to the hospital and I had pretty good duty in the hospital, I kept – I played that for as much as I could for a while. Finally they released me, and then I got discharged right after that. �Interviewer: “Okay. Let’s back up to the early part where you were a projectionist – did you actually work as a projectionist in Camp Lejeune?” Yes. Interviewer: “And were you just, were you showing like Hollywood movies, or training films?” No no, Hollywood movies. These were for guys that were coming back from overseas and they were stationed at that time, they called it Tent Camp. There was five of us, or four of us, that they assigned to this one theater. We showed one movie a night, so we only – every fourth night, I had something to do. We didn’t do anything at all during the days, except play pinochle all day. Interviewer: “Alright, now you mentioned Tent Camp – were you actually staying in tents at that point, rather than barracks?” No, I was staying right at the theater. They had rooms at the theater, they had a big office and a lounge right there in the theater. So all I did was show a movie once every four days. (28:26) Interviewer: “Alright. Now do you remember any other famous people who went through with the USO? You mentioned Louis Armstrong, who else came through?” Well, Harry James came through and then there was… it wasn’t Lana Turner but there was another gal that came in there – that was the only three that I remember that had any real fame. Interviewer: “Okay. Now while you were at Camp Lejeune, did you get to go off the base at all?” No, I don’t remember going off base much at Camp Lejeune. I did go into Raleigh, North Carolina a couple of times – we could get weekend passes if we wanted ‘em. Interviewer: “Cause, I mean, you were in the South, and the South was still segregated at that point – inside the camp, I mean aside from [a] visitor like Louis Armstrong, everybody there probably was white. But did you notice that –“ No we had, we had colored people in my unit. Interviewer: “Okay.” Oh yeah. No, we had, in boot camp – I had, there was two people of color. �Interviewer: “Were they black?” Yeah. No no, they were African Americans. Interviewer: “Okay. Cause that’s the kind of thing that isn’t really expected, because black Marines would normally train on their own at Montford Point, rather than Parris Island with the rest of you guys. And your unit at Camp Lejeune, there were black Marines there too? Or just when you were training?” I don’t remember – no there was… cause I, the fellow that I was in boot camp with was also at Camp Lejeune at the same time that I was. Cause I talked with him several times after that. So we were integrated, I didn’t even realize that we were [supposed to still be segregated] at that time. Interviewer: “Cause you weren’t officially integrated at that point, but it was happening – and I’ve actually heard that from a few other people in other service branches, that there was a little more of that kind of thing going on than you might expect.” Mhm. Interviewer: “Alright – now, thinking over the time that you spent in the Marines, are there other memories that stand out for you?” When I was on guard duty one day, there was a colored snake – it had rings – red, and white and black, rings around it. It was about [two feet] long, and so I killed it. And there was a black guy that was a … of the guardsmen there that took care of the boilers and the furnace and stuff, so I took it in and I put it on my billy stick and I took it in and showed it to them, and it was a poisonous, very poisonous snake. I don’t know – they called it a milk snake, or a – Interviewer: “It could be… it was a coral snake maybe?” A coral snake or something, and he just about had a fit. And then one other time, while I was on guard duty there, I got awful sleepy and I thought, ‘well I’m just gonna lay down for a minute, I can’t walk anymore’ and of course I had a sore foot at that time, and so I laid down and I thought, ‘well I’ll get up in a few minutes.’ I fell asleep. Luckily the guy that was to relieve me, the sergeant did not come with him – he came by himself. And I wasn’t at the post where I was supposed to be so he came into the barracks, woke me up, and then took over. But if the sergeant had [come] I’d probably still be in jail. (32:12) Interviewer: “Alright, once you were out of the basic training and you were at Camp Lejeune, how did sergeants treat people?” �Fine. Yeah, entirely different. Interviewer: “And… but you wound up then essentially going out early, you were supposed to be in, do you think, for two full years or at least eighteen months or something?” Mhm. Yeah. Interviewer: “So you got out there early, alright. So once they decide that they’re done with you, what did you do after you’re discharged? Did you go back home, or-“ Oh yeah. I came back home and then I went to high school, and then I went back to the theater and worked in the theater. And I did odd jobs around, I worked for different carpenters and built houses and things like that as a laborer, but that wasn’t something that I really – and I did work at General Motors for a little while, and then I decided that probably working at General Motors wasn’t something I liked because I stood at a machine, I put a part – I put two parts together, I put it at a spot welder, and spot welded it, threw it over my shoulder, that’s all I did all day long. And that, I guess my personality was not that type so I decided that I better, I better go to school. So I quit General Motors and then I went to Parsons Business College in Kalamazoo – they had a private business school there, and I took up accounting – business administration and accounting. And I, I did that after [General Motors.] Interviewer: “Okay so, then that was kind of your career from there?” No, I came back – I didn’t really like accounting very much, and a friend of mine was a painter in Wayland – he did painting and decorating. And I worked with him for a while, and he decided that he was gonna leave town, he didn’t want to stay in Wayland anymore, he was going someplace else, so I took over all of his equipment and I did painting and decorating in Wayland. I took a job, there was an outfit called Kessler’s Undies and Woolies that had come into town, there was a … works in Grand Rapids and they made lollipop pants for women, cotton pants – they owned a factory there in Wayland. And the Kessler company came out of Chicago, and he bought the lollipop pant factory, moved his operation into Wayland. They manufactured baby clothes and sleepwear and underwear for infants. And I contracted a job for them painting their office, and I saw the salesman come in and I heard what they were talking about and everything and I thought, ‘well you know I might like to try that’ and I liked that better than painting, cause painting was difficult. Sanding and scrubbing those walls and stuff, I didn’t like that. So I asked Mr. Kessler if I could have a job as a salesman, he said he wanted to know if I had any experience, and I said ‘no, I don’t have any experience.’ Well he says, “I can’t hire you unless you have experience,’ so I thought ‘well, alright, how am I gonna get experience?’ So I got a job with Fuller Brush Company. Interviewer: “Oh, okay.” �And I don’t know how I even contacted them and got a hold of them, but I did and I worked for them for a year, and I was very successful then, I did pretty good at it. Interviewer: “Now a lot of people today won’t even know what Fuller Brush Company was or how they operated, I mean I’m old enough to remember them – so what did they do?” Oh really? Well Fuller Brush Company had a catalog, and they sold all – very similar to Amway, in many ways, today – and they had salesmen that would go out and knock on doors. At that time you could knock on doors and people were home! And you could talk to them and they had always – we had what they called a vegetable brush that we gave to the housewife, or whoever answered the door. And then we gave them a catalog and told them who we were, and to pick out something and then we would take an order. And then we would fill the order, bring the merchandise back the next week when we came, when we came through. So I worked for them for about a year, and so then I went back to Mr. Kessler and I said ‘well, I have sales experience now, I worked for Fuller Brush, and I’m one of their top people in our area,’ I said ‘will you now consider hiring me?’ Well, you know he says ‘we do need somebody in Michigan right now, our salesman there is leaving,’ and he said ‘you can go out with my son tomorrow if you want to, can you go tomorrow?’ I said, ‘yeah, I’m ready to go,’ so I went out with his son, they had a sample case of goods and we went out and we sold about eight or ten hundred dollars’ worth of stuff, and so the next day he says, ‘well, you want to go out with my son again today?’ And I said no, I said ‘I’ll try it on my own.’ So I had a little plan figured out that I was gonna do, and so I took the sample case out and I went to a couple of small stores and told them that I was new with the business, I didn’t really know whether the products was any good or not, but would they take a look at it and see if there was a product there that they could use? And they let me open up the case and I sold them goods, I got back with fifteen hundred dollars’ worth of goods. The next day [Mr. Kessler] says we’ll hire you. I ended up being there, either their number one or number two salesman – I was with them for ten years. (38:03) Interviewer: “Alright, so you’ve done all sorts of stuff in your lifetime, alright. … primarily about your military career, let’s go and circle back a little bit now. Think about the time that you spent in the Marine Corps, what did you take out of that or how did that affect you?” I think probably discipline. Knowing what you want to do and how you want to do it, and to plan – things don’t just happen, you have to kind of plan as to what you’re going to do and what’s expected of you. Probably decency is a thing that stood out more than anything else – be fair and normally people will treat you fair if you’re fair. But I think discipline, is probably the biggest thing. Your weapon was, that was a rifle. And it was called a rifle. And they said, ‘do not call it a gun or you’re in trouble.’ So I don’t know any… one of our discipline… our marching… something came up that, I said, ‘my gun,’ something or other. And the drill sergeant picked up on that immediately - I slept with nine rifles that night. So that was my, that was my reward for calling my rifle my gun. Yeah, when they first got in, the… mess hall, I would, I think it was �[during] the evening meal, I was still hungry – cause I was a pretty good eater. And so I went in and had my meal and I went in for seconds, and the sergeant that was in charge of the mess hall said ‘are you a chow hound?’ I said ‘yes sir!’ He said, ‘well get up on the table and bark.’ So’s about three hundred people in the mess hall at the time, so I get up on the table and I barked. I never went back for seconds again. Interviewer: “Alright, now I guess – that led me to think a little bit, so in boot camp when people messed up, did you normally get disciplined like that, just doing something-“ K.P. Kitchen police. Yeah kitchen duty, they called it K.P. at the time. And sometimes even if you didn’t mess up you got K.P.’d, because they needed somebody and they made it kind of around so that everybody got K.P. And I did get K.P. for a week – no, not a week – three days, I think. And I was what they called a bread and butter guy, and all I had to do was make sure there was bread and butter on the table. So that was pretty good duty. Interviewer: “Okay. But they didn’t – so they weren’t beating people up, or doing any really abusive stuff at that point?” No, no. Interviewer: “Periods where you get stories like that, sometimes coming out of Marine training-“ The only, the only physical thing was hitting Bob Dove in his stomach. And Bob Dove just passed away here a few months ago. Interviewer: “Alright.” (41:25) [END] � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veterans History Project Creator An entity primarily responsible for making the resource Grand Valley State University. History Department Description An account of the resource The Library of Congress established the Veterans History Project in 2001 to collect memories, accounts, and documents of U.S. war veterans from World War II and the Korean War, Vietnam War, and conflicts in the Middle East and elsewhere, and to preserve these stories for future generations. The GVSU History Department interviews are part of this work-in-progress, and may contain videos and audio recordings, transcripts and interview outlines, and related documents and photographs. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1914- Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Subject The topic of the resource Afghan War, 2001--Personal narratives, American Iran Hostage Crisis, 1979-1981--Personal narratives, American Korean War, 1950-1953--Personal narratives, American Michigan--History, Military Oral history Persian Gulf War, 1991--Personal narratives, American United States--History, Military United States. Air Force United States. Army United States. Navy Veterans Video recordings Vietnam War, 1961-1975--Personal narratives, American World War, 1939-1945--Personal narratives, American Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Contributor An entity responsible for making contributions to the resource Smither, James Boring, Frank Relation A related resource Veterans History Project (U.S.) Identifier An unambiguous reference to the resource within a given context RHC-27 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project interviews (RHC-27)</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LowD2355V Creator An entity primarily responsible for making the resource Low, David Date A point or period of time associated with an event in the lifecycle of the resource 2021-04 Title A name given to the resource Low, David (Interview transcript and video), 2021 Description An account of the resource David Low was born in Hebron, Illinois, on October 29th, 1927, and his family moved to Muskegon, Michigan before settling in Wayland, Michigan as he started high school. When Low was 14, he helped make powdered eggs for the military at a local factory, where he worked alongside German prisoners of war. Near the end of his sophomore year of high school, Low decided that because he was going to be drafted, it made more sense to join the Marines outright. Low arrived at Parris Island for boot camp shortly after enlisting and received four weeks of training in boot camp instead of the typical six weeks because of pressure surrounding the invasion of Japan. Fortunately for Low and his fellow soldiers, the atomic bomb strikes led to Japan’s surrender just before they were to depart. Following this confusion and sudden change of plans, Low was sent to Camp Lejeune in Jacksonville, North Carolina. Here he worked as a projectionist due to his past work experience. Low was able to meet celebrities like Louis Armstrong due to his work helping the USO entertain servicemembers and enjoyed the time he spent living in the theater. Afterwards Low was required to requalify at the rifle range, and shot at an expert level, gaining him a position on a Marine team that was sent to shoot at a national competition. This led him to Quantico, Virginia, where he was able to live near Washington D.C. and enjoy the local sights and events. Low was eventually able to return home to Wayland, MI, where he resumed school and work, he was able to find a position at General Motors and worked there for a while, but grew tired of the repetitive work and desired something more enjoyable. To solve this problem, Low attended Parsons Business College in Kalamazoo, MI, studying business administration and accounting in order to further his career. Though he did not enjoy accounting work as much as he hoped, Low was able to find work in sales after finishing school and enjoyed it significantly more, working for Kessler’s Undies and Woolies for ten years. Reflecting on his time in the service, Low feels that he gained a greater sense of discipline due to his experience. Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) WKTV (Wyoming, Mich.) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States—History, Military Veterans Video recordings Vietnam War, 1961-1975—Personal narratives, American Source A related resource from which the described resource is derived Veterans History Project collection, (RHC-27) Publisher An entity responsible for making the resource available Grand Valley State University Libraries, Special Collections & University Archives, 1 Campus Drive, Allendale, MI, 49401. Relation A related resource Veterans History Project (U.S.) Rights Information about rights held in and over the resource In Copyright 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 Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/c988dd76dc4550975cb87d0fbc132652.jpg f96df99024a5aa7a9af3803d5c23c834 Dublin Core The Dublin Core 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 Faces of Grand Valley Creator An entity primarily responsible for making the resource Grand Valley State University Contributor An entity responsible for making contributions to the resource University Communications Description An account of the resource A non-comprehensive collection of photographs of Grand Valley faculty, staff, administrators, board members, friends, and alumni. Photos collected by University Communications for use in promotion and information sharing about Grand Valley with the wider community. Date A point or period of time associated with an event in the lifecycle of the resource 1960s - 1990s Source A related resource from which the described resource is derived GV012-03. University Communications. Vita Files Rights Information about rights held in and over the resource In Copryight Subject The topic of the resource Grand Valley State University College administrators College teachers Colleges and universities -- Faculty Michigan Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives Identifier An unambiguous reference to the resource within a given context GV012-03 Format The file format, physical medium, or dimensions of the resource image/jpeg 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 LowMarian Creator An entity primarily responsible for making the resource Grand Valley State University. University Communications Title A name given to the resource Low, Marian Description An account of the resource Marian Low, History Subject The topic of the resource Grand Valley State University – History College teachers Universities and colleges – Faculty Michigan Source A related resource from which the described resource is derived University Communications. Vita Files, 1968-2016 (GV012-03) Publisher An entity responsible for making the resource available Grand Valley State University. Special Collections and University Archives 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/jpeg Language A language of the resource eng https://digitalcollections.library.gvsu.edu/files/original/ad0cae10ee5113c58a82f5e8048891e4.jpg 24ec584a2add46df947cabba28ee2c4d Dublin Core The Dublin Core 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_EastmanAlbum_2_1909-1911_99 Date A point or period of time associated with an event in the lifecycle of the resource 1911-08-15 Title A name given to the resource Lower Falls from Red Rock Description An account of the resource Black and white photograph in portrait orientation of the Lower Falls from Red Rock, Yellowstone National Park. Subject The topic of the resource Yellowstone National Park Wyoming Canyons Rivers Waterfalls 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/f072dbd3697f5079155e1455b2a71681.jpg a3007822db776f91417c8464722418c0 Dublin Core The Dublin Core 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_860 Title A name given to the resource LSD Landing ship dock Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource US LSD Landing ship dock, October 1, 1947. 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 1947-10-01 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/ab52512aa41da1dda224913666895894.jpg f52bad0e3ce2f937dd3998b6113ca38b Dublin Core The Dublin Core 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_858 Title A name given to the resource LSD US Landing ship dock Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LSD US Landing ship dock, October 1, 1947. 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 1947-10-01 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/93d6b70299a561ee43247164307b5d99.jpg 9080ed53f58650d21571cb84ac1eec27 Dublin Core The Dublin Core 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_863 Title A name given to the resource LSM US medium landing ship Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LSM US medium landing ship, October 1, 1947. 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 1947-10-01 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/7a06c50df2bf9efda528a1dfc2bf2fde.jpg 3fc352760202609ecba2ad6e3ad738b0 Dublin Core The Dublin Core 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_861 Title A name given to the resource LSM US medium landing ship Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LSM US medium landing ship, October 1, 1947. 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 1947-10-01 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/4eccd4ab668a32e571d3730d31f5ec6d.jpg a6b5b21a2610b772738bb4bbd4ef3fbd Dublin Core The Dublin Core 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_862 Title A name given to the resource LSM US medium landing ship Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LSM US medium landing ship, October 1, 1947. 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 1947-10-01 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/0a1ef210288b56a374c4e813fd409a93.jpg 3ac8dfd61daa42937541832b0b866b5b Dublin Core The Dublin Core 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_864 Title A name given to the resource LSMR US Landing ship medium, rocket Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LSMR US Landing ship medium, rocket, October 1, 1947. 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 1947-10-01 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/40659a3302ca43875ad789604f4ec638.jpg 88ada1f7cb19ca44cc695e0aa342e76d Dublin Core The Dublin Core 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_866 Title A name given to the resource LSMR US Landing ship medium, rocket Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LSMR US Landing ship medium, rocket, October 1, 1947. 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 1947-10-01 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/fba46f074a0778cd9fbec692c4bd66ff.jpg 4b49915053dfc1ec2eb9b78a775d5f3a Dublin Core The Dublin Core 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_865 Title A name given to the resource LSMR US medium landing ship, rocket Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LSMR US medium landing ship rocket, October 1, 1947. 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 1947-10-01 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/bb03c388e42df5ffc015518a085b5812.jpg 8803ec16caace33fec5b435566810922 Dublin Core The Dublin Core 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_867 Title A name given to the resource LST US Landing ship tank Creator An entity primarily responsible for making the resource United States. Navy Description An account of the resource LST US Landing ship tank, October 1, 1947. 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 1947-10-01 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives