525 24 26018 https://digitalcollections.library.gvsu.edu/files/original/cb3222612db456538c61a0c53e31d490.jpg eebd9b799b49542f0ce200d32374ddcd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_D185-0026 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1963-06-30 Title A name given to the resource Man in Central Park Description An account of the resource Black and white photograph of a man leaning against a metal fence while holding a newspaper in Central Park, New York. Scanned from the negative. Subject The topic of the resource Central Park (New York, N.Y.) Parks Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/ef373f363d93b644c27dbb090a2a8ba3.jpg 2c331bf122184f4de6d51ed04deb259e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_D190-0003 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1963-06-30 Title A name given to the resource Man in Central Park Description An account of the resource Black and white photograph of a sharply dressed older man sitting under a large tree and smoking a pipe in a wooded area of Central Park, New York. Scanned from the negative. Subject The topic of the resource Central Park (New York, N.Y.) Parks Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/40cb6f933a5bdb3cdd51bcd3613f1d29.jpg b252862c11a67fa4bdaf30e0a9b962f6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grand Valley State University Photographs Subject The topic of the resource Aerial photographs Universities and colleges Michigan Grand Rapids (Mich.) Allendale (Mich.) Building Facilities Dormitories Students Events 1960s 1970s 1980s 1990s 2000s Description An account of the resource People, places, and events of Grand Valley State University from its founding in 1960 as a 4-year college in western Michigan. Creator An entity primarily responsible for making the resource News & Information Services. University Communications Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives. Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-03 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In Copyright - Non-Commercial Use Permitted</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource image Identifier An unambiguous reference to the resource within a given context GV012-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s-2000s Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Local Subject Subject headings specific to a particular image collection Winter Carnival 1970s Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Date A point or period of time associated with an event in the lifecycle of the resource 1970 Title A name given to the resource Man mushing for dog sled race Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context GV012-01_UAPhotos_001696 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/41">News &amp; Information Services. University Photographs. (GV012-01)</a> Description An account of the resource Man mushing for a dog sled race during Grand Valley's Winter Carnival 1970. Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Subject The topic of the resource Grand Valley State University Michigan Allendale (Mich.) Universities and colleges Students Events Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC-NC/1.0/?language=en">In copyright - Non-commercial use permitted.</a> Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives 1970s black and white photo https://digitalcollections.library.gvsu.edu/files/original/791a4bc6787dd6334b66d53a24b71a21.jpg d3bd9fb205066befb9ca25fac55c7e13 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 Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 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 DC-07_SD-70s-coll_0008 Title A name given to the resource Man Plowing with Horses Description An account of the resource Sepia-colored photograph of a man plowing with two horses along a dirt road. He is wearing a hat and overalls with a bandana around his neck and appears to be working somewhere in the countryside. He appears to be operating a horse drawn plow or lawn mower. Subject The topic of the resource Michigan Saugatuck (Mich) Allegan County (Mich) Black-and-white photography Source A related resource from which the described resource is derived Digital file contributed by the Saugatuck Douglas History Center as part of the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</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 https://digitalcollections.library.gvsu.edu/files/original/c82337ee62f88ca5677acc0587bcc75e.jpg 861afe2e88170eadcef4fc0b4be477b7 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 Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 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 DC-07_SD-Walter-PG_0007 Creator An entity primarily responsible for making the resource Walter, P. G. Date A point or period of time associated with an event in the lifecycle of the resource 1950 Title A name given to the resource Man pushing a steel drum Description An account of the resource Black and white photograph of a man in a white uniform pushing a cart with a white metal drum down the street in front of a Rexall Drug Store. Circa 1950 Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Source A related resource from which the described resource is derived Digital file contributed by D. Brigham as part of the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/006740ef947c368677931aed1efbafdb.jpg 9a5c4816c39b60aac3c149c6fba4e755 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_D193-0010 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1963-07-08 Title A name given to the resource Man resting in New York City, New York Description An account of the resource Black and white photograph of a man seated and resting on the steps of a sidewalk in New York City, New York. Scanned from the negative. Subject The topic of the resource New York (N.Y.) Sidewalks Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/b9e54a3a194250bd38586d8b4fa0c184.jpg e109ac31a2a8bd2699b1c316787d9e68 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 Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 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 DC-07_SD-Walsh-J_0109 Creator An entity primarily responsible for making the resource Walsh, Jerri Title A name given to the resource Man wearing a beret Description An account of the resource Photograph of a man in a beret, wearing all gray, and leaning against a blue car parked on the street. The handwriting on the picture reads "Labor Day." Subject The topic of the resource Michigan Saugatuck (Mich.) Allegan County (Mich.) Automobiles Labor Day Source A related resource from which the described resource is derived Digital file contributed by Jerri Walsh as part of the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</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 https://digitalcollections.library.gvsu.edu/files/original/a4c5a2c26108ba7dbb019e36feec9c6d.jpg 5c2ed6080146aec85187e8d6d2915a8c https://digitalcollections.library.gvsu.edu/files/original/8710a96cc4dba6f5c9079f4267de40b0.jpg e57319191b2df4dba9552a66761e07b0 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 Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 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 DC-07_SD-70s-coll_0002 Creator An entity primarily responsible for making the resource Armstrong, Joe Title A name given to the resource Man Weaving in Workshop Description An account of the resource Black and white photograph of a man in a white t-shirt leaning over and staring intently at what is in front of him. He has short cropped hair and a beard and appears to be working in a workshop. The handwriting on the back of the picture is barely legible but says "Weaving, Ralph [illegible] 321 Milwaukee." Based on this description, he appears to be working at a loom and potentially in a weaving course at Oxbow. Additionally, underneath the handwriting there is a stamp which reads: "Saugatuck-Douglas Chamber of Commerce, Saugatuck, Michigan." In the bottom left-hand side there is a stamp which reads: "Joe Armstrong, Allegen, Michigan." Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas Chamber of Commerce Subject The topic of the resource Michigan Saugatuck (Mich) Allegan County (Mich) Black-and-white photography Source A related resource from which the described resource is derived Digital file contributed by the Saugatuck Douglas History Center as part of the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</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 https://digitalcollections.library.gvsu.edu/files/original/b42abfd104b16655b3c2544826db552e.jpg 6704d7d364b224239ff6c5e9304ed82d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fore-Edge Paintings Subject The topic of the resource Fore-edge painting Painting Description An account of the resource A fore-edge painting is a miniature watercolor executed on the fanned edge or edges of a book; when the book is closed the art disappears, now hidden by the edge gilding. This genre of painting dates from the 1500s, flourished in the 1800s, and is still practiced today. Anonymous and undated paintings include landscapes, scenes and characters from literature, and portraits of authors. Source A related resource from which the described resource is derived Seidman Rare Book Collection Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-07-17 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context GV-02 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context GV-02_FE_010 Title A name given to the resource Man with Crossbow Description An account of the resource Painting on the fore-edge of "Portrait intime de Balzac" by Edmond Werdet of a man aiming a crossbow, another looking on, and a third restraining a hunting dog. Subject The topic of the resource Fore-edge painting Painting Hunting Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1859 Source A related resource from which the described resource is derived Seidman Rare Books. ND2370.W47 S68 1859 Type The nature or genre of the resource Image Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/a0eeeeb0f547ed3bdc24adf200d4c128.jpg 0332bd945c3b15f6c004f718c672df86 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorated Publishers' Bindings Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Description An account of the resource From the early 1870s to roughly 1930, many publishers issued their commercial book covers with a remarkable variety of graphic designs and illustrations. This sixty-year period saw many artists and designers contributing to this art form. While some can be identified from their style or initials, others remain unknown. Source A related resource from which the described resource is derived Seidman Rare Books Collection Michigan Novels Collection Regional Historical Collection Lincoln and the Civil War Collection Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections & University Archives Date A point or period of time associated with an event in the lifecycle of the resource 2017-08-30 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a>, <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context DC-01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Source Lincoln and the Civil War. PS3568.E2685 M36 1999 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context DC-01_Bindings0211 Title A name given to the resource Manassas: A Novel of the War Description An account of the resource Binding of Manassas: A Novel of the War, by Upton Sinclair, published by the Macmillan Co., 1904. Subject The topic of the resource Book covers Covers (Illustration) Graphic arts Publishers and publishing Pictorial bindings Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/NoC-US/1.0/?language=en">No Copyright - United States</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Date A point or period of time associated with an event in the lifecycle of the resource 1904 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/91af51d2d852545b781209203f01a1bb.jpg 954d55219e04d0327c04ebee30c9c81e 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 Concert & Event Posters Subject The topic of the resource Posters Events Michigan Universities & colleges--Michigan Description An account of the resource Division of Student Services provides programs, services, and environments that enhance the personal, social, and intellectual growth of undergraduate and graduate students at the University. Events including concerts were managed by the office of Student Life. Posters for music, speakers, poetry readings and other campuswide events are included. Creator An entity primarily responsible for making the resource Grand Valley State University. Division of Student Services Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/106">Student Services concerts, events, and posters files, (GV028-06)</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 2017-07-17 Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Format The file format, physical medium, or dimensions of the resource image/jpg Language A language of the resource eng Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context GV028-06 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1963 – 1981 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 GV028-06_manchild Title A name given to the resource Manchild, January 21, 1973 Subject The topic of the resource Grand Valley State University Grand Valley State College Michigan Allendale (Mich.) Universities & colleges--Michigan Events Posters Description An account of the resource Manchild, in the Grand Valley State Colleges Louis Armstrong Theatre, January 21, 1973. Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Date A point or period of time associated with an event in the lifecycle of the resource 1973 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/106">Student Services concerts, events, and posters files, (GV028-06)</a> Type The nature or genre of the resource Image Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/f6ed42806443c16a774c5ddc51c3edce.mp4 8abbb7b720d51f69562682e4e05e59c8 https://digitalcollections.library.gvsu.edu/files/original/6fb682216d71457b607f93b37e9b9f24.pdf 749d19d975a94f7186d54b39ad30d33a PDF Text Text Mancil, Gabriel Grand Valley State University Veterans History Project Interview Name of War: Afghanistan War Interviewee’s Name: Gabriel Mancil Length of Interview: (1:14:43) Interviewed by: James Smither Transcribed by: Lyndsay Curatolo Interviewer: “We’re talking today with Gabriel Mancil of Woodridge, Virginia. The interviewer is James Smither of the Grand Valley State University Veterans History Project. Now, start us off with some background on yourself, and to begin with: where and when were you born?” I was born July 16, 1990 in Valdosta, Georgia. I lived there for about five years. My parents relocated to middle Georgia, near Robins Air Force Base. My dad went back to school and my mom worked. Interviewer: “And what were your parents doing for a living as you grew up?” My mom was a RN and my dad went back for electrical and he worked at the Robins Air Force Base for a while, working on the targeting system for the F-22 Raptor–– repairing that stuff. Interviewer: “Okay, so he was kind of a civilian working for the military at that point?” Yeah. Interviewer: “And then when did you finish high school?” My parents homeschooled me, so I did a little bit of homeschooling for a while. I got behind a little bit when my dad went back to school, so after a while I decided to go to my GED for a placement test. So, I went and took that and got my GED. Interviewer: “What year did you do that?” I got my GED in March of ‘08. Interviewer: “Now, along the way, 9/11 happened. What do you remember about that?” �I remember my mom–– I believe my dad was at school–– my mom had a meeting at work, so we had a babysitter. It was pretty early in the morning and I actually went to turn the TV on to watch cartoons and they interrupted the cartoons for a news announcement. I was 11 at the time, so I knew a little bit about it but not a whole lot. It was on for the whole morning so I watched, I believe, the second plane hit. And then I watched it most of the day. Then I started trying to watch the news more and more to understand a lot better. Interviewer: “Now, at what point do you think you might be interested in going into the military?” My grandad was in the Marines for 20 years. He served two tours in Vietnam and drove tanks and stuff like that. And, I always looked up to him a lot so it was always something that I wanted to do. I had an uncle that was in for a while–– another uncle that tried to get in but had bad eyes so couldn’t get in. So, it was always something that I wanted to do. (2:15). Interviewer: “And then when do you actually decide to enlist?” I tried signing up right before I got my–– I got my GED and tried to sign-up when I was 17. They weren’t really taking anyone at that time. And because I had a GED instead of a high school diploma, they considered me a high school drop-out. So, whenever I went to talk to the Navy, Army, and Marines they said they considered me a high school drop-out, so they wouldn’t take me. Interviewer: “So, what did you do about that?” We lived out in the middle of nowhere, so we didn’t have any computers or anything like that. So, I started working a part time job–– right when the recession hit–– at a local grocery store for a little while and I would go to the recruiters every couple of weeks and talk with them. I would get conflicting stories and then after a while I went in to talk to one recruiter at the Army. He told me I could go get some college credits at a local community college and that would count as furthering my education and they would let me in. So, I signed up for classes the next day [and] did two semesters at a local community college and then signed right up. Interviewer: “Now when you did enlist, did you have the opportunity to pick possible specializations or at least express a preference?” I scored pretty high on the ASVAB when I took the ASVAB. I believe I qualified for everything except military intelligence and a couple other jobs. I remember my recruiter was telling me MP or something higher, [but] I told him I wanted to go infantry because that’s what I always wanted �to do. I always dreamed of going to sniper school. He tried to convince me otherwise, but I told him I wanted a four year contract in infantry. That’s what I signed up for. Interviewer: “So, where do you go for basic training?” Everyone goes to Fort Benning. I went there for 16 weeks and after I graduated from that I got hometown recruiting. So, they sent you home and you worked with recruiters, trying to recruit people. I got there right after everyone went on spring break, so there was no one there. (4:18). Interviewer: “Okay. Let’s back up to the basic training. You’re in the military and everybody knows what that is, but less than one percent of the population goes in these days. So, describe the process. What happens to you over the course of those 16 weeks?” I went to OSUT which is One Station Unit Training. So, you go for your initial eight weeks of basic training, like everyone else does, no matter what branch you go into. I believe the Air Force varies a little bit, so it’s a little bit shorter. After that, you get a 36-hour pass–– you get to hang out with family and have a small ceremony. Then, you come back, and you’ll actually have the same drill instructors, and then you go for another four weeks. Interviewer: “But that’s infantry training at that point?” Infantry training. It’s more of a continuation–– you start off at the basics and start working together, and then once you come back for the last four weeks it’s pretty much the same thing, it’s just more advanced tactics. You’re kind of going up to applying everything you learned in the last four weeks–– you start applying it. Interviewer: “What do they do in the first couple of weeks?” The first couple of weeks they call it “shark week.” You’re filling out lots of paperwork, getting issued all your gear, and it’s just a lot of chaos. Everyone’s still trying to get integrated–– you get your head shaved, shots. Interviewer: “And then when the training itself begins, what do they emphasize first? Like a lot of drill and discipline and that kind of stuff, just following orders.” When you first go in, where I went in, everyone starts off at 30th AG which, at Fort Benning, is the in-processing station. So, [you] actually start there for about a week. You come in and you start going through your in-processing stuff. So, that’s when you get your shots, your haircut. They don’t wanna really hurt you or do anything when they first start off. So for me, when we got off the buses at 10 or 11 o’clock at night, it was pretty relaxed. They yelled a little bit, but �nothing like you would see in the Marine training videos like I had anticipated–– it was all getting everything going. And then after about a week or so, right after Valentine's Day, is when the drill instructors actually came up. We all sat down on duffel bags to get lined up, they picked off who they wanted in each platoon, and that’s when we actually made our march to our barracks and everything else started. That’s when the shark attack–– I guess you could say it started. (6:42). Interviewer: “How does that actually work? You said it was different from old movies and that kind of thing–– but how do they turn you from civilians into soldiers?” I guess it’s hard to explain it, just thinking about it. It’s more of just–– you’re experts at the basics. So, they’re pretty much trying to strip everyone down. You don’t get to pick who your friends are going to be, who your bunkmates are going to be. It’s kind of like [in] Full Metal Jacket when you go in. We had a bay–– there was a zone painted in the middle of the room. You were never allowed to touch it. You had to walk all the way around the bay to get to different bunks. So, I was on the far end so if I wanted to speak to my friend, I had to walk all the way around if they weren’t on the far end. And then you just start at the very basics. You’re shaving everyday–– some people don’t want to shave everyday. If you need to shave or not. There were some guys that could get away without shaving for a week, and they would have to go in there and make sure they shaved everyday–– everything’s correct. Interviewer: “And what happens to somebody who doesn’t play along or do what they’re told?” It’s more like group punishment. If one person messes up, then everyone is wrong. Some stuff–– if it’s more of a tricky situation and you’re not really sure what’s right, we were always taught that as long as everyone was together and everyone could make one group decision, then a lot of times we wouldn’t get punished as badly. And that changed and got less and less as we got on. So, it’s more of an emphasis on one unit versus individuals. (8:16). Interviewer: “Then, over the course of the 16 weeks, what range of training do you get in terms of equipment or tactics or things like that?” The first couple of weeks is just going through the basic movements. For me, it was just kind of going through and trying to survive, I guess. Getting used to PT every morning. You get in a routine where you get up, brush your teeth, shower–– I remember showers. We only got one or two showers the first couple of weeks we were there–– we got 30 second showers. We were trying to get used to showers. We figured out pretty quickly that you could turn the showers on and heat them up first, then send the guys in. Because I was first in line the first couple of times and I got cold showers. So, they figured that out. After the first couple of weeks you get your �rifle. For safety reasons they would lock them up for us every night. But, whenever we had our rifles we had to carry them around with us everywhere–– just getting used to marching around. Interviewer: “And what model rifle were you carrying at that point?” It was the M4. And then at some point, I believe towards the middle/towards the end, you go through some combat training–– basic combat training. You go through weapons training where you get trained on the different machine guns, rifles, rifle qualification, and some of the Claymore rocket launchers. Interviewer: “How long did it take you to get with the program or kind of get as comfortable as you were gonna get with training?” I always struggled at running, so that was one of the biggest hard parts for me. But once I got that down-pat, everyone else was pretty much in the same boat. There had been a couple of people who went to ROTC and kind of had an idea of how it went. My bunkmate had actually quit about three weeks into it and we got some other people who enlisted. The guy who slept next to me in my bunk, I ended up getting paired with, was prior service. He had been in the Marines for four years and he came in after like week three and got to skip the initial training phase. They have red, white, and blue phases. So, you start off in different phases. The first phase is just getting everyone integrated and then he came to that second phase. He helped a lot, as far as just helping us get it together. (10:48). Interviewer: “And, in general, how do you think that the drill instructors treated you?” I thought they were pretty relaxed–– pretty fair. After the first couple of weeks we got to know everyone and them a little bit. We had three different drill instructors. I believe one was artillery, one was infantry, and I believe the third one was infantry as well. They said they did two year cycles, I believe. But, the company before us, they had completely destroyed them. No matter what they did, they were wrong. With us, as long as we were right and acted as a group, then, for the most part, they left us alone. Interviewer: “Were those different sets of instructors then?” It was the same instructors, but they do different training cycles. So, the company that graduated before us–– they just got destroyed. I know the platoon that was upstairs above us, they got destroyed. They would do jumping-jacks, get smoked, get in corrective training sometimes where the whole building would shake. I had to go up there a couple of times to get someone and you could feel and smell the sweat coming out of the room. For us, it was more [like] whenever you screwed up it [was] more like a parent mentality. �Interviewer: “Any idea or sense of why there was a difference?” They said they just kind of got bored [with] how they wanted to do each cycle. The drill sergeant would come in sometimes and you could tell when he wasn’t having a good morning or we screwed up too much in one day. Then we had the PG–– he was the platoon commander–– and they would take the guy who was the worst at that time and make him the platoon commander as part of a punishment. So, they tried to make the punishment fit the crime to an extent. (12:34). Interviewer: “But, basically, you got relatively lucky then.” Pretty much. For the most part. Training-wise it stayed the same, but the severity of the punishment would vary. Interviewer: “So now, you get through that 16 weeks. Now, do you get further training or do you go to an active duty assignment?” I got two weeks of hometown recruiting, so they sent me home. Then after that I got sent out to Fort Riley for the 128, and that’s when I first got to my unit. Interviewer: “Now, explain to people who don’t know–– first of all, where is Fort Riley?” Fort Riley, Kansas. It’s the home of the first infantry division and I was in the 28th Infantry Division. Interviewer: “So first battalion. And which company were you in?” I was in [the] Charlie company. Interviewer: “And that’s an old, regular Army unit.” Yes, it’s an old, regular army. I believe Audie Murphy was in there. They had an Audie Murphy board every couple of months where you could go through and try to get the Audie Murphy Award. Interviewer: “And what was the unit doing at the time you joined it?” When I first got there, everyone was on leave from Iraq. They had just gotten back, reintegrated, and they all went on leave. So, it was really relaxed for the first couple of weeks. There’s not a whole lot out there, so I would go to work and there wouldn’t be a whole lot to do. It took me �almost two weeks to in-process, so it’s just a lot of sitting around. It was definitely a lot different once everyone got back because they were all gun-ho to get back into training. Interviewer: “Now, they do come back. Do you have a sense that there were–– how many people do you think were new guys? Or what proportion of your company were maybe new people?” A good bit. I was [the] third or fourth person that was pretty new. Some of the other guys that I ended up deploying with got in there a couple of months before me. One of my friends that showed up the day after me, was actually from the same company as me in basic training. He was just in the platoon that lived above me. So, I had seen him around and I recognized his name and recognized his face when we got there, and we ended up getting put in the same platoon. Then, over the next couple of months we got more and more people. (14:44). Interviewer: “Now, when a unit has come back from Iraq, do they pass through different stages of training or activity? Are they expecting to have to go and deploy somewhere again or do they just have a standard routine that you do indefinitely?” For the most part, when I first got there, I heard the company that I was going to had just gotten back. I don’t recall how soon they had been back, if they had been back a couple months–– six months–– when they went on leave or if that was the block-leave period that had rolled around. But, I know, when I first checked-in–– before I even made it to my company–– they told me we were getting ready to deploy. They told me in February, which only gave us a couple of months to get ready, so I was pretty nervous about that. Then, as February approached, they started pushing it back a little bit farther. But, we [did] a lot of–– when the ranges were available–– we would go out. Since we’re infantry, sometimes we would just go out in an empty field and just do land-navigation and stuff like that. And then some days there [were] training exercises. After I was there for about six weeks, we went out and did a two weeks FDX where we went through and really got a lot of training. Interviewer: “Now, how much did the experienced people tell you about what had happened in say, Iraq, or what goes on when you’re in a place like that?” (16:15). As far as stories and stuff like that, not a whole lot. It was more like, “You’re the new guy. You don’t know anything.” And I knew that, so I just tried to keep up the best I could. I still had a lot of trouble with running, so it was just PT everyday. It was a lot of–– not so much endurance, but it was just a lot more running–– moving long distances over short amounts of time versus endurance. A lot of the guys who had just got back from Iraq still had their Iraq mentality versus Afghanistan mentality–– where you could go building to building and then once you got to Afghanistan they didn’t really understand that you had to go long distances over longer periods �of time. You’re going to carry more weight. You’re not going to be able to move as fast and you’re going to be [at] a lot higher altitude. You’re going to have cold weather versus hot. Interviewer: “So, they’ve got a reasonable idea about what conditions they were preparing for.” Mentally, they knew what they were doing. There were still some arguments about how best we should train. Towards the end, about six months into it–– because I got to my unit and everyone got back about August of 2011, and then I deployed in May of 2012. About six months into it, I got a new team leader who had transferred from a different company, and he’d actually been to the same post that we were told we were going to. And he was one of the guys who actually, originally helped set it up. So, he tried to help some of the other team leaders and squad leaders understand the difference between going to Iraq–– building to building–– and then going to Afghanistan where you’re at 8,000 or 9,000 feet. Interviewer: “Now, had he been to both places?” Off the top of my head I can’t recall. Interviewer: “But, he had been to Afghanistan and he knew that part of it. Did you notice any kind of friction between a team leader who is below the level of a squad leader or a platoon sergeant or something like that? So, was he telling people higher up than him how to be doing things?” Not trying to tell them how to do it. He was a team leader–– he was an E5. Some of our team leaders, at the time, were Private First Class, so they weren’t very senior in rank–– and some of them were the new guys who had excelled in the training and stuff like that. So, we’re always short of people, so it’s more of we know what you need to do, but it’s going to be a little bit different than you think. I know I had some of them that had just gotten back from Iraq who had told me when you step off the airplane it’s going to feel like a blow-dryer in your face. I don’t think they exactly understood how much different it was going to be. When I first stepped off the plane, in Afghanistan, I thought it was going to be like a big blow-dryer in my face and it was like 69 degrees [and] a little bit chilly. (18:58). Interviewer: “If you show up at the wrong time of the year, you might still get the blowdryer thing, but not there. Now, do you do all of that preparatory training at Fort Riley or do they move you to different places to train?” We did all of our preparatory training at Fort Riley until the very end, then we did FDX which you went from [a] big training movement out into California. And that’s more of all the �companies and stuff get together and work together, so it’s more of like a leadership course for them and that kind of allows us to work together. Interviewer: “Now, do they do that in a desert environment?” Yes. It’s a desert environment. It’s pretty cool. A lot of the training stuff we saw over there–– out in California, out in the desert–– was very similar to what we actually saw when we deployed. It wasn’t quite as flat, but there were a lot of small mountains and stuff we got to go on. The environment–– as far as the sandy conditions and sporadic buildings all over the desert, convoys and stuff like that–– was actually very close to what we actually encountered. Interviewer: “Now, over the course of training for Afghanistan, did they try to teach you anything about the culture or the society there or how to deal with the people?” Yeah. You go through a lot of training stations that they have set up, so you go through specific scenarios where you’re doing down casualties and stuff like that. You’re going through and moving through communities and stuff like that. And they have actors who can actually speak the language to get you used to walking through cities where you have people just running up and trying to grab your pockets, wanting to come up and touch you, throw stuff at you. They’ll pretend to throw rocks at you, they’ll yell at you, and try and communicate with you. And you have to learn to, kind of, communicate nonverbally. (20:40). Interviewer: “So there’s some idea of what you’re going to do out there or what might happen to you.” Right. Interviewer: “And it doesn’t always happen, it depends on the circumstance.” And they try and base the training that you’re doing off of where you’re actually going to be deployed to. Some units aren’t up for rotation, so they aren’t going to be deploying. They’ll just come in and do a basic training scenario in the current world environment of where they could possibly be deployed to. [With] us they tried to critique it to where we were actually training for– – what we would see down range. I got a much better understanding of what I was going to be going into once I deployed. Interviewer: “Now, once the time comes, how did they get you to Afghanistan?” We actually went to Topeka, Kansas. We got Greyhound shuttle buses that drove us up there. It was only about an hour away, and there’s a small airport and they actually shut the airport down. �So, after we packed all of our gear up, jumped on some Greyhound buses, and rode out. Then we just walked right through the airport terminal–– which is only 100 yards or so–– right onto the plane. Interviewer: “Now, did you fly military aircraft or charter civilian?” It was a charter civilian. We did have, I believe, two purple F-15s/F-16s that actually escorted us. I got the window seat, so that was pretty interesting. Interviewer: “Now, you fly out of Topeka. Then, where do you go?” We went to Topeka and we had a layover in Holland, Germany at an old Air Force Base there. So we got to see–– I believe–– some of the old World War II hangars and stuff there. And then they just refueled for a couple hours. Went there to Kyrgyzstan in Manas, which is like a small little base there. We were there for a couple of days until our transport came and I believe we went on a C-130 out of there to Afghanistan. Then once we got into Afghanistan we went to a much smaller Forward Operating Base–– Sharana–– FOB Sharana. Then we went from there and took Chinooks out to our actual COP–– our Command Office. (22:43). Interviewer: “So, you’re getting to smaller and smaller places.” Yep, smaller and smaller. We actually went from FOB Sharana and we got on Chinooks two or three different times and the weather was too bad, so we had to turn around. So, I believe, it was the third or fourth try we actually made it. So, it took about a week, week-and-a-half, to actually get all of the way. Interviewer: “And then, as you’re stopping in these places–– when you get to Kyrgyzstan and get to Afghanistan or at Sharana–– what kinds of things catch your attention?” Driving into Kyrgyzstan, we got there late at night and I thought it was pretty interesting. It looked like something out of Call of Duty–– the old abandoned buildings and you’re driving through the checkpoints. It looked like something just out of one of the Call of Duty games when you do a–– there’s one where you go Chernobyl. It looked really eerie like that. And you know you’re getting closer and closer, and after a while you actually get really excited to actually get there. Interviewer: “Did you spend much time at Sharana or was that just a transit point for you?” It was pretty much a transit point. We were only supposed to spend a couple of days there. We had some guys who had actually left before us–– a couple days before us–– and we ended up �bumping into them. They got held back with weather. So, we were supposed to be there for two or three days, they told us, [but] I think we were there for almost a week–– just waiting for the weather to clear. Interviewer: “What sort of facilities did they have at Sharana?” It’s like a small tent-city. They have different sections. We only stayed in our small section with some tents. And it’s just rows and rows of tents. Interviewer: “And do you know if there were Afghan soldiers there or were they all American soldiers?” Not there. Just all Americans from what we saw. I believe it was [in] Sharana when we were walking around–– we got to walk around for a little bit–– we had to go find some blankets. So, we ended up getting stuck there for a couple of days [and] most of our gear was still packed up. So, we actually went and got some blankets and bumped into some Marines–– saw some Air Force people walking around–– and that was really the only interaction we had with anyone. (24:41). Interviewer: “But, now you finally get out to your Command Op Post. Was your whole company based there?” We had two platoons, so two out of four of our platoons were stationed there. Interviewer: “How many men per platoon?” I want to say there’s about 46 or so. 45-50 per platoon and then we had–– I believe–– another, at least, half a platoon, if not a platoon, of support. So, we had the company commander, two mechanics, two cooks, [and] some other personnel there to work the command center. Interviewer: “Now, you said mechanics. Did you have vehicles there?” We had four vehicles. I believe it was a four-wheeler that got blown up before we got there, and there was a small utility vehicle like a Gator that you could put in some small cans of gas or something like that. Interviewer: “And did you have any trucks or humvees?” We had four MTVs and we had one MRAP. �Interviewer: “And describe what those are.” I know we had a M-ATV and that was more of an off-road vehicle. It carried four people, plus a gunner. And we had four of those and it had RPG netting all around it. And it was more designed for off-road use. You could deflate the tires and it had different settings, more for mobility. Then, we had one MaxxPro that wasn’t functioning all the way and we’d just use that to keep the gate shut. So, if anyone tried driving in the front gate, they would just hit the truck. That was more of a personnel carrier and that had the gunner, driver, passenger, and I believe it could carry up to six people sitting down, in the rear. But, that was not designed for the terrain it was in. (26:52). Interviewer: “And what sort of defenses did the Position have?” We had our small COP based on–– it was positioned more on the side of a valley, and then we had a small hill that was over beside us that we used for the outpost, and that was manned with a camera that could look around 360 degrees and see just about anything near us. Interviewer: “And did you have concertina wire or anything else like that?” We had HESCOs which are just big–– small fencing with mesh netting on the box spring on the inside, and you can just pop them up. They can airlift them in, pop them up, and then just use a backhoe to fill them up with dirt, and then you just stack them on top of each other. Interviewer: “And then, were you dug in? Did you have bunkers or sandbags or anything like that?” The unit before us–– my team leader that I previously had, he left right before we deployed because he got out. He was supposed to get out, [but] he ended up getting called back and then deploying for three or four weeks, so he went to a different company. But, he had helped build it up. They had hard structures where they had five or six layers of sandbags and concrete and some dirt they had thrown up on the roof. So, our barracks area was halfway secure and then we had at least one bunker for each of the sleeping quarters and then over near the command center that were hardened concrete with sandbags that could withstand a mortar round. (28:20). Interviewer: “So when you got out there, what was your unit’s job?” Our main job was just to support the Afghan National Army–– the ANA–– and some of their patrols. Then, just do foot patrols of the actual surrounding areas. It was pretty remote. I believe we were at 7,000 feet in elevation and we were more at the entrance to a small valley. So, we patrolled everything that was towards the west of us. There were a couple small villages and we’d just patrol around there and help the ANA in whatever they were doing at the time. �Interviewer: “And what was your impression of the Afghan National Army?” The first guys we got were really good. I remember the first day or two we got there they had seen a light in the Bazaar [in] the small town. It was about a mile away from us and one of the guys in the ANA–– up in the guard tower–– opened up with a 0.50 caliber machine gun, just shooting into the city. And I believe that might have been the first or second night we were there. So, my first impression was we were getting overrun and something bad was happening. So, we threw all of our gear on, ran to where we were supposed to, waited for further instructions, and it ended up just being–– some of the other guys that hadn’t left yet–– that we were getting ready to replace–– said that they did that from time to time. Interviewer: “They just get a little bit trigger happy.” Yeah, they get a little trigger happy. But going on patrols and stuff, they were very good. They would help us a lot. Interviewer: “What were they good at or what were they doing well?” Just working with us, they were good. They would come up and try to talk to us. They were really friendly. Further on, after the first couple weeks, they left and we got a new set of guys that would come in. It’s a lot different than it is over here. There are no background checks and stuff. A lot of the time it’s like you show up and [you] want to help, and they just give you a gun. A couple of times, on the OP, my team leader was walking around looking for them and found one guy that was doodling in a notebook, a map of our entire little COP. He had all the barracks quarters, our main command post, and everything sketched out in a notebook. So, a lot of them–– you can’t prove it–– but you know they’re not as friendly as they seem. And they had a lot of green-on-blue situations where the Afghan National Army were going around and shooting people, so you always had to be on your toes. (30:47). Interviewer: “And how much Taliban activity was there?” Our COP was actually–– we’re about two miles from Pakistan. And, from what we were told, we were the training post for the new, incoming Taliban that were training on their mortars. So, we would actually go out there and we would be the target for the new recruits, as we were told, from the guys we were replacing. The first mortar rounds they would shoot at us–– we got probably five or six a day at minimum–– and it would just go every single day two or three times a day. They would shoot five or six and wait, and then shoot five or six more. And it started out being 200 or 300 yards apart and then would be 500 meters away from the COP. It was just really sporadic and then everyday they would just get closer and closer. Towards the end they �were shooting them, probably, within 50 feet of our barracks that we were staying at. And it would hit right on the edge. Our barracks were backed up against one of the back corners and it would hit on top of or right over outside the HESCOs–– probably within 100 feet or so. So, it got pretty good. And then, all of the sudden it stopped for three weeks. And then it started back up again and they were terrible again. Interviewer: “Did you have any means of responding to the mortar fire?” We could respond to mortar fire, but in order to do that–– for safety reasons and stuff like that–– where we were at, everything had to be airlifted in. So, all of our food, mail, everything else got airlifted in. So, the gunners would have to–– the crew operating the mortar system–– would have to go and get permission and send it up to the top. They would have to send it to the battalion and would have to get permission to fire. It would have to get relayed back to us, and then they would be allowed to fire. (32:37). Interviewer: “And how long does that take?” It seemed like an hour but sometimes it’s only a couple minutes–– five or six minutes at the most. But, a lot of times–– sometimes we thought they were using mortar tubes with ice. They’d put ice in the tubes–– just a little bit–– to keep it from firing and would slip it in and walk away and then 20 minutes later would shoot them off. We heard reports that they were using timers–– we never found any timers. But a lot of the times at the mountain pass, they would just drive-up in the back of a pickup truck, and they would drop them down the tubes and shoot them off two or three at a time. Then, they would take off again around the pass. And we would never be able to actually, physically, see them. We could shoot back off before they came back around. Interviewer: “Were they firing from within Afghan territory?” It was in Afghanistan. Interviewer: “And would they just come in, cross the border, shoot at you, and leave?” I think they were in the same area. We were a couple miles–– I believe they were north of us. They would come in from the north and they would shoot–– we were south [and] the border would be over towards the east. So, they would come in, shoot at us, [and] turn around and drive back. So, they weren’t coming across the border. We believe some of the fighters were coming from Pakistan into Afghanistan and working out of Afghanistan. Interviewer: “Now, would the Afghan Army then try to go into the areas where the firing came from, just to patrol and see what they could find?” �I believe sometimes they would just shoot at them. Most of the time it was just them jumping down behind rocks and stuff like we did. There wasn’t a whole lot they could do. They would be far enough away [that] small arms fire and stuff wouldn’t really do it. You’d have to reach out with close air support or mortars. And by the time anyone got a chance to actually shoot back at them–– for the most part they would go back. As time went on we got an idea of where they would shoot from, and they would have the coordinates already loaded in. Then, the second they would shoot them off, someone would be standing by it. They tended to do it early in the morning or in the evening–– around four or five o’clock–– so they would be ready–– the mortar team would be ready and the seconds the shots went off, they would have the battalion on the phone. And, we got a couple of them doing it. (34:58). Interviewer: “But I was also thinking more generally, I mean, would you patrol other times of day or would you patrol the places they were shooting from?” Originally we were told we were going to be going out only in the day [and] we weren’t going to be doing any night missions. And then we tried going out in the morning–– there was a small hill a mile away and you could actually crawl up on the back side of it and see just over the HESCOs. You couldn’t see everything, but you could see whenever we were leaving. And we were at the side of a valley, so the only way to actually get out was through one gate and they could see us coming out every time. So, after the first couple of weeks we started getting shot at– – every single time we left the gate. So, we started getting outside the gate before they could shoot at us and then they would just wait for us to come back in because we had to come back in through the same gate. So, no matter how you switch your pattern up, eventually you have to come in to the front. So, we ended up switching it up and just doing strictly night patrols when we could. We nicknamed it the “Mortar Mile” because we’d get in before we’d enter the base again every time we went out throughout the night. Or, if we ended up getting stuck out during the day–– trying to come in at seven o’clock in the morning. You’d have someone out there spotting us and they would try and shoot mortars at us as we were coming in–– the last mile. (36:20). Interviewer: “And would you leave anybody out there to try to interject the place they’d spot you from? Like did you occupy that hill or?” The hill–– we were told–– had IEDs all over it. So, we were told to stay away from it. We walked around the base a few times. There were a couple of other hills where there were more civilians where we thought they didn’t have as many IEDs, so sometimes we would just send a gun team out with the heavy weapons and they would actually go out 20-30 minutes before us and set up an overwatch position and then we would move out. But, we found the fastest way to usually do it–– the easiest–– was just to wait till 10 or 11 o’clock at night–– depending on the �moon–– and we would just quietly run out. We could get outside of the gate before they could do anything, and we would vary our times when we came back in. Sometimes we would circle around, wait a few minutes, and then go back in. And they can’t shoot at night, so they couldn’t really do anything–– it kind of became a cat and mouse game. Interviewer: “Yeah. That’s what it sounds like. Now, did you spend your whole time in Afghanistan working out of that one base?” We went out of that one base the whole time–– for the first six months or so, then they shut that COP down. Then we moved, I believe, about 15 miles away to FOB Boras, which was a much bigger base and there were a lot more people there. So, we spent a couple of months tearing everything down and then we ended up spending five or six days sleeping in the actual sand-built bunkers and stuff–– waiting for the go ahead to actually finish moving out. So, once we left they had a wrecking crew that came in and they bulldozed everything–– dug big pits and buried anything that was valuable. Moved all the food out, burned everything we could. (38:15). Interviewer: “During the first six months, did the situation change at all? Or was it pretty much the same when you left as it was when you got there?” It seemed like it changed a lot because we went through the small town that was there and the civilians could see the patches were different–– we did our patrols different. We tried to work with the civilians a lot–– as much as we could. So, we did a couple of patrols around the area. We’d have some villagers that would come out and they’d walk up a couple hundred yards to the gate and we’d send someone out there to talk with them–– usually an interpreter, to see what they wanted and try to talk with them as much as we could. It seemed like the presence and stuff–– we tried to be proactive as much as we could to keep the Taliban away from that area. And then, from what I understand, once we left, they just came right back. Interviewer: “Now, basically, do you think the civilians were happy to have you there because they didn’t like the Taliban or were they just trying to get along with you?” From what we could see. We talked to some of the interpreters who knew the town a lot better and they said they liked us being there, but it’s tricky for them–– they get punished if they help us. So, they don’t really want to interact with us and then, just where we were at and stuff, we weren’t able to actually just walk through the bazaar and talk to people randomly–– or actually get to know them a lot better. And I wasn’t in a leadership position, so I don’t know the actual thought of the leaders that were there–– whether they strongly supported us or not. Interviewer: “And who were your interpreters? Were they Americans or Afghans?” �We had two Afghan interpreters. I didn’t really work with them as much. They would work with a lot of leadership and stuff, when we would go on patrol. We had one guy who was National Guard who operated a communications surveillance system, where you can listen in to incoming traffic from the Taliban. So, we could listen to their radio traffic and a lot of the times he would repeat stuff that he heard. I believe he could speak Pashtu and Dari a little bit, which was the dialect they used. Then, sometimes we would have the interpreter with us, so we could understand a little bit of what they were saying. (40:31). Interviewer: “What kinds of things were they talking about?” They would always say, “If they come over here, we’re going to attack them,” [and] “if the Americans do this or that.” And a lot of the time we would turn around and go right towards them. Sometimes it was warranted that we would skip that area, or we’d circle around and avoid a certain area. They would always say, “We have an IED here,” or “we did this.” Very rarely would they ever follow through. We think they knew we were listening to them and sometimes– – maybe they were trying to hype their guys up and they just couldn’t follow through, or they were just trying to toy with us. Interviewer: “Now, did you have any means of detecting IEDs? Or did you just try to stay away from places that had them?” We had some trucks that had a detector on there that would jam any incoming signals. We’d have mine detectors and stuff like that, but terrain we’re in–– I guess it’s almost like an ocean or like a raisin. There were just small hills and valleys, so it was really hard to actually plant. We could see everything that was going on–– for the most part–– right in front of us. It was really hard to hide any IEDs. We did end up having one truck that drove over one–– we weren’t sure if it was a pressure plate or command detonated, which you can’t stop. The only way to stop it is to catch it before they set it off–– if it’s command detonated–– or if it's a pressure plate, catch them before they put it in–– or try not to drive over it. Interviewer: “A command detonate, would that be––” A command detonated is if someone has a wire. I think some of them call it “angel hair wire.” It’s like a small copper wire and it can be like a thread, and they’ll stretch it a mile or two. Interviewer: “So, if you had a wire, you can’t jam it.” You can’t jam it. A pressure plate–– went through a lot of the training where they showed us the different IEDs they had built, and there’s a lot of different types of pressure plate IEDs. They’ll try to use springs and stuff like that. They are only detonated if you’re over 140 pounds or so, �because most of the troops, with their gear, weigh significantly more than a lot of the population. So, a teenager might be able to walk right over it not see it, then someone else comes by and steps on it, it’ll set it off. (42:51). Interviewer: “And if you think back to those six months at the small base, are there any other particular events or impressions that stand out in your memory–– from that phase?” I thought after a while–– I’m sure my wife thought it was nerve-racking, but I would try and call her every evening. A lot of the times when I would call her–– because of the time difference–– they would shoot mortars at us and I would have to hang up on her. We never knew when they were gonna–– my team leader was there. They ended up trying to get overrun, at least once. We were told every unit before us–– sometime in the spring–– had tried and overrun us. So, the whole time we were there, it was just [like] waiting for an attack that never really came. A couple of small, sporadic attacks, but nothing like the 300 people or so that they had attacked a couple of times before. Interviewer: “Okay, so when they sort of ‘probed’ you or approached you, what happened?” For the most part, they wouldn't really fight us up front–– it was just shooting mortars at us, RPGs, and stuff like that. We thought it was pretty funny. For a while, when they got pretty good, it was around seven o’clock in the morning, every single day. It was like an alarm clock. They would shoot mortars at us and we would jump up in our t-shirts and PT shorts and just run out to the bunker and just wait, and they would just go back. But, after a while we did get good enough to where we could go out and we did ambush them once. (44:13). Interviewer: “What happened then?” It was pretty good. We actually went out and it was a textbook ambush–– linear ambush–– where we went out early in the morning near one of the wading systems that was about a mile away, on the opposite side of the bazaar. Civilians would drive trucks and stuff back and forth [and] go into the different little towns. And we knew that they were traveling up that early in the morning to shoot RPGs at us–– mortars and stuff like that. We walked out there before they saw us, and we were out there for about a half-an-hour before we saw some walking by. It was just like a textbook ambush–– they never even saw us coming. Interviewer: “How close do they have to get to use the RPGs?” They don’t really have a specific distance–– they’re not accurate more than a couple hundred yards–– they start to fishtail a lot. They would shoot them from 400/500 meters away–– 600 �meters away. I can’t remember off the top of my head what the actual distance is–– they’ll only go so far and they’ll just kind of–– Interviewer: “So, it’s harassment rather than aimed fire at that point?” Harassment. We did have a couple of guys–– three or four days after they had gotten there, from what I understand, there was two or three guys had snuck up and were trying to probe us, a little bit, and shot a couple RPGs at us at probably like two o’clock in the morning and they ended up calling close air support in and drop two JDAMs–– two 500 pound laser-guided bombs. So, it was a pretty firework show we saw that night. After that, they never really messed with us, it was just more [like] they’re going to throw everything at us, as soon as they can. So, it was more just harassment. Interviewer: “When you would patrol and go out with the Afghans, did you have any kind of air support or anything like that?” Our company commander was really good about that. Every single time we went out we tried to have Apaches on station. We did have a Predator that was on station a lot of times and they could see us. From what I understand, there were Special Forces–– the Green Berets had a base that wasn’t too far from us that they would operate out of. So, we never had to go out there and we never messed with them–– never saw them. But, usually, the SF and they guys like that will have Predators and stuff like that on station. So, he would always have stuff come by. We did have at least two different times where the Taliban did try to ambush us, and we managed to get back over and they just shot a couple of RPGs at us and some smaller fire. I did feel a couple bullets go by my head, saw it by my hands. Went over the hill and the ANA shot some RPGs back at them and we had a couple F-15s that did the show of force–– they would come in 100 feet off the ground and come screaming by. So, that was pretty cool. One came by one day, going super sonic, because we had radio traffic that they were getting ready to ambush us. So, there were a couple of close calls but for the most part–– some of the other documentaries and stuff I’ve seen, it wasn’t nearly as bad as what we were expecting. (47:16). Interviewer: “Yeah. If they were going to ambush you, were they going to do that as you were coming out of the base? Or, into it?” We usually would set up and then take off before they could actually see us come out–– and it was usually so fast that they couldn’t get us. So, they would usually try and wait if it was during the day and try to ambush us as we came back. We were far enough away from any hills or anything like that–– they really couldn’t get close enough to us to actually attack us with small arms fire. The only option for them was, really, to shoot mortars at us. So, that was really their best option. Sometimes at night they would try and do something like that, or if we’d tried to go �through or right near the bazaar or some of the other small towns in the area. They had a lot better chances in the city. But, it was more of a cat-and-mouse game. We would hear radio traffic and we’d scoot a different way–– try and outthink them. We’d never take the same route twice (48:17). Interviewer: “Do you have any sense that they kind of backed away some in the latter part of your stay there? Or were a little more careful about what they did with you?” It seemed like the farther we got, the closer the cat-and-mouse game got. We–– proactively–– tried to go after them, the best we could. But, it was more like we would step their way and they would just step around us. So, no matter which way we turned, we could never really go head-tohead. One day we ended up going through and taking pictures and fingerprints of a lot of people, and we did it all morning. Then, we tried to go straight through one of the small villages and they shot at us with a couple of RPGs. Then, we tried taking off and actually going back to our COP– – [it] was midmorning, probably 11 o’clock–– and that’s when they actually started trying to shoot small arms fire at us, which was one of the only times they shot small arms fire at us. That was pretty effective, for the most part–– but it only took a couple minutes for the return fire. That surprised them enough to back off. Interviewer: “Now, did your unit take casualties while you were there?” We were the only company that didn’t take any casualties. We lost six guys out of our battalion, so out of the four companies. We did have some guys that stepped on a couple of IEDs [and] one guy that shot in the arm. Interviewer: “You got wounded but not killed.” Not killed. Our company was the only one. Interviewer: “So now when you move to the larger base, what are you doing from there?” From there we were getting ready to shut FOB Tillman down–– they were getting ready to shut that down. And it was more out in the open, there weren't really a whole lot of foot patrols that we could do. We did a couple of mounted patrols and then after that I stayed and pulled gate guard for one of the entry control points for the Afghan National Army–– some of their guys would come through. They had cooks and stuff–– people that delivered food would come through. Some of my friends got handpicked to go on security patrol [where] they’d walk the mountain–– they’d walk the ridge tops–– kind of escorting the wrecking crew that was driving through. So, they were gone for a couple weeks and they operated out of another base, and then they came back. One of the last big patrols, I went with them–– escorting the crew out when they �actually got done and were ready to come back after about a week-and-a-half/two weeks. Then, we escorted them back out. And that was about it for another two or three weeks and then we came home. (50:51). Interviewer: “And during this period, would the Taliban attack you at that base or harass you with mortars?” They would shoot a lot more mortars at us. That was a lot bigger base and we had three or four 155 Howitzers that were out there, so they could actually shoot back. Their incoming radar detection was a lot better. We had one at our small base that we had, but from my understanding they could either have the warning system on or they could track the incoming mortars. So, when we were at our smaller base, for the first couple weeks they would have the warning system come on, so they would shoot the mortars at us and we’d hear the warning. The classic siren going off and we’d all take off running, duck down, and then would shoot back. At the bigger base, they had it down a lot better. As far as I know, they don’t have any anti-mortar systems that could actually shoot it out of the sky. But, there were a couple sporadic mortars that would hit–– nothing like we were used to. They actually shot mortars at us one day when me and my friend were first walking around. We heard the mortar hit and we threw ourselves on the ground and then we looked around and no one else had done it–– and it wasn’t even anywhere near us. So, we thought it was kind of embarrassing. (52:09). Interviewer: “And while you were there, could you actually learn to tell a little bit better if it was going to be close to you?” After the first couple of weeks in country, you can, kind of. It was a really faint pop. One of my friends actually had some hearing damage from some machine gun fire. He couldn’t hear–– he would always ask you to repeat yourself. I know I talk pretty low sometimes, but he would constantly have people have to repeat stuff. He would hear that pop go off every time. Sometimes he would take off running and you would just take off running with him. So after the first month or so, you could hear the definite “pop” and there’s probably an eight to ten second delay before it would actually go off. And they could usually shoot a couple off at once, so you would hear a “pop” [and] everyone would take off running, and you could usually get behind cover in time. Then you’d have two or three go off pretty close to each other–– within a few seconds. Then, sometimes there might be a couple minute delay and they might try to shoot a couple more at us before we could shoot back at them. Just to see if anyone would come out of cover and then we would always have to wait, I believe, 20 minutes or so–– we would wait around for the all clear, just to make sure they weren’t trying to wait us out and try and catch someone out in the open. Interviewer: “Do you know why you were shutting these bases down?” �To start and pull all of the troops out of Afghanistan. They started closing all of the smaller command posts and just trying to draw everything back. Ours had been there for a while and it wasn’t of much strategic importance, as far as I know. So, we just started closing all of those down. Interviewer: “So you’re not turning it over to the Afghan military because there’s not really a point to that, or?” No. I was still a Private then–– I don’t remember a whole lot about exactly why we did everything we did, but I know ours wasn’t important enough for them to want to keep it manned. There were a lot of other bases that were a little bit further away from us that were manned by the Afghan National Army–– strictly them. So, as far as I know, they just kept those open and we were one of the bases that wasn’t needed. So, we tore everything down and tried to make it as close to it as when we got there. It looked considerably different within two weeks. (54:25). Interviewer: “And then kind of shutting that down, that’s pretty much the end of your tour in Afghanistan?” That’s pretty much it. Interviewer: “And how do they get you back?” We got back and we pretty much went in reverse order. We went back to Manas, then we went from there back to Bagram. Then, once we went to Bagram–– after we actually got to leave–– then we flew from there back to Kyrgyzstan and Germany–– in reverse order. Interviewer: “Now, [do] you get a leave when you get home?” We got back, we had to turn all of our equipment in. The ceremony when we got back was pretty fast. I was actually one of the first people to come back. So, I flew back with some guys who were out of Fort Campbell, Kentucky. So I actually flew back to the base with them and was in the other room when they all did their–– they got off the plane and went onto the runway and all their family met up. Then, they took us into the big hangar and we stayed there for probably six hours. They told us something was wrong with the airplane and they had to fix it. So, we were there for a while and got back on the plane and flew from there back to Kansas. Interviewer: “Now, does the Army do anything to sort-of help you back with the transition to being back in the States or seeing your family again? Or, is it just, ‘Here you go?’” �Pretty much, “Here you go.” I know you hear some stories–– it might’ve been a little different when we deployed. We did nine months [with] no leave. Some of the other guys at the beginning of the war did longer deployments, but they usually got to come home to leave for at least a week or two. I could see where that was a lot harder where you go from–– in Iraq one day, 3 or 4 days later you’re back stateside, and you gotta turn around and go right back after a week or so. So, for us, I guess it was a little bit better. We weren’t there quite as long, but we got no leave so our decompression–– the amount of time it took us to come back, which was probably a week or two. (56:38). Interviewer: “And then once you do get back, how much leave do you get?” I think we could take at least a month. I think I took three weeks. I broke my foot when we did one of my last patrols, so I came back early to try and get it looked at because I knew something was wrong, but I didn’t know exactly what. So, I had to come back. Interviewer: “How did you break your foot?” We were doing one of our patrols. When we shut FOB Tillman down, I was doing escort for the guys who were driving the dozers and stuff back. I was probably about 135 pounds and I was carrying probably 120 pounds or so, and it was probably one of the hardest patrols I had done. From what I know, it was just the sheer weight and rocky ground and stuff like that. I fractured the bone on the bottom of my foot, and it got worse. It wasn’t bad enough to get airlifted out–– I know one of my friends on a previous patrol, escorting them in, fell down and broke his leg and he had to get air vacced out. So, me, I just walked on it for a while, came back, had about a week off, and then we did one last foot patrol where nothing happened. That was probably 10 or 12 miles and it just kept compounding on itself. It would heal up a little bit, then I’d walk on it, the bone would rub against the nerve, and I would go back and it would heal up enough. An x-ray didn’t catch it. I went on leave for about three weeks and came back, and then spent about six months trying to figure out what it was. It took a little while to get a bone scan and then the bone scan caught it. (58:11). Interviewer: “So, when you come back from leave, you’re at Fort Riley again, at this point?” [I] went back to Fort Riley and it was pretty much the same as when I had first gotten there. Everyone had just come back from leave. I believe we had one or two new Privates that were waiting on us when we got there. Then, over the next couple of months we got more and more. As people get promoted, they get transferred out to different companies. That way there is no conflict of interest, when possible. Interviewer: “At what point do you get promoted?” �I got promoted about six months in, when I hit my year-and-a-half mark. I got promoted from Private to Private First Class. And then, I believe, a day or two after I got back is when I actually picked up Specialist. Then, I was in-and-out of the hospital, trying to get my leg looked at, so I never went to get Sergeant. Usually you have to pass a PT test and go to the promotion board and stuff like that. And if you’re on profile, trying to get your foot looked at or any other thing, they don’t send you to the promotion board. Interviewer: “Now the foot–– did that have anything to do with your leaving the Army, or were you ready to go anyway?” It took about six months to figure out what was wrong. I got back February 2, 2013 and it was probably August of 2013 before I figured out what was wrong. Then, I believe it was December 6 of 2013 when I got my first surgery, and that took about a month to heal up. I was in sneakers for a while–– couldn’t get my foot into a boot. Then, it was a lot of healing up afterwards. They went into my foot and took the bone out from my big toe, so my big toe just kind of flopped around. There was no tendon. I had no muscle, so I still couldn’t really walk or run. And then, after about another three or four months, probably going into March of 2014, they decided they were going to med board me–– and just do a medical discharge. After I tried getting better and it just wasn’t working. (1:00:24). Interviewer: “But, you still wind up being in, officially, until 2017.” That took about almost nine months to go through the med board process. You have to go through and do your medical evaluation–– after they’ve decided that they wanna start the med board process. There’s a lot of paperwork you have to go through. You have to do all your discharge paperwork and then all the information you submit to the med board claim has to come back after it’s processed, and you have to agree to it. When I first got it back, I believe they only rated me at ten percent. I had gone and seen a doctor right before I came back from deployment to try and get my foot looked at, but they didn’t have any x-ray equipment or anything like that. So, I just came back to get looked at and they told me their computers had crashed [and] they didn’t have anything on file. So, I had to go over to another unit and talk to somebody. Interviewer: “So, we were kind of talking about the end of your time in the service. So, you get back and you have the foot injury and so forth, there’s this extended process of having you muster out and so you’re not going to be able to reenlist. Was the original plan to reenlist and do another hitch?” I had been talking about it with my wife. She had just found out that she was pregnant and she had our daughter right before I got out–– June 18 of 2014. So, it was right around the time I found out that I was getting med boarded. I was kind of on the fence if I wanted to reenlist. My �granddad did tanks for a while, so I was considering reenlisting to go–– I was kind of at the point where I wasn’t sure if I wanted to stay in or try and do anything else. And that kind of got made up for me. (1:02:16). Interviewer: “The medical thing kind of took over at that point. While we were off camera, you were talking a little bit about another situation. You said there was a point when a General would come out and visit the base. What happens when that goes on?” The COP I was at–– the latrines and stuff like that, we just had little outhouses and we had wagbags. Some people might use them for camping–– it’s almost just like cat litter in them. You’d just open them up and that’s where you would use the bathroom. If you had to take a leak, it was just a tube that was buried a couple feet in the ground. We didn’t shower very much and our uniforms were pretty dirty–– we only got to do laundry a couple of times. A lot of it was washing socks in an ammo can and wiping with baby wipes and stuff like that. So, especially being in the infantry, no women were allowed in at that time. So, they didn’t allow women out there and there were only two or three women the entire six months/seven months we were there–– where women had actually come out. And just, the women, just using the shampoo–– or even some of the Generals and stuff, just being clean–– even from a couple of hundred yards away, just walking by that area, you can just smell the–– not even like perfume–– you can just smell the fresh shampoo and the clean clothes. We thought it was pretty funny when someone would come out–– and I walked by one day–– and even after they left, you could just smell it for hours. Just the smell of clean. Our CO commented a couple of times that we all smelled pretty bad towards the end. Interviewer: “Well, you didn’t really have any way of washing yourself because you didn’t have a regular water supply.” They would airlift in pallets of water. They would actually air drop them off and push the pallets off of the back of a C-130 that would come in to do a resupply drop with food and stuff like that. So, we had pallets of water to drink with and with bottled water, you can do about anything you want with it. We would have non-potable water that the Afghan National Army would go down, every week or two for us, and pump some water out of the well in the community bazaar. They would bring it back and put it into big blivets. (1:04:30). Interviewer: “What do you do with that water?” You can’t drink it, but you can use that for showers. So, I got four or five quick, 60-second, showers–– including lathering up. And then we would use that for laundry and stuff like that. But, after a while, the water ran out and it was too much trouble to actually go get the water. So, a lot of the time we would go a week or two without washing our uniforms. We could wash clean �socks and trying to wash the clothes the best we could with just some soap. We’d have our own laundry detergent that we brought with us, powdered stuff, so it wouldn’t spill or leak everywhere. Then we’d have ammo cans and just dump some soap in there–– bar of soap–– or something like that, and wash it in an ammo can and rinse it out. I would set bottles of water out in the sun, let it heat up all the way, and then at night I’d walk out there and wash by myself behind one of the buildings. Interviewer: “What did you do for food?” We had pretty different food. We had pretty good food. We had two cooks who would come out and they would cook breakfast–– we didn’t do lunch–– and then we’d have dinner. That was usually pretty big. There were some snacks and just bags of M&Ms and Skittles in the–– we called it the chow hall. It was just a big room with some picnic tables and you could go in there and grab some cookies or drinks. (1:06:06). Interviewer: “Did you have Army cooks or were these civilians?” We had two Army cooks. We had one cook, Shelby–– I think it was Sergeant Shelby–– and he was really good. He really liked actually going out to the Operating Post that we had up on the hill. He thought it was really cool to go up there and he wanted some pictures and stuff like that. He wasn’t too big on gunfire and stuff like that, so he thought it was cool, the couple of times they let him go out and actually walk up the hill when we would do rotations. We would do three days of patrols, three days of guarding the OP or security with the ANA at our compound. I was up there a couple of times where he would actually load our backpack full of some energy drinks and cookies and candy and small packs of beef jerky and stuff we would get. He actually carried it up there himself to give us something, as a thank you. And he always–– he did a really good job of giving us some really good food. He really put some effort into it. Interviewer: “So it wasn’t just life on MREs the whole time you were there.” Not the whole time. Interviewer: “Now when you were at Tillman, was there more or better food or pretty much the same?” I think the food was about the same. It was a lot bigger there, from what I saw. I was only there [for] a couple of days. I think the food was about the same. And then we left and went back [and] we pulled security on one of their OPs–– [and] for about a week, we just had strictly MREs. Then, after that, we got picked up by Chinooks again and we got taken out into the valley ahead of the convoy, and we lived out there for about five or six days. I remember I was out there for �Thanksgiving day, 2012, and I was up on the OPs when I saw my friends were out doing patrol. And the Little Bird came in and the Pilot swooped in and I thought he was going to shoot at me or something like that–– because I didn’t have a radio, he scared me. He came in and hovered a couple of feet over my head and reached out and gave me a bag of Kit-Kats. And that was our Thanksgiving dinner. So, I saved all the candy and gave it to everyone else who came back–– let them have it. That was pretty cool–– getting to reach up and grabbing something from somebody. (1:08:14). Interviewer: “And you’d mentioned calling home. Now, did you have your own cell phones or–– what did you have?” We didn’t have cell phones. We didn’t take cameras out with us. The CO didn’t want any cameras out when we were on patrol, so I had a couple of pictures within the COP and then we had–– I believe–– four to six phones, land-lines, inside of the Command Post. Then we had, I believe, eight to ten computers. Interviewer: “So you could send an email home?” We could send emails, calls. I usually tried to call every day or two–– [to] talk to my wife for about half an hour. Say, “Hey,” and “what’s going on?” Interviewer: “What time of day would you call. I mean, was there a civilized time to call, because the time difference was so big?” I wanna say there was a six or seven hour time difference, so I believe I would call towards the evening–– probably around three or four o’clock–– before I ate dinner. Sometimes later in the evening if I waited late enough. We didn’t really have a specific bedtime unless we were on patrol or something like that. Later that night I’d call her at eight or nine o’clock my time–– a couple of hours before we went on patrol. If we were going out for more than a couple of days I would be like, “You won’t hear from me for a couple of days.” [You] could order stuff online. The Wi-Fi wasn’t good enough–– we didn’t have Wi-Fi but the computers weren’t good enough for Skype or anything where I was at originally. So, I only got to do that right before I came back–– but I would order flowers and stuff like that. Interviewer: “Now, when you do get discharged–– so we’ve made it into 2017–– what do you do from there?” I had about 40 to 45 days of leave, so I got out in the beginning of December 2014 and then I was on terminal leave until January 30, 2015. And then I got some disability check–– that was pretty small–– and I got severance pay when I got out. I knew I wanted to go back to school and �school had started in January, but because I had terminal leave I didn’t calculate that in. I couldn’t get registered for school and then summer classes they weren’t really doing. So, I decided just to wait till August of 2015 to actually begin school. I didn’t have a whole lot of time with my wife and daughter in between training and deploying, so I just spent the whole summer with them. We went on a road trip to Georgia and up through North Carolina and got to go to the Belmont Estates [and] spent some time together. (1:10:55). Interviewer: “Now, did you have any trouble or odd things as you’re readjusting to civilian life? Or was it so gradual in a way because of all of the medical stuff and what you were doing that it kind of eased you out?” It was definitely a lot different when I came back from deployment–– trying to reintegrate. Even though I had that decompression time, just getting readjusted to civilian life. I remember driving a car after I came back. I’m used to driving pick-up armored trucks and stuff. My wife had bought me a truck when I came back–– a small pick-up. So, it was just trying to get used to driving a pick-up and being able to actually get up in the middle of the night and I want something to eat, I can go get whatever I want. But then it was–– when I got out and we came up here in Michigan, it wasn’t a whole lot of–– to me, it wasn’t a big difference. I was kind of ready to get out and ready to sleep in whenever I wanted. But, then after a while I got bored pretty quickly–– you get used to that routine. Interviewer: “And then, where did you choose to go to school?” I chose to go to school at Ferris State University. I took a placement test right before I got out to see where I would place education wise and decided to go to the Heavy Equipment program up here. (1:12:11). Interviewer: “And now you’re basically graduating?” I’m almost done. Next week will be my last day of classes and then I’ll be walking at commencement on May 11th–– about two weeks from now. Interviewer: “And then you’re going to move up from here?” I took a job with Hewitt Construction and I’m going to be going out near Washington D.C. for the first couple of months–– working on a project there. They’re actually set up a lot similar to the Army, where I just move as the work goes. So, I could go from D.C. to Washington state, Texas, pretty much anywhere in the country. So, working long hours, a couple days off, so it’s a lot similar to the Army. �Interviewer: “Now, to think back over the time you spent in the Army, how do you think that affected you or what did you take out of it?” I got to learn a lot, especially being in the infantry. It’s a lot different than some of the other MOSs, your job speciality, where you just come in and you’re doing legal work or something like that. You’re just with a bunch of different guys [and] you get really close to each other. Then, when you get out, there’s nothing else to compare it to. I know some of my friends got out and tried to do a lot of sports and stuff like that–– to try and find something else that matches it. Even being here with all the other veterans, it’s hard to relate to anybody else. There’s not anyone else I have really met that has really gone through the same thing as me. I did meet one guy for a couple months, and he graduated. So, it’s hard to readjust. Interviewer: “So, unless they’re in the infantry in that kind of thing, they’re not going to have had those experiences. But, they’re also not the guys who you spent that time with.” Right. Interviewer: “Because that’s where a lot of the bonds get formed.” Right. And even when I have met some of the other people, even before I got out, who were infantry, it’s kind of like a small brotherhood. You meet a lot of guys who did the same thing. Sometimes I find that I can talk to other veterans–– especially Vietnam vets–– who were in the infantry and had a lot more [an] active role, I guess. It’s kind of hard to relate to someone who was a mechanic or a pilot–– where we still have something in common, but something’s missing. Interviewer: “Well, you’ve done a very good job telling your story for us. Thank you for sharing it today.” Thank you for having me. (1:14:42). � 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 MancilG2305V Creator An entity primarily responsible for making the resource Mancil, Gabriel Date A point or period of time associated with an event in the lifecycle of the resource 2019-04 Title A name given to the resource Mancil, Gabriel (Interview transcript and video), 2019 Description An account of the resource Gabriel Mancil was born on July 16, 1990 in Valdosta, Georgia. He was homeschooled and acquired a GED in March of 2008. After an Army recruiter requested he acquire some college education to qualify for the service, Mancil attended two semesters at a local community college before enlisting. From there, he was sent to Fort Benning, Georgia, for sixteen weeks of Basic Training. In Basic, Mancil attended One Station Unit Training (OSUT) for his first eight weeks before graduating onto Advanced Infantry Training. Mancil was then transferred into Hometown Recruiting before going to Fort Riley, Kansas, where he was assigned to C Company, 28th Infantry Regiment, 1st Battalion, 1st Division and prepared for deployment. In May of 2012, his unit was deployed to Afghanistan and was flown from Kansas to Germany and then Manas, Kyrgyzstan, before transferring to a military aircraft for the final flight into FOB (forward operating base) Sharana, Afghanistan. His unit was stationed at a Command Operating Post (COP) and was tasked with supporting the Afghan National Army (ANA) in addition to patrolling. After six months, his unit was relocated to another nearby, larger COP where it conducted armored and security patrols. Since it was a larger Post, the Taliban fired a greater quantity of mortar rounds at his position, but now, his unit could return fire more effectively since they had field artillery and radar at the Post. At the end of his tour in February of 2013, Mancil was flown back to Manas, then to Germany, and then back to the United States. Back at Fort Riley, he was promoted to Private First Class and then Specialist, but never applied to become a Sergeant because of a foot injury he sustained from the strain of his gear. Due to the severity of the injury, he was deemed medically unfit for service and started the long process of medical discharge in March of 2014. Once discharged in 2017, Mancil returned to college in August and spent more time with his wife and newborn daughter. When he and his family moved to Michigan, Mancil believed he was ready to leave the service lifestyle and enjoy civilian life. He attended Ferris State University for its heavy equipment program and graduated in May of 2019. He then acquired a job with Hewitt Construction near Washington D.C. which, ironically, followed a similar work mentality to that of the Army. Contributor An entity responsible for making contributions to the resource Smither, James (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States—History, Military Veterans Video recordings Afghan War, 2001-2021—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/187f77b83f428a1924cba9153f82e32c.jpg 7093408498ad135e803e3e1d1df1589f 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_LS00229 Date A point or period of time associated with an event in the lifecycle of the resource circa 1930 Title A name given to the resource Manegroach Description An account of the resource Black and white lantern slide of several people walking past a megalithic monument, likely at the Bougon Site in Carnac, France. The slide is labeled "Manegroach." Subject The topic of the resource Lantern slides Megalithic monuments France 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/c45af4682cd8f832715a6f102c453619.m4v 7f8e4f736a9bea86e5e2287a35075f9c https://digitalcollections.library.gvsu.edu/files/original/42968809cd84ffc4d9da0605690ccd2d.pdf 7d2330637df35e76f48665944bb21dd5 PDF Text Text Grand Valley State University Veterans History Project Interview World War II Albert Manes Length of interview (01:04:12) (00:06) Background Born in Brooklyn, New York on September 20, 1919. (00:07) Family moved to Pontiac, Michigan when he was two years old. (00:18) Moved to Grand Rapids, Michigan in 1932, in the midst of the Depression. (00:38) Graduated from Central High in 1937 and worked as a shoe salesman for a few years. (00:54) Was inducted on September 19, 1941. (01:07) (01:16) Basic Training Left Grand Rapids for Fort Custer in Battle Creek. After a few weeks there, they were sent to Camp Roberts in California. (03:01) Describes life in barracks. (03:23) Says that basic training “felt like a game” because no one thought that they were really going to war. (05:15) Describes a typical day at Fort Custer. (05:55) Never finished basic training because Pearl Harbor occurred during his ninth week. Describes his experience. (07:26) Was sent to Santa Rosa, California, for three days during December where he was assigned to the 7th Infantry Division. (09:38) His battalion was sent to San Mateo, California, and lived at the Bay Meadows Racetrack. (10:42) Describes becoming a clerk while at Half Moon Bay. Became the assistant in the Orderly Room for the First Sergeant while in San Mateo. (15:34) Took platoons of approximately 35 people to guard the coast for about a week at a time. Describes his duties. (11:33) In April of 1942, division moved down the coast to Camp San Luis Obispo. Describes the more intensive training. (14:00) Had a week of training in the San Joaquin Valley before training for 70 days in the Mojave Desert. Didn’t know it at the time, but they were training against people coming from Louisiana. (17:35) In January of 1943, their motorized equipment was taken away and the division was sent to Fort Ord, California, for several months. (18:32) In April, the division boarded a troop ship in San Francisco and left for the Aleutian Islands. Describes his experience traveling. (19:06) (21:23) Service in Aleutian Islands His division invaded the island of Attu. (21:28) Describes the equipment they were given. (22:00) Each platoon of approximately 30 men was assigned specific jobs. At the time, his job �was administrative. He assisted the First Sergeant seargant and worked as a runner for the Company Commander because the moisture in the air inhibited the walkie talkies that were typically used. (22:16) The landscape and weather made this job difficult. Because the Japanese were above the fog line, they could see the U.S. troops, but the troops couldn’t see them. Although the location was dangerous, he never found himself in danger. (23:55) The troops moved from the ships to the shore by LSTs. Recalls that many of them hit sand bars on the way in, and men jumped off into eight feet of water and were never heard from again. (24:35) His division was not under fire while arriving. Didn’t encounter enemy troops until they were about one or two miles in land. (25:02) The terrain was very soft once they moved past the beach. Recalls that many men were lost due to frostbite. Supposes that frostbite did as much damage as the enemy did. (26:24) He traveled about 50 feet behind the troops with the rest of the administrative group. When the troops encountered combat, he wasn’t very involved. (27:10) The troops were unable to move for apprximately one week because of the incoming Japanese mortars and machine gunfire. After a week, it was decided that they had to move forward. Recalls that a lot of men, including the Company Commander were lost during this particular endeavor. (28:06) Describes his role as a runner during this time. Says that it was a difficult job, but he was fortunate. (29:19) Gradually worked their way through Attu. (30:27) At the end of May when it was still daylight at midnight , the Japanese employed a Banzai attack. Because the U.S. troops had the high ground, they took a lot of Japanese lives. (31:06) Moved to another Aleutian Island called Adak on July 15, 1943. The island had a small air field, a movie theater, and small recreation areas. Stayed in Adak to recuperate from the battle of Attu. (32:29) Troops moved to Kiska on August 15, which was the island that the Japanese were most prominent on. Were told that this would be an especially difficult battle. (33:43) Were not under fire when they arrived by ship. Thought that the Japanese would certainly attack upon arrival because of the landscape. (34:16) Found that the Japanese had evacuated the island. To his knowledge, “the Air Corps got credit for driving them out, the Navy was reprimanded for letting them get away, and the Army got laughed at for going in.” (34:57) (36:05) Service in Hawaii and South Pacific Troops traveled to Hawaii afterwards to recuperate until January. Describes his disappointment upon arrival. (36:05) After January of 1944, the troops boarded ships and traveled to the Mariana Islands. Troops were split up in order to attack the smaller islands. Recalls that they ran into some resistance, but within a week they had “cleared the place out” and sailed back to Hawaii. (37:57) Had little knowledge of the war’s progression at this time. (39:29) Troops left Hawaii in early August and traveled for about a month before arriving in �Eniwetok. Stayed in the harbor for two weeks. (41:13) Troops left again and traveled to Manus Island. Stayed there for a time before leaving again for the Philippines. (43:00) The troops invaded Leyte, which was the first invasion of the Philippines. (43:38) Recalls that the Japanese began attacking once they had a foothold, but by that time they had enough men on shore to handle it. (44:43) At this time, he worked as a radio operator between his company and the batallion’s headquarters, which required him to carry a 50 pound radio. (45:48) Describes the jungle environment and his encounters with gunfire. (46:38) While traveling down the forward slope of a hill, the Company Commander called a meeting of all leutenants and seargants. Despite suggestions to find a better place to meet, the Company Commander insisted that they were safe. Within minutes, three rounds of artillery were fired and three men were killed and many were wounded. Albert was awarded a Bronze Star on December 10, 1944 for calling the medics to the scene. (50:35) The troops hit Okinawa on April 1, 1945. Witnessed a kamikaze plane hit a ship. (55:09) Troops moved across the island and never had any opposition until they reached the other side. (56:01) Because Okanawa was the Japanese Artillery Training Grounds, the Japanese knew the area so well that they simply had to wait for the U.S. troops. Describes the difficulties encountered. (56:34) (58:38) Returning Home Soon after the bombings of Hiroshima and Nagasaki, Albert was sent to Washington to begin being discharged. (58:38) Describes his reaction to the end of the war. (1:00:04) Stayed in Washington for a few days, before being sent to Wisconsin to be discharged. (1:00:52) Called his family once he head reached Milwaulkee. Once he arrived in Muskegon by ferry, his entire extended family of approximately 50 people were there to greet him. Recalls that it was a very emotional event for everyone. (1:01:07) Admits that his military career didn’t impact him very much. Says that he “wouldn’t do it again for a million dollars, but [he] wouldn’t take a million dollars for what he did.” (1:02:21) � 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 ManesA Title A name given to the resource Manes, Albert (Interview outline and video), 2004 Creator An entity primarily responsible for making the resource Manes, Albert Description An account of the resource Albert Manes was born in Brooklyn, New York, in 1919, but grew up in Michigan. He was drafted in 1941 and was assigned to the 7th Infantry Division. He served in the headquarters section of an infantry company. He saw action with his unit in the Aleutian Islands, the Marianas, on Leyte in the Philippines, and on Okinawa. He was awarded a Bronze Star for his service on Leyte. Contributor An entity responsible for making contributions to the resource Boring, Frank (Interviewer) Michigan Military Preservation Society (Grand Rapids, Mich.) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings World War, 1939-1945--Personal narratives, American United States. Army Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2004-11-08 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/67066338da5ac18b3ed22aac2c8d21ee.mp4 078f67829b611fc799bd5aed8ad17904 https://digitalcollections.library.gvsu.edu/files/original/e84735f255aa209b2d6a9042589a9d07.pdf 63b871b9b90f6ad2b6514667f6fd25ad PDF Text Text Grand Valley State University Veterans History Project Interview Anthony Mangione Length: 29:38 (00:05) Background Information • • • Anthony was born in Brooklyn, New York on December 26, 1931 He enlisted in the Marine Corps reserves in 1948, which was similar to the National Guard Anthony was stationed at the Brooklyn Navy Yard (1:40) Boot Camp • Anthony was sent to Camp Lejeune in North Carolina as well as the Norfolk Navy base for training with men in the regular Marine Corps • They trained with M1Rifles, tanks, jeeps, trucks BARs, and 30 calibers • Every person in the Marine Corps had to qualify as a rifleman or they would not be able to move forward in training • Anthony became a marksman and sharpshooter and began training other men • He later became a corporal with his division was activated (4:35) School Troops • Anthony was part of the 19th Infantry Battalion and sent to Quantico, Virginia to work at the Marine Corps headquarters • They were working with the “school troops,” helping 2nd Lieutenants through their field training in the Blue Ridge Mountains • Anthony worked in Virginia for a little more than 1.5 years in the school troops • They worked in combat training with the 2nd Lieutenants, playing the bad guys and basically trying to make their lives miserable (7:30) Camp Life • They had much nicer barracks than the 2nd Lieutenants, with their own kitchen, cooks, and people to wait on them • Their barracks was next to the air field and a swimming pool • They continued training, marching, and working with weapons • Quantico was also where the FBI workers were trained • Anthony often worked on guard duty at the hospital, on motor vehicles, and on prison chasing • They put on shows for congressmen and foreign dignitaries, detailing on how the Marine Corps worked �(12:25) Living Conditions • They lived in cinder block barracks and he had lived in tents while in North Carolina • The men often performed in parades and had once been called to a parade on Pennsylvania Avenue • For some reason they felt that President Truman did not like the Marine Corps and they did not like him either • They worked with many men that had been fighting in Korea, but were later going through rehabilitation (19:25) After Service • Anthony was asked to sign up for another 6 years of service in 1952, but he declined because he was not interested in fighting in Korea • It was impossible to find a job in New York City after serving in the Marine Corps • Anthony eventually found a job working with his brother at an electrical company • He got married and bought a house in New Jersey with the help of the GI Bill � 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 MangioneA Title A name given to the resource Mangione, Anthony (Interview outline and video), 2004 Creator An entity primarily responsible for making the resource Mangione, Anthony Description An account of the resource Anthony Mangione was born in Brooklyn, New York in 1936 and enlisted in the Marines Corps reserves in 1948. The Korean War broke out in 1950 and his unit had been activated. Anthony was stationed at the Marine Corps headquarters in Quantico, Virginia working with the school troops. Their job was to work with the 2nd Lieutenants during their field training. He decided not to re-enlist in 1952 because he did not want to be sent to Korea. Contributor An entity responsible for making contributions to the resource Mangione, Nathaniel (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) United States--History, Military Michigan--History, Military Veterans Video recordings Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2004-01-23 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/e63caa51316cfe0db6288d8312cfaa65.mp4 6c0ff9a52efa4442bcb36dbd1c77db1b https://digitalcollections.library.gvsu.edu/files/original/26853f253babb6da43259418b88154aa.pdf 1bc360db13b94a8fe4276aaf3cc962e9 PDF Text Text Grand Valley State University Veterans History Project Charles Mangold (01:19:55) (00:20) Background Information • • • • • • • • • Charles was born June 9, 1952 in Saginaw, MI He grew up on a farm in Three Rivers, MI and his dad worked for the county His father sold the farm and divorced his mother They moved to Millington, MI to live on his grandmother’s farm Charles graduated from high school in 1970 and had recently looked into joining the Air Force He couldn’t find a job after high school and tried joining the Army but they told him he weighed too much He started a job in manufacturing, rebuilding water pumps At work he had a few no-shows and got fired, so his father kicked him out and he had to live in a car He checked back with the Air Force but ended up enlisting in the Navy for six years (19:05) December 20, 1970 Boot Camp • • • • • • • Charles was sent to Fort Wayne, IN for induction It was near the end of the Vietnam war and many people were joining the Marine Corps He took a plane to Great Lakes Naval Academy in Chicago There wasn’t much physical training and they focused on classes Everyone had to get all of their hair cut off and some of the men cried The classes taught basic naval operations, nautical procedure, tying knots, weapons training, and survival Charles lost about 30 pounds during basic training (30:00) Basic Propulsion and Engineering School (BP&E) • • • • • • He attended BP&E for 5 weeks and Machinist Aid School for 7 weeks Then took 2 weeks leave to visit family in MI He then went to submarine school, taking classes and training for one year Charles boarded his first submarine in December, 1971 While training he decided that he did not enjoy classes and did not want to be in the navy for 6 years He purposely got bad grades in the Machinist Aid courses so that he would wash out and not move up to the nuclear power program �• He regrets this now because the training would have helped him get more salary today (34:05) USS James Monroe • • • • Charles boarded the USS James Monroe, which was a fleet ballistic missile submarine headed for Pearl Harbor He spent 3 months in Hawaii as a Machinist Mate on dry dock repairing engines on subs Machinist Mates maintained auxiliary equipment There were 85 men working on the sub in all different shifts (43:20) USS Sablefish • • • • • • • While not at port Charles worked in the engine room He traveled to Korea and Japan on the USS Sablefish There were many North and South Korean ships and subs in the water because they remained enemies after the Korean War He traveled to Hong Kong, Taiwan and the Philippines Every time he was at port he had the liberty to visit different cities Their longest patrol at sea lasted 19 days; they spent most of the time at the surface They spent a lot of time playing cards because there wasn’t much else to do (54:15) Life after the Navy • • • • • • Charles moved to Gaylord, MI and worked with his brother-in-law as a carpenter after the navy He got married and had a daughter, but did not enjoy his job because he thought it was too easy and boring He then moved back to Millington and worked with his father in a scrap yard He moved to Gaylord again and worked at Northern Tank where he worked for 80 to 100 hours a weeks Charles then began driving trucks for Kodiak Construction He then worked at a gas station and builds mini train sets on his free time � 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 MangoldC Title A name given to the resource Mangold, Charles (Interview outline and video), 2008 Creator An entity primarily responsible for making the resource Mangold, Charles Description An account of the resource Charles Mangold was born on June 9, 1952 in Saginaw, Michigan. Charles enlisted in the Navy in December of 1970 and went through boot camp at Great Lakes Naval Academy in Chicago, Illinois. He then went through Basic Propulsion Engineering School and Machinist Aid School. Charles trained for submarine service for one year and then boarded his first submarine in 1971. Charles traveled to Hawaii, Japan, and Korea while on active duty and worked as a machinist's mate. Contributor An entity responsible for making contributions to the resource Collins Sr., Charles E. (Interviewer) Collins, Carol (Interviewer) Subject The topic of the resource Oral history Veterans History Project (U.S.) Video recordings United States--History, Military Michigan--History, Military Veterans United States. Navy Vietnam War, 1961-1975--Personal narratives, American Language A language of the resource eng Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/page/InC/1.0/?language=en">In Copyright</a> Type The nature or genre of the resource Moving Image Text Relation A related resource Veterans History Project (U.S.) Date A point or period of time associated with an event in the lifecycle of the resource 2008-11-08 Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/455">Veterans History Project Collection, (RHC-27)</a> Format The file format, physical medium, or dimensions of the resource application/pdf video/mp4 Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Lemmen Library and Archives https://digitalcollections.library.gvsu.edu/files/original/e6c13ea223f6e3f3feea1fe84af5710b.jpg fcf1c6c97de385cb514c6173fec4c2e4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_F005-0009 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1965-10-11 Title A name given to the resource Manhattan Elementary School, New York Description An account of the resource Black and white photograph of a young boy leaning down and listening to a large metal drum at a Manhattan elementary school in New York City, New York. Scanned from the negative. Subject The topic of the resource Manhattan (New York, N.Y.) Schools--New York (State)--New York School children Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/552c9ae1e4933e5bbdfcb5e121f37be8.jpg 7f272e1cf4931bce11c748da1da84099 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_F008-0010 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1965-10-11 Title A name given to the resource Manhattan Elementary School, New York Description An account of the resource Black and white photograph of a group of young boys dancing freely in a studio while their teacher looks on at a Manhattan elementary school in New York City, New York. Scanned from the negative. Subject The topic of the resource Manhattan (New York, N.Y.) Schools--New York (State)--New York School children Dance Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/9003f895110ac513a0eafae8adf6b585.jpg 021b271c508a79b8a679eadda8b58716 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_F008-0026 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1965-10-11 Title A name given to the resource Manhattan Elementary School, New York Description An account of the resource Black and white photograph of two young boys leaning against a wall while two other boys play on the ground at a Manhattan elementary school in New York City, New York. Scanned from the negative. Subject The topic of the resource Manhattan (New York, N.Y.) Schools--New York (State)--New York School children Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/634876d7a073c530a5f5fdb0378fe461.jpg 40212156905aa8ef5ef0dfeb82368925 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_F049-0005 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1965 Title A name given to the resource Manhattan Elementary School, New York Description An account of the resource Black and white photograph of a young boy laying on the hallway floor of a Manhattan elementary school in New York City, New York. In the photograph, the boy is laying with his feet raised above his head, while teachers and students gather outside the restrooms in the background. Scanned from the negative. Subject The topic of the resource Manhattan (New York, N.Y.) Schools--New York (State)--New York School children Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/a8e04fc0ea36349b924bbba7fddd2b9a.jpg e5780a97282333f09a3aaf6c58b8a323 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_F055-0014 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1965 Title A name given to the resource Manhattan Elementary School, New York Description An account of the resource Black and white photograph of a group of teachers and young students performing and dancing with their arms raised during class at a Manhattan elementary school in New York City, New York. Scanned from the negative. Subject The topic of the resource Manhattan (New York, N.Y.) Schools--New York (State)--New York School children Dance Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/c09a03e5a13e6aa4e50dd08cb61aad07.jpg abdd8c89f62597fa595d24d9519901f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas R. Gilbert Photographs Creator An entity primarily responsible for making the resource Gilbert, Douglas R., 1942-2023 Description An account of the resource Photographs scanned from negatives and transparencies from the Douglas R. Gilbert papers (RHC-183). Douglas R. Gilbert (b. 1942) is an American photographer from Michigan. He was born in Holland, Michigan and is the son of Russell W. and Carmen (Andree) Gilbert. Gilbert earned a B.A. in social sciences and art at Michigan State University in 1964, an M.S. in photography from the Institute of Design at Illinois Institute of Technology in 1972, and a M.S.W. from Salem State College in 1993. He is married to Barbara (McDonald) Gilbert, and has three daughters, Robyn, Rachel, and Anne. Gilbert took a serious interest in photography at the age of fourteen. In 1963 he joined the staff of Look magazine in New York as the second youngest photojournalist in the magazine's history. As a Look photographer from 1964 to 1966, he photographed folk musician Bob Dylan, the Newport Folk Festival, Simon and Garfunkel, the New York City Financial District, the children and facilities at the Manhattan School for Seriously Disturbed Children. From 1967 to 1969, Gilbert did several shoots, including that of folk singer Janis Ian for Life magazine. After moving to Chicago, Illinois in 1969 to attend the Illinois Institute of Technology, Gilbert conducted notable photo shoots of business and political figure Lenore Romney, and pursued more personal and artistic photography, focusing on urban and rural landscapes in Illinois and Michigan. He then joined the faculty of Wheaton College, where he taught from 1972 to 1982. In 1993, Gilbert graduated from Salem State College, Massachusetts, with a Masters in Social Work, and later pursued a second career as a psychotherapist. Douglas Gilbert died in June 2023. Throughout his photography career, he pursued both freelance commercial work as well as artistic work. His art photography is characterized by its classic black-and-white format, and features people, places and objects shot great attention and sensitivity. Gilbert's works are held in the permanent collections of the Art Institute of Chicago, the High Museum of Art in Atlanta, The Norton Simon Museum in Pasadena, and the Grand Valley State University Art Galleries, as well as in numerous private and institutional collections. Date A point or period of time associated with an event in the lifecycle of the resource 1960-2011 Source A related resource from which the described resource is derived <a href="%E2%80%9Dhttps%3A//gvsu.lyrasistechnology.org/repositories/2/resources/783%E2%80%9D">Douglas R. Gilbert Papers (RHC-183)</a> Rights Information about rights held in and over the resource In Copyright Subject The topic of the resource Photographs Photography -- United States Publisher An entity responsible for making the resource available Grand Valley State University. University Libraries. Special Collections and University Archives. Identifier An unambiguous reference to the resource within a given context RHC-183 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource image/jpeg Language A language of the resource eng Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RHC-183_F055-0027 Creator An entity primarily responsible for making the resource Gilbert, Douglas R. Date A point or period of time associated with an event in the lifecycle of the resource 1965 Title A name given to the resource Manhattan Elementary School, New York Description An account of the resource Black and white photograph of a teacher and a group of young students gathered together and signing with their hands in a Manhattan elementary school classroom in New York City, New York. Scanned from the negative. Subject The topic of the resource Manhattan (New York, N.Y.) Schools--New York (State)--New York School children Source A related resource from which the described resource is derived <a href="https://gvsu.lyrasistechnology.org/repositories/2/resources/783">Douglas R. Gilbert papers (RHC-183)</a> Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">In Copyright</a> Type The nature or genre of the resource Image Format The file format, physical medium, or dimensions of the resource image/jpeg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960s 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/82ca0aff841cf0e3a3bfc5a181eb49f7.jpg 7b9cb2728a2345725f218fcc64d82332 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 Summers in Saugatuck-Douglas Collection Creator An entity primarily responsible for making the resource Grand Valley State University. Kutsche Office of Local History Description An account of the resource Collection contains images and documents digitized and collected through the project "Stories of Summer," supported by a National Endowment for the Humanities Common Heritage Grant. The collection aims to document the twin lakeshore communities of Saugatuck and Douglas, Michigan, as they transformed through the state's bustling tourism industry and acceptance of minorities. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1910s-2010s Source A related resource from which the described resource is derived Various Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</a> Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Michigan, Lake Allegan County (Mich.) Beaches Sand dunes Outdoor recreation Publisher An entity responsible for making the resource available Grand Valley State University Libraries. Allendale, Michigan Contributor An entity responsible for making contributions to the resource Saugatuck-Douglas History Center Identifier An unambiguous reference to the resource within a given context Stories of Summer (Common Heritage project) Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Image Text Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 2018 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 DC-07_SD-Red-Misc-65 Date A point or period of time associated with an event in the lifecycle of the resource 1981 Title A name given to the resource Manhattan Savoyards Description An account of the resource A three panel pamphlet that describes the operas, The Mikado, Patience and H.M.S. Pinafore, which would be performed during the Gilbert & Sulivan Festival of Western Michigan. It also includes a calendar of events and information on how to purchase tickets. Subject The topic of the resource Michigan Saugatuck (Mich.) Douglas (Mich.) Community theater Source A related resource from which the described resource is derived Digital file collected by the Kutsche Office of Local History from the Saugatuck Douglas History Center for the Stories of Summer project. Relation A related resource Stories of Summer (project) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/UND/1.0/">Copyright Undetermined</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 https://digitalcollections.library.gvsu.edu/files/original/a952f96927fa4bb4dfd565b287eb6f83.jpg c2bea85cfb3cb4004e2d31324cb7cb14 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert H. Merrill photographs Creator An entity primarily responsible for making the resource Merrill, Robert H., 1881-1955 Date A point or period of time associated with an event in the lifecycle of the resource 1909/1950 Source A related resource from which the described resource is derived Robert H. Merrill papers (RHC-222) Rights Information about rights held in and over the resource In Copyright Identifier An unambiguous reference to the resource within a given context RHC-222 Description An account of the resource Photographs, negatives, and lantern slides digitized from the papers of engineer and archaeologist Robert H. Merrill. A Grand Rapids native, Merrill held an accomplished career as a civil engineer. He founded the company Spooner & Merrill, which held offices in Grand Rapids and Chicago. From 1919-1921, Merrill lived in China, working as Assistant Principal Engineer on a reconstruction of the Grand Canal - the oldest and longest canal system in the world. Merrill became fascinated by archaeology, and among other projects, he traveled to the Uxmal Pyramids in Yucatan, Mexico, with a research expedition from Tulane University. Merrill's photo collection includes images of his travels and projects, friends and family. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Merrill_NE_57_1924_007 Date A point or period of time associated with an event in the lifecycle of the resource 1924-05-18 Title A name given to the resource Manistee River Valley below high bridge Description An account of the resource Black and white photograph of a river valley behind trees. "Manistee River Valley - Below High Bridge" is written on the bottom of the image. Subject The topic of the resource Manistee River (Mich.) 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